Lezing Leeke Reinders: over de harde stad, de zachte stad en alledaagse ruimtes
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Transcript of Lezing Leeke Reinders: over de harde stad, de zachte stad en alledaagse ruimtes
[fotografie: Slinkachu]
Harde stad,
zachte stad
antropologie en stedelijk
ontwerp
Leeke Reinders
TU Delft / KU Leuven
GRAS Kennisboo(s)t
29 oktober 2013
1. Onderzoek en ontwerp
2. Ruimte en plaats
3. Antropologie van de stad: thema’s
4. Visuele antropologie
5. Narratieve cartografie
6. Pluk en de Petteflet
Lopen in de stad
“To be lifted to the summit of the World Trade Center is to be lifted
out of the city’s grasp. One’s body is no longer clasped by the
streets that turn and return it according to an anonymous law; nor is
it possessed, whether as player or played, by the rumble of so
many differences and by the nervousness of New York traffic. When
one goes up there, he leaves behind the mass that carries off and
mixes up in itself any identity of authors or spectators (…) His
elevation transfigures him into a voyeur. It puts him at a distance. It
transforms the bewitching world by which one was ‘possessed’ into
a text that lies before one’s eyes. It allows one to read it, to be a
solar Eye, looking down like a god (…) Must one finally fall back into
the dark space where crowds move back and forth, crowds that,
though visible from on high, are themselves unable to see down
below?”.
uit: Michel de Certeau, The practice of everyday life
(Berkeley, Los Angeles and London: University of California Press, 1997), p. 92
uit: Alison Smithson & Peter Smithson, Urban structuring
(Londen: Studio Vista / New York: Reinhold Publishing Corporation, 1967), pp. 10-11.
Ontwerp en observatie
“(…) we are only half-educating our children. By ignoring the whole
realm of visual perception and communication (…) we are
perpetuating a society that is visually unaware and unobservant to
the point of blindness. This blindness is acute even among those
who move on into the field of art and design (…) What we must do
is to develop in the student the acute and enthusiastic observation
and exploration of the visual world that are characteristic of small
children, but that are almost totally destroyed in the education mill
(…) in learning how to draw one is subconsciously developing and
sharpening powers of both observation and analysis (…) The power
of analysis and communication is the basis of design. Learning to
see is the basis of understanding”.
uit: Geoffrey Spyer, Architect and community (London: Peter Owen, 1971), pp. 154-155
r e s e a r c h
d e s i g n
r e s e a r c h
d e s i g n
r e s e a r c h
d e s i g n
Onderzoek en ontwerp
(a)
(b)
(c)
Lezen van de stad
Conscious observation as an initial step towards understanding the
physical, social and economic lay-out of the city. Site observation is
a matter of reading clues: buildings, space and landscape, artifacts
(name plates, decorations, window dressings, graffiti, traffic signs),
people (class, ethnicity, gender, age, lifestyle), commercial areas,
public environment (street widths, street names) building
arrangements (transitions between public and private spaces),
topography, et cetera.
Allen B. Jacobs, Looking at cities (Cambridge and London: Harvard University Press, 1985)
Uit: Jacques Tati, Playtime (1967)
Modernistische ruimte
Le Corbusier, Plan Voisin (1922-1925), ongebouwd
Modernistische ruimte: interieur
uit: Jacques Tati, Playtime (1967)
Modernistische ruimte: exterieur uit: Jacques Tati, Playtime (1967)
Modernistische
ruimte als
dystopie
Uit: Jean-Luc Godard, Alphaville
(1965)
Hybride ruimte
Tekening als middel om de
carthesiaanse ruimte te
problematiseren en de precieze
set van coordinatoren te negeren
Daniel Libeskind, Macromegas (1978)
Serial vision
De stad als
coherent drama,
gebruik van de
wandeling om
beweging door
ruimte te
onderzoeken
Uit: Gordon Cullen, The concise
townscape (Londen: The
Architectural Press, 1971)
concepties van stedelijke ruimte
ruimte plaats
absolute ruimte relatieve ruimte
abstracte ruimte differentiële ruimte
potentiële omgeving effectieve omgeving
gecreëerde stad spontane stad
achtergrond voorgrond
harde stad zachte stad
geplande ruimte geleefde ruimte
ruimte (space) plaats (place)
algemeen particulier, specifiek
controle ervaring en perceptie
objectief subjectief
globaal locaal
toekomst verleden
progressief regressief
marxisme, ruimtelijke analyse fenomenologie, postmodernisme
John Agnew, ‘Space:place’,
in: Paul Choke & Ron Johnston (eds.), Spaces of geographical thought
(Londen, Thousand Oakes en New Delhi: Sage, 2005), pp. 81-96.
