Changing the city working with the PERCEPTION

Changing the city working with the PERCEPTION

Vilagarcía

 

 

Changing the village through protagonist participation

working with the perception

The aim of ‘A Vila da Mañá’ is to change the model of town or city, we believe that another one can be possible. This is achieved through the protagonist participation of local children and adolescents who, by working with fundamental concepts through tactical urban planning actions, become active citizens capable of transforming their spaces.

In this case it works with perception, that of the body itself and the environment that surrounds them. Understanding how they perceive their town, we try to provoke in girls, boys, and teenagers a new vision of everyday spaces, seeking to break with the familiar and so that they can see the same places with different eyes.

“Those who have designed, administered and governed them have done so without completing those other dimensions (making one-dimensional cities based on production) and that the definitions of the RAE ignore, and the principle of action has prevailed over their understanding of reality. These cities conceive public space as the space that allows us to get to work from home, without asking if for some the street is synonymous with relationship and encounter and for others it entails exposure and risk”

Izaskun Chinchilla

Color your village

The village or city in which we are working has been turned into a game board, a laboratory of experimentation where girls, boys and teenagers can act from a new point of view.

Working with THREE-DIMENSIONAL ELEMENTS

Working with THREE-DIMENSIONAL ELEMENTS

Vilagarcía

changing the village through protagonist participation 

Working with three-dimensional elements

“The opportunity for the child to discover his or her own movement is part of the city itself; the city is also a play space. The child uses all the elements of the city, all the built objects, all the surfaces he or she can climb or climb on. Children know how to play with these things very well, even if they are not allowed to.”
Aldo van Eyck

‘A Vila do Maña’ works with three-dimensional elements, based on Froebel’s “third gift”.
In architecture we have Froebel as a reference, through Frank Lloyd Wrigth who was educated with this method. It is a system based on the creativity and intuition of the child through direct experience, play and nature. It creates a pedagogical resource based on ‘gifts’ and ‘occupations’. The ‘gifts’ are pedagogical materials that do not change, but are transformed; the ‘occupations’ are activities in which children play by transforming the objects they manipulate. The ‘gifts’ are precursors of today’s building blocks.

Colour your village

The village or city in which we are working has been turned into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

ReCOGNIZING Rianxo

ReCOGNIZING Rianxo

RIANXO

changing the village through protagonist participation

ReCOGNIZING rianxo

“A good urban acupuncture would be one that enables everyone to know their city. How many people, in reality, truly know their own city? It’s hard to respect what you don’t know. But how can you respect your city if you don’t understand it? Draw your city. […] But how can you improve your city if you don’t even know it well? What do you do for it, if you’re not even able to draw it? That’s the crux of the matter.”

Jaime Lerner

To understand how the inhabitants, both current and future, perceive their town, we will use the following strategy: we set off ‘adrift’ with a large golden frame, so that during our wandering, we frame those urban elements that are important to them (an experience based on the work of O’Grady). Who have been the protagonists of this ‘A Vila do Mañá’ experience? On this occasion, during their wandering, they have reDISCOVERED places in their town, perhaps forgotten ones.
With ‘A Vila do Mañá’, the village in which they live is not an abstract idea, nor a series of small partial images; it begins to be understood as a much more complex and expansive environment, bringing us closer to the notion of habitat: the space that transcends its physical location in a territory where we fulfil our needs, establishing relationships with others and with the environment, both natural and built; involving processes in which it transforms, but in which we are also transformed.

Colour your village

The village or city in which we are working, transformed into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

reCOGNIZING Mondoñedo

reCOGNIZING Mondoñedo

Mondoñedo

changing the village through protagonist participation

reCOGNIZING Mondoñedo

“A good urban acupuncture would be one that enables everyone to know their city. How many people, in reality, truly know their own city? It’s hard to respect what you don’t know. But how can you respect your city if you don’t understand it? Draw your city. […] But how can you improve your city if you don’t even know it well? What do you do for it, if you’re not even able to draw it? That’s the crux of the matter.”

Jaime Lerner

To understand how the inhabitants, both current and future, perceive their village, we will use the following strategy: we set off ‘adrift’ with a large golden frame, so that during our wandering, we frame those urban elements that are important to them (an experience based on the work of O’Grady). Who have been the protagonists of this ‘A Vila do Mañá’ experience? On this occasion, during their wandering, they have reDISCOVERED places in their village, perhaps forgotten ones.
With ‘A Vila do Mañá’, the village in which they live is not an abstract idea, nor a series of small partial images; it begins to be understood as a much more complex and expansive environment, bringing us closer to the notion of habitat: the space that transcends its physical location in a territory where we fulfil our needs, establishing relationships with others and with the environment, both natural and built; involving processes in which it transforms, but in which we are also transformed.

Colour your village

The village or city in which we are working, transformed into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

ReCOGNIZING Carballo

ReCOGNIZING Carballo

Carballo

changing the village through protagonist participation

ReCOGNIZING Carballo

“A good urban acupuncture would be one that enables everyone to know their city. How many people, in reality, truly know their own city? It’s hard to respect what you don’t know. But how can you respect your city if you don’t understand it? Draw your city. […] But how can you improve your city if you don’t even know it well? What do you do for it, if you’re not even able to draw it? That’s the crux of the matter.”

Jaime Lerner

To understand how the inhabitants, both current and future, perceive their town, we will use the following strategy: we set off ‘adrift’ with a large golden frame, so that during our wandering, we frame those urban elements that are important to them (an experience based on the work of O’Grady). Who have been the protagonists of this ‘A Vila do Mañá’ experience? On this occasion, during their wandering, they have reDISCOVERED places in their town, perhaps forgotten ones.
With ‘A Vila do Mañá’, the city in which they live is not an abstract idea, nor a series of small partial images; it begins to be understood as a much more complex and expansive environment, bringing us closer to the notion of habitat: the space that transcends its physical location in a territory where we fulfil our needs, establishing relationships with others and with the environment, both natural and built; involving processes in which it transforms, but in which we are also transformed.

