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Defining And Managing The Historic Urban Landscape: Reflections On The English Experience And Some Stories From Liverpool

100%

Sykes O. , Ludwig C. , Sykes O. O. S. , Ludwig C. C. L. , Sykes O. o. s. l. a. u. , Ludwig C. c. l. a. u.

tom 22

nr 2

The period since the 1960s has been characterised by growing societal concern with urban heritage protection and the development of legislative, fiscal and urban planning instruments that seek to ensure the protection and enhancement of historic buildings and environments. International organisations such as UNESCO and European level documents such as the European Spatial Development Perspective (ESDP) have stressed the cultural and economic value of the ‘wise management of natural and cultural heritage’. Since the 1970s many cities have sought to redefine and regenerate themselves through a revalorisation of their past and the protection and enhancement of their historic urban landscapes. Urban heritage has thus often come to be seen as a component of the territorial capital of places, and often had a symbiotic relationship with the objective of urban regeneration. However, urban heritage is not a static concept and ideas about what constitutes heritage, the value of different historic urban environments, and the contribution they can make to city development and regeneration continue to evolve. This paper reflects on this evolution in the context of the English planning system and illustrates some key trends and issues surrounding urban heritage through a consideration of recent and ongoing heritage related planning episodes in the northern English city of Liverpool.

Produkcja zapalek w Wielkiej Brytanii

86%

Rodzen K.

1993

tom 34

nr 1

30-33

New developments in the Liverpool Waterfront

81%

Kaczmarska E. , Kaczmarska M.

Technical Transactions

2018

tom Vol. 115, iss. 3

21--39

In the present article, we focus on the changing face of the revitalised parts of the city of Liverpool. We present the successful, consistent implementation of a comprehensive vision for the renewal of the city’s port area – neglected and dangerous still at the end of the last century. We indicate the importance of determining the elements of the space that crystallise the urban layout of the city, and skilfully applying those in future concepts. We refer to the main issues related to the renewal process, including the economic and social aspects of the city, as well as to the use of art in the humanisation of the place and the importance of social participation in the approval of design solutions.

Artykuł koncentruje się na zmianie oblicza rewitalizowanych części miasta Liverpool. Prezentuje sukces konsekwentnej realizacji całościowej wizji odnowy zaniedbanej i niebezpiecznej, jeszcze pod koniec ubiegłego wieku, strefy portowej miasta. Wskazuje na znaczenie ustalenia elementów przestrzeni krystalizujących układ urbanistyczny miejscowości i umiejętne ich wykorzystanie w koncepcjach przyszłościowych. Nawiązuje do głównych zagadnień związanych z procesem odnowy, obejmujących stronę gospodarczo-ekonomiczną i społeczną miasta, odnosi się do wykorzystania sztuki w humanizacji miejsca oraz znaczenia partycypacji społecznej w akceptacji rozwiązań projektowych.

Lisandro Alonso – luki filmowego realizmu

58%

Syska R.

Kwartalnik Filmowy

2011

nr 75-76

177-190

The author of this essay focuses on the films directed by Argentinean filmmaker Lisandro Alonso (La Libertad, Los Muertos, Fantasma and Liverpool). The article examines the specific film style, focusing on various forms of the cinematic realism. Firstly, the essay proposes the list of the Alonso’s potential protoplasts, confronts the Argentinean filmmaker with the film poetics conceived by Robert Bresson, Béla Tarr and Chantal Akerman. The author claims that the Alonso’s conception updates Bressonian idea of “cinematography”, although Argentinean director rejects the process of semiotic synthesis, instead proposing the uniqueness of the characters, the purest realism – ancillary to the landscape and the actor. Besides, Syska describes the distancing techniques used by Alonso, ellipsis in the film plot, the avoidance of the punchlines and the specific nature of the subjectivity located inside the classical objective narration (e.g. the analysis of a sleep scene from the movie La Libertad). The author also analyzes the temporal relations in Alonso’s films – using the term called “present tense progressive”.