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- Bergström, Charlotta, 1978-
(författare)
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Safety and Sustainability in the Community Planning Process : Actors' Interests, Roles and Influences
- 2006
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The licentiate dissertation “Safety and Sustainability in the Community Planning Process – Actors’ Interests, Roles and Influence” has in three case studies over detailed development planning processes examined how issues related to safety and sustainability are handled in Swedish municipal planning. The research project has focused on three municipal actors; the Planning Office, the Environmental Agency and the Fire and Rescue Services. The complete planning process has been assessed, starting with comprehensive planning, to detailed development planning and on to building permit assessment. The project’s aim has been to investigate how actors’ roles, interests, responsibilities and position influence the planning process. A handling procedure of preventing accidents instead of treating damages caused by accidents is increasingly stressed in society, with the effect that emphasis of handling these matters is given to community planning. This shift in turn has the effect that safety and sustainability become central in community planning, at the same time as new actors’ active participation is requested. One outcome is that municipal authorities such as the Environmental Agency and the Fire and Rescue Services are increasingly invited to actively participate in the plan work. Both actors have important roles in guarding safety and sustainability issues. Their approaches to these issues however differ, which influences how the matters are handled. The Planning Office has the role of balancing and transforming other planning participants’ contribution to the planning process. They also have responsibility of directing the process ahead. Actors participate in planning based on their knowledge, competence, interests and perspectives, but have to relate to conditions in-built in the planning context. The study has provided a view of actors work with safety and sustainability in community planning. Especially regarding collaboration between actors, actors’ access to planning as well as their possibilities for influence. A number of key issues have been extracted, which adjusted to the local planning context can favour the development of a safe and sustainable urban environment.
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| 3. |
- Sand, Monica, 1958-
(författare)
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Space in motion : the art of activating space in-between
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- As a contribution to the emerging field of practice-based research in the arts, this thesis aims to activate space, experience and the concept in-between. As the in-between cannot be defined ahead of the rhythmic process it carries out and of which it is a part – a rhythm inherent in the city itself and in knowledge production – it is necessary to produce rhythmic relations between bodies, sites and concepts. An art experiment, a forty-two meter high swing mounted on the bridge, Älvborgsbron, in Gothenburg harbour, Sweden, serves as the point of entry to the thesis. A dancer in the swing moved slowly between the bridge and the ground, captured in a rhythmic experience of being earthbound and then weightless. The swing project, together with other rhythmic processes such as walking, weaving and acting physics, activate spatial, temporal and theoretical dimensions of the in-between. Merging my roles as an artist, teacher and researcher by pragmatic production, perception and concepts it becomes possible to transform the rhythms between the examples: 1. A swing mounted on a bridge; one of my art projects. 2. Walking and mapping strategies; as developed in my courses taught at the School of Architecture. 3. The myth about Penelope weaving. 4. Rhythmic relations between bodies and machines at CERN, the particle physics laboratory outside Geneva, a place that is important for several of my art projects. Creative production aims to expand the capacity of the body. By employing a bridging structure, spaces in-between are activated thus revealing the power and danger in-between. In that production collective processes merge, creating “social and collective machines” and another reality between: 1. bridge/swing/dancer, 2. map/walking/site, 3. war/loom/weaving, 4. theory/detector/bodies. These rhythmic processes oscillate between representation and the complex forces of daily activities. However, it is not the rhythm itself that activates spaces in-between but, rather, the changing of directions of the rhythm: from moving to be in motion; from walking forward to walking and falling; from weaving cloth to producing time; from doing physics to acting physics. Activating in-between spaces means activating differences and another way of producing knowledge, a well-known strategy in contemporary art: a production of potential realities, in a constant interaction between concepts and spatial transformations.
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