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The architectural promenade, developed by Le Corbusier, is also a significant design concept in the contemporary architectural works of Wang Shu. This paper focused on Wang Shu’s and Le Corbusier’s promenade concepts aiming to illustrate how Wang’s promenade of strolling in Shan-shui establishes a cross-cultural dialogue with Le Corbusier’s theory. These two promenade approaches appear to have emerged from distinct historical and cultural contexts, with Le Corbusier’s approach rooted in Western modernism and Wang’s approach reflecting the aesthetics of traditional Chinese landscape painting. Seemingly unrelated, a thorough case analysis of Le Corbusier’s Villa La Roche and Wang’s Ningbo Tengtou Pavilion unveiled commonalities in creating picturesque spaces and spatial movement. Furthermore, both promenade approaches trigger discussions on architecture. Whereas Le Corbusier’s architectural promenade facilitated the creation of “new” architecture, Wang was inspired by Le Corbusier’s way of thinking, but aimed to “rebuild a kind of Chinese vernacular architecture” in response to the status quo of China’s urban architectural development. Wang Shu’s promenade opens a spectrum between traditional landscape painting and Le Corbusier’s ideas, showcasing a fusion of influences and inspirations from diverse cultural contexts, while also contributing to an understanding of the integration of Eastern and Western architecture in contemporary discourse.

The 'compact city' implies a return to the urban morphology of the nineteenth-century city, one in which most people walked, predominantly for utilitarian purposes. This article, however, details a leisure practice—the bourgeois promenade—as it unfolded in Stockholm. Employing a diverse set of texts and visual sources the article seeks to understand how this genteel urban practice was enabled and performed in the midst of a growing working-class population with which they shared the streets. It suggests that new street lighting and smoother pavements redirected vision from the ground to the people around, opening up for walking practices that foregrounded the visual over other senses—one being the bourgeois promenade. It further highlights the multiple rhythms of the promenade and the upper middle class' efforts to create hierarchies of walking on city pavements and in urban parks. In sum, the article shows that leisure mobility was central to the very idea of nineteenth century urban life. Meanwhile, its exclusive character cautions against the one-sided imaginaries of strolling and consumption in today's endeavours to recreate the compact city. [ABSTRACT FROM AUTHOR]

In recent years waterfronts have progressively become the focus of local administrations, consultancy agencies, and private developers concerned with public health, city branding, and real estate development. Subsequently, they turned into central stages in which cities and societies can be represented, contested, and inverted. However, many questions remain unanswered concerning their capability to function as counter-spaces in the fast-changing dynamics of citizens' encounters and recreation in global cities. This paper employs mixed methods to examine the context-dependent association between space and behaviours. The comparative analysis of four waterfront parks in Venice, Shenzhen, Hong Kong, and New York sheds light on heterotopic sites' production and use. Two models emerged: transient spaces of compensation and time-accumulating spaces of illusion. Beyond the novel research design, the significance of this study lies in validating Foucauldian-Lefebvrian heterotopology as an authoritative analytical paradigm for a critical interpretation of the urban. [ABSTRACT FROM AUTHOR]

In the Russian Empire, the panoptic gaze and the panoramic view developed and were closely intertwined from the late eighteenth century onward. Both scopic regimes required a specific organisation of space and visibility in order to establish a dual relation between the observers and the observed, as was the case in the cinematograph that emerged later. This article aims to reconstruct their interconnection, starting from the “inspection trip” that Empress Catherine II made to Crimea in 1787 and drawing in descriptions and depictions from contemporary newspapers, travelogues, and paintings. During the early nineteenth century, the newly established public life of the promenades and parks in Saint Petersburg was captured by both viewing regimes; however, the distance between the observers and the observed was reduced. At the same time, a new form of moving panoramas emerged, such as The Promenade to Catherinehof on May 1, 1824-25 by Karl von Hampeln (Karl K. Gampel´n), who introduced various self-reflecting motifs of seeing and observing into his carnivalesque procession. The same visual and spatial phenomena were described also in contemporary city feuilletons about Saint Petersburg, dedicated to early tourist excursions, which were closely linked to the imperial and dynastic memory cultures. The author analyses a feuilleton about the Catherinehof promenade written by the journalist and publisher Fadei (Tadeusz) Bulgarin, who participated in it. After the suppressed Decembrist uprising in 1825, the distance between the observers and the observed again increased, as in the Panorama of Nevskii Prospect by Ivan A. Ivanov from 1830-35. Around 1900, when panoramas began to compete with the early cinematograph, the cinematic Panorama of the Trans-Siberian Railway in the Pavilion of the Russian Provinces at the World’s Fair in Paris conflated the imperial and the tourist gazes, exhibition and self-representation, the panoptic gaze and the panoramic view. Finally, the author traces both the scopic regimes in urban film and cinema trains during the 1920-30s and in Aleksandr Sokurov’s film Russkii kovcheg / Russian Ark (2002, Russia, Germany, Japan, Canada, Finland and Denmark).