Colour your village

The village or city in which we are working, transformed into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

What is your village like? What elements would you highlight?

What is your village like? What elements would you highlight?

Carballo

changing the village through protagonist participation

What is your village like? Which elements would you highlight?

“A good urban acupuncture would be one that enables everyone to know their city. How many people, in reality, truly know their own city? It’s hard to respect what you don’t know. But how can you respect your city if you don’t understand it? Draw your city. […] But how can you improve your city if you don’t even know it well? What do you do for it, if you’re not even able to draw it? That’s the crux of the matter.”

Jaime Lerner 

Work begins with PERCEPTION. How do the future inhabitants of the place perceive their village or city? To explore this, participants are invited to use simple drawings to show us which elements they consider fundamental or particularly interesting in their village or city. In this way, we can understand their individual views of the place they live in and begin to build a collective vision shared by all participants.

Colour your village

The village or city in which we are working, transformed into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

What is your city like? What elements would you highlight?

What is your city like? What elements would you highlight?

Santiago de Compostela

changing the village through protagonist participation

What is your city like? Which elements would you highlight?

“A good urban acupuncture would be one that enables everyone to know their city. How many people, in reality, truly know their own city? It’s hard to respect what you don’t know. But how can you respect your city if you don’t understand it? Draw your city. […] But how can you improve your city if you don’t even know it well? What do you do for it, if you’re not even able to draw it? That’s the crux of the matter.”

Jaime Lerner

 

Work begins with PERCEPTION. How do the future inhabitants of the place perceive their village or city? To explore this, participants are invited to use simple drawings to show us which elements they consider fundamental or particularly interesting in their village or city. In this way, we can understand their individual views of the place they live in and begin to build a collective vision shared by all participants.

Colour your city

The village or city in which we are working, transformed into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

What is your village like? What elements would you highlight?

What is your village like? What elements would you highlight?

Santiago de Compostela

changing the village through protagonist participation

What is your village like? Which elements would you highlight?

“A good urban acupuncture would be one that enables everyone to know their city. How many people, in reality, truly know their own city? It’s hard to respect what you don’t know. But how can you respect your city if you don’t understand it? Draw your city. […] But how can you improve your city if you don’t even know it well? What do you do for it, if you’re not even able to draw it? That’s the crux of the matter.”

Jaime Lerner

Work begins with PERCEPTION. How do the future inhabitants of the place perceive their village or city? To explore this, participants are invited to use simple drawings to show us which elements they consider fundamental or particularly interesting in their village or city. In this way, we can understand their individual views of the place they live in and begin to build a collective vision shared by all participants.

Colour your city

The village or city in which we are working, transformed into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

reCOGNIZING Arteixo

reCOGNIZING Arteixo

Arteixo

changing the village through protagonist participation

ReCOGNIZING Arteixo

“A good urban acupuncture would be one that enables everyone to know their city. How many people, in reality, truly know their own city? It’s hard to respect what you don’t know. But how can you respect your city if you don’t understand it? Draw your city. […] But how can you improve your city if you don’t even know it well? What do you do for it, if you’re not even able to draw it? That’s the crux of the matter.”

Jaime Lerner

To understand how the inhabitants, both current and future, perceive their town, we will use the following strategy: we set off ‘adrift’ with a large golden frame, so that during our wandering, we frame those urban elements that are important to them (an experience based on the work of O’Grady). Who have been the protagonists of this ‘A Vila do Mañá’ experience? On this occasion, during their wandering, they have reDISCOVERED places in their town, perhaps forgotten ones.
With ‘A Vila do Mañá’, the city in which they live is not an abstract idea, nor a series of small partial images; it begins to be understood as a much more complex and expansive environment, bringing us closer to the notion of habitat: the space that transcends its physical location in a territory where we fulfil our needs, establishing relationships with others and with the environment, both natural and built; involving processes in which it transforms, but in which we are also transformed.

Colour your village

The village or city in which we are working, transformed into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

ReCOGNIZING Malpica

ReCOGNIZING Malpica

Malpica

changing the village through protagonist participation

ReCOGNIZING malpica

“A good urban acupuncture would be one that enables everyone to know their city. How many people, in reality, truly know their own city? It’s hard to respect what you don’t know. But how can you respect your city if you don’t understand it? Draw your city. […] But how can you improve your city if you don’t even know it well? What do you do for it, if you’re not even able to draw it? That’s the crux of the matter.”

Jaime Lerner

To understand how the inhabitants, both current and future, perceive their town, we will use the following strategy: we set off ‘adrift’ with a large golden frame, so that during our wandering, we frame those urban elements that are important to them (an experience based on the work of O’Grady). Who have been the protagonists of this ‘A Vila do Mañá’ experience? On this occasion, during their wandering, they have reDISCOVERED places in their town, perhaps forgotten ones.
With ‘A Vila do Mañá’, the city in which they live is not an abstract idea, nor a series of small partial images; it begins to be understood as a much more complex and expansive environment, bringing us closer to the notion of habitat: the space that transcends its physical location in a territory where we fulfil our needs, establishing relationships with others and with the environment, both natural and built; involving processes in which it transforms, but in which we are also transformed.

Colour your village

The village or city in which we are working, transformed into a game board, a laboratory of experimentation where children and teenagers can act from a new point of view.

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Proxecto financiado por:

Proxecto financiado pola Deputación da Coruña

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