Henri Lefebvre, The production of space (Malden, Oxford en Victoria: Blackwell, 2003).
3. Antropologie van de stad: thema’s
Stedelijke symboliek
uit: Kevin Lynch, The image of the city (Cambridge and London: The MIT
Press, 1972), pp. 146-147)
uit: Robert Venturi, Denise Scott Brown & Steven Izenour, Learning from Las
Vegas. The forgotten symbolism of architectural form (revised edition)
(Cambridge and London: The MIT Press, 1985), pp. 14-15.
Uit: Leeke Reinders, De stad in vogelvlucht en op
schouderhoogte: beeldcultuur, symboliek en
publieke ruimte. Stedebouw & ruimtelijke ordening,
89(2), 2008, pp. 12-19.
Embodied space
Het menselijke lichaam
as fysieke en
biologische entiteit, als
geleefde ervaring en
als “location of acting
and speaking in the
world”.
Front en back stage
Erving Goffman, The presentation of self in everyday life
(Harmondsworth: Penguin, 1971)
Inscriptie
De relatie
tussen mensen
en omgeving,
hoe zij ruimte
bezetten,
betekenis geven
en daarmee tot
plaats maken.
De micro-politiek van ruimte
Parochiale ruimte
sociale klasse in een
suburbane straat uit: Leeke Reinders & Eva Bosch, Thuis in de
stad. Binding, identiteit en publieke ruimte in
Zaanstad (The Hague: NICIS, 2012)
Uit: Leeke Reinders & Neeltje ten Westenend,
Common grounds. Een visuele etnografie van publieke
ruimte (Amsterdam: NEL, 2011).
Figure 2. Suchar: “…could you tell me a little about the things in the photograph … are there significant things there?”
Subject: “The big thing is David and Daniel … and Max the cat … our other cat Missy would be jealous … I should have
dusted the trays.”
Suchar: “What about the trays and ice cream collection? That’s obviously a major part of the house.”
Subject: “They’re a major part of this room, but we try to keep it somewhat balanced. We have it balanced so that the
collection doesn’t take over the house … We’ve been to some people’s houses where the collections take over the house;
where they’re everywhere and become oppressive … I’ve been to a friend’s house in Atlanta, where you can’t sit down;
you’ve got to move things to sit down … When you live with it [the collection] you don’t think about it.” [continues]
uit: Deborah D. Heisley & Sidney J. Levy, ‘Autodriving: a photoelicitation technique’,
Journal of consumer research, 18(3), 1991, pp. 257-272
Plate 2 The ‘Peace Garden’ at School A. ‘This Peace Garden shows peace in
my school. Most people say my school
is in a bad environment, but the peace garden shows that the school isn’t that
bad. It shows peace in the school,
and tells us not to fight.’ (female, School A)
Plate 5 The coastline along Kingston Harbour. ‘This is the seaside, where people
pass and dump garbage. It’s near
where I live – I go to the sea to walk at weekends with my friends, we swim as
well. This shows bad things happening
in the community – the garbage can kill fishes and pollute the water. The
garbage comes from elsewhere – people
dump it, and then it gets washed up.’ (male, School B)
Uit: Sarah Pink, László Kürti & Ana Isabel Afonso (red.),
Working images. Visual research and representation in ethnography (Londen en New York: Routledge)
Visuele antropologie van de stad
- impliciete kennis
- actief: handeling, beweging,
afbakening, overschrijding, et cetera
- onderzoek: op zoek naar grenzen,
wrijving, spanning en conflict
- schrijven en noteren: kijk door oog
van anderen, op zoek naar routines,
gewoonten, herhaling
- analyse: (rijk gevulde) codes die
werken en activeren, loslaten van
onderzoek en vrijheid voor ontwerp
creëren