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The enhancement of the archival architectural heritage, in terms of preservation, has favored the documentation and investigation of projects and buildings. The significance of constructing 3D digital models in the domain of architecture is already a well-established idea. In addition, the digital reconstruction of hand-made drawings contributes to the deepening of the study of unbuilt. In this sense, the representation only by orthogonal projections is insufficient to perceive the spaces, on the other hand, animation allows us to include time by simulating the displacement of a virtual spectator. In the unbuilt project for the Museum of Contemporary Art at the University of São Paulo, MAC USP (1975), designed by architect Paulo Mendes da Rocha, the circulation system is organized by a set of ramps, footbridges, and stairs, which promotes the contemplation of the internal spaces. Using digital simulation, this article analyzes the temporal sequence of approach to this building, its accesses, penetration into interior spaces, and the multiple views from six paths resulted by animations. Rendering, animation, and axonometric resulting from 3D digital model, allowed us to analyze the circulation system, particularly the emphasis of the ramps in this project from the concept of promenade architecturale. The original contribution of this article is highlighting the singular circulation system adopted by the architect in this unbuilt project by digital simulations.

Porto is a city located in a privileged enclave. The observer is able to see its construction, both spatially and temporally, in a simple way. Collecting the concepts stated by several authors regarding the sensory experience that cities offer for their recognition and legibility, we move towards a reflection regarding the creation of the image of the city. On a more practical level applied to the specific case of the city of Porto, we will conclude with a detailed analysis, through the approximation drawing, which follows the story of K. Lynch, about fundamental elements in the recognition and identification of the urban image: borders, neighbourhoods, paths, nodes, landmarks, and the original relief itself.

Since the 1980s, extended pedestrianization works in Athens’ public spaces have been designed to sharpen the tourist and cultural profile of the city, resulting in a lively return to walking as a leisure activity within the historic center. There are many associations of inhabitants, who were created especially after the 2000s, offering the rediscovery of the city through collective walks. Based on a field survey, interviews with local actors and the founders and participants of the Atenistas group, the article questions the emergence of a new form of urban walk that juggles between tourist practice and sociability and citizen’s action. Walking together and discussing the common experience of walking, confronts the inhabitants and participants with the Atenistas group’s walk-events, with various urban narratives hitherto unknown or marginalized. It is the objective of this article to question the conditions of creation and gradual emergence of a new form of urban practice that seeks to respond to issues of tourist and economic reactivation of the city center with a focus on the renewal of the social bond: by walking, meeting, discovering.

Copyright of Storia dell'Urbanistica is the property of Associazione Storia della Citta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Porto is a city located in a privileged enclave. The observer is able to see its construction, both spatially and temporally, in a simple way. Collecting the concepts stated by several authors regarding the sensory experience that cities offer for their recognition and legibility, we move towards a reflection regarding the creation of the image of the city. On a more practical level applied to the specific case of the city of Porto, we will conclude with a detailed analysis, through the approximation drawing, which follows the story of K. Lynch, about fundamental elements in the recognition and identification of the urban image: borders, neighbourhoods, paths, nodes, landmarks, and the original relief itself. [ABSTRACT FROM AUTHOR]

The article examines the development of Tel Aviv's seaside in its formative years. The proximity to the sea aroused in the predominately-European founders' aspirations of creating a seaside resort town, inspired by European models familiar to them. Four models of inspiration for the emerging city and the role they played in Tel Aviv's early urban and architectural plans will be discussed: (1) Odessa on the Black Sea; (2) English seaside resorts: Brighton; (3) Nice on the French Riviera; (4) German health spas: Baden Baden. [ABSTRACT FROM AUTHOR]

The paper is located within the wider field of decolonial practice where those of us who were previously marginalized from 'mainstream' knowledge production by colonialism and its structures address the question of how we navigate ways of knowing from our own point of view. The paper places the concept of 'walking about' in relation to the Khelobedu saying 'go sepela ke go bona', both of which have parallels with the methodologies that Walter Benjamin espoused through the figure of the flâneur. The paper tracks my walkabouts as I follow the travels of several Balobedu from north-eastern South Africa to Berlin in 1897, by travelling to Berlin and other contemporary art centres myself. The practice of travelling offered opportunities in the form of dream as a khelobedu text, introduced me to installation art and led me to experiment with the idea and practice of the camera obscura, allowing me to confront some of the limits of photographic documentation. Overall, the paper argues that 'walking about' as a methodology resolves some of the difficulties with ideas of visuality associated with khelobedu and with mediating a text that demands a critical awareness of the relationship between the senses. The camera obscura, as a space that houses a body, becomes this medium and the text. [ABSTRACT FROM AUTHOR]

Polyandre (1648), Charles Sorel's unfinished novel, deconstructs the picaresque schema which traditionally operates in seventeenth century comic novels. Sorel, in the preface which accompanies the last avatar of his comic trilogy, develops an aesthetic of diversity based on naturalness. An urban pícaro, Polyandre, a middle-aged man back in Paris after a provincial interlude, abandons the formative aspect of the 'Grand Tour' in favour of the art of perambulation. A bourgeois novel, depicting the life of the most varied and mediocre figures, Polyandre is also an impressive account of the topography of Paris and social archetypes circulating inside this burlesque geography. In fact, Polyandre's wanderings act as an aggregator of typified characters: the picaresque character, conventionally defined by his social mobility and his moral permeability, becomes, by comic transposition, a vagrant and a judge. But these burlesque shifts are also a metaphorical expression of the very function of comic novels, which is to be a social laboratory. [ABSTRACT FROM AUTHOR]

Since the 18th century, coastal tourism in Great Britain has experienced architectural forms that will serve as reference. Among them, the pleasure pier allows for varied activities (boardwalk, fishing, dance, theatre, restaurant, attractions). During the 19th century, these popular leisure places were rapidly expanding geographically thanks to the railway and the emergence of major population centres. Very sensitive to storms, fires, collisions and wars, these areas of daily life have suffered strong disaffection from the 1980s, especially when competing with distant destinations now accessible by plane. Nevertheless, they still share a strong coastal identity : residents and tourists have formerly and profoundly appropriated these piers that structure many British seaside resorts. Visible from afar, the pleasure pier welcomes regularly a large and varied audience. Faced with threats of demolition, mobilizations animated by a local patriotism are organized, well helped by piers heritagisation and the National Lottery's financial contribution. Since the end of the 1990s, the regeneration of the British seaside resorts has begun, which relies alternately on the authenticity or modern reinterpretation of their piers. Finally, the popular pride displayed at the reopening after works shows that the feeling of belonging to a popular British seafront practice remains deeply rooted. [ABSTRACT FROM AUTHOR]

From Shanghai to London via Rio de Janeiro, the waterfronts and river fronts of cities have become the window of their new ambitions and spaces of sociability where the function of walk has become central. In the case of the city of Rabat in Morocco, it was not until the beginning of the 21st century that the banks of the Bouregreg became a site for walking, a place to visit, a place to live, a palce to meet and a scene where to see and be seen. From the observation of the circulations and the interactions, we will question the walk as a form of urban expression based on movement, a sort of “ambulatory urbanity”, in which the bodies intersect and escape according to precise codes, implementing a new choreographies and geographies. We will also interrogate this place produced according to the new international standards of metropolises and tourism, as a “geosymbol of an urbanity” and a cosmopolitan sociability that is both inclusive and exclusive where women and young couples take a place.

The article contrasts the design mechanisms for defining routes and circulation from the point of view of the architecture discipline in general, with the mechanisms developed from the experience of living in Quito's workingclass neighborhoods. The text consists of two parts: the first, based on academic architecture, is a conceptual view of a number of works by Le Corbusier and Fumihiko Maki - how the concept of circulation is used for structuring and spatial organization from a design standpoint; and the second is a reconstruction of the iterative process of staircases and circulation in self-constructed cities, as applied to the Atucucho neighborhood in Quito. In conclusion, 10 models of living structured around the staircase were identified in a low-income habitat. In these topological notions the staircase is an instrument that enables transformation in the space and its configuration makes it possible for houses to be modified and adapted to the topography, thus o& ering new living dynamics. [ABSTRACT FROM AUTHOR]

Copyright of Academica Turistica is the property of University of Primorska, Faculty of Tourism Studies - Turistica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study finds its origins in the question whether the associations from the periphery of the Austrian-Hungarian Empire played a role in the public sphere and space. The city of Sibiu, with a majority of German population at the end of the nineteenth century, changed from an architectural and economic point of view during the Belle Époque. The way in which the Association for Embellishment of the city of Sibiu (Verein zur Verschönerung der Stadt Hermannstadt) reacted and acted to the administrative changes, is important in order to gain insights regarding the social and public space. The prosopography of some members involved in the association is also relevant, because it shows the concern to take care of the public space. The gardens, parks, promenades which were arranged and planned by the members of the association, led to the building of an European public space, which was favourable to leisure activities. Main sources for the present research are the annual books of the aforementioned associat ion. [ABSTRACT FROM AUTHOR]

Highlights • The tool of representation organizes qualitative and quantitative information of an urban survey. • The proposed visual representations spatially localize environmental factors that create or emphasize urban heat. • Spatio-temporal syntheses demonstrate environmental diversity relative to urban typologies. • Combined luminous and thermal visualization informs about pedestrians’ exposure to microclimates and atmospheres. Abstract An atmosphere is the synthesis for an individual at a given moment of the multiple thermal, visual, acoustical and olfactory perceptions suggested by a physical environment. An urban atmosphere therefore depends on the physical qualities of the built environment and the movement of urbanites. Urban atmospheres can be represented in time and space through the concept of a promenade. The objective of this approach is to increase knowledge about perception of pedestrians in an urban environment and their representation. Recently, urban atmospheres represented dynamically through the field of view of pedestrians may assist in the discussion of the built environment parameters relevant to city planners, building professionals and citizens. This paper presents the visual and thermal environmental parameters gathered at specific points of an urban promenade. Results are graphically presented according to their temporality and spatiality. The innovative aspect of the research stems from its spatio-temporal representations of visual and non-visual (thermal) physical qualities of urban spaces through photographs and their quantitative value to better investigate urban microclimates at the pedestrian and physical surface scales. [ABSTRACT FROM AUTHOR]

Due to ongoing climate change, overtopping risk is increasing. In order to have effective countermeasures, it is useful to understand overtopping processes in details. In this study overtopping flow on a dike with gentle and shallow foreshores are investigated using a non-hydrostatic wave-flow model, SWASH (an acronym of Simulating WAves till SHore). The SWASH model in 2DV (i.e., flume like configuration) is first validated using the data of long crested wave cases with second order wave generation in the physical model test conducted. After that it is used to produce overtopping flow in different wave conditions and bathymetries. The results indicated that the overtopping risk is better characterized by the time dependent h (overtopping flow depth) and u (overtopping flow velocity) instead of hmax (maximum overtopping flow depth) and umax (maximum overtopping flow velocity), which led to overestimation of the risk. The time dependent u and h are strongly influenced by the dike configuration, namely by the promenade width and the existence of a vertical wall on the promenade: the simulation shows that the vertical wall induces seaward velocity on the dike which might be an extra risk during extreme events.

Pour Rousseau, la philosophie de la fin se rapporte à un processus de responsabilisation du Moi qui pense en rêvant et rêve en se promenant. Ce Moi est autant déresponsabilisé vis-à-vis des autres que sur-responsabilisé vis-à-vis de lui-même. La fin des autres est alors la grande finalité de Rousseau.

In this article, the authors contend that contemporary urban streets are over-regulated, preoccupied with surveillance, commercial requirements and rapid transit, aesthetically homogeneous and sensually sterile. As an exemplary site of contrast, the article focuses on the recently redesigned Blackpool Promenade. First, it argues that this redesign honours the resort’s popular traditions, its potent heritage and the importance of innovation. Second, it explores how the promenade fosters playful interactions, conviviality and lingering. Third, the article focuses on sensory attributes that enhance the experience of promenaders. [ABSTRACT FROM AUTHOR]

This paper aims to present some reflections about the trajectory that leads Rousseau not only to approach botany, but, above all, to define its epistemological as well as methodological status. In this sense, we propose to show in what terms - in the broad Rousseauan intellectual panorama related to writings and letters of the last sixteen years of the Genevan philosopher's life - botany assumes for Rousseau a peculiar autonomous physiognomy and, at the same time, becomes a paradigm for philosophy itself. [ABSTRACT FROM AUTHOR]