tensta a guidebook

REAL AND IMAGINED

PLACES

A GUIDE BOOK

TENSTA

THE UNVIELING OF AN INVISIBLE CITY

“ Tensta - Real and Imagined Places, a Guide book” is part of a theisis project at The Architec-tureshol of The Royal Institute of Technology in Stockholm.By Marie-Louie Richards. www.madamearkitekt.com

Disclamer;The content is this guide is a play on fact and fiction.

Thanks to;

To IASPIS for producing this guide book

and to;

Meike SchalkKelda Bryson-Swartz

Fatale, Critical Studies Design Studio School of Architecture KTH

for all the inspiration help and support

1.2.3.

A. IntrodutionB. SymbolsC. Third SpaceD. --------------

A. This Is TenstaB. HistoryC. Post war planningD. Connecting Tensta

Present and PresenceA Guide Map

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CONTENT

4.5.6.

The FamiliarNavigation

The UnfamiliarAppropriation

APPENDIXA Guide MapA ManualA Bla bla bal

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FION THREE ROWS

Space is both the product and the producer of society. Using space as a tool cities aim to pro-duce competitive and attractive local identities trough represen-tations, images and symbols.

American professor in sociol-ogy Sharon Zukin argues that this trend has created a sym-bolic economy in which cultural symbols and public culture are intertwined with commercial values. Symbols and “image” has increasingly become global commodities, and the economy of symbols has become an ac-tive driver in the production of space. Therefore, the symbolic economy alters the geogra-phy of cities and has taken an active role in creating repre-sentations of, and for the city.

The construction of places through rep-resentation is highly i n s t i t u t i o n a l i z e d nowadays. Citiesare launched and land-scapes formed with the help of regional cultural

SE OW THE TEXTA TEST TO

The construction of places through rep-resentation is highly i n s t i t u t i o n a l i z e d nowadays. Citiesare launched and land-scapes formed with the help of regional cultural

With production and capital be-ing easily moved between differ-ent locations, and since borders no longer offers particularly high resistance to such move-ment, cities have been placed in a situation where they compete for investment. This has trans-formed the ways in which cit-ies are developed and managed. Within research these develop-ments are often summarized in terms as; the entrepreneurial city, urban entrepreneurship or urban governance. These con-cepts refer to strategies devel-oped for cities to be able to at-tract new investment and new residents. For cities to position themselves as competitive and attractive to live in has become more and more important.

The region of Stockholm has expressed the vision to be ”The most attractive region in Europe” , using the slogan - ”Stockholm the Capital of Scandinavia.” However, the discourses of com-

The construction of places through rep-resentation is highly i n s t i t u t i o n a l i z e d nowadays. Citiesare launched and land-scapes formed with the help of regional cultural

petitiveness, innovation, and development that cities are sur-rounded by today, represent only some stories, some populations, certain types of spaces - and a certain type of city. In the very attempt to create a representa-tion of an attractive city spatial divides emerge. What is consid-ered to be an attractive city and for whom becomes crucial: If the spatial imagination is such a powerful tool one must ask whose imagination is it that is represented, and can cites reach their full potential in not includ-ing all sorts of imaginations.

The emerge of an entrepreneur-ial city and its success stories are often portrayed as a consequence of globalization, But the relation-ship between an entrepreneurial city and the dominant economic political order is rather based on a dialectical connection. Ac-cumulation of capital is a place bound process that depends on society’s social and practical

interpretation. Although space is a product of society modes of production, social relationships and activities, it has at the same time an ability to organize, sta-bilize and reproduce society’s social relations. Space is at one and the same time a product and a producer of society. Reality is a social space , and society and space should therefore not be regarded as two separate things. They should rather be regarded as two aspects of one reality.

Reproductions of society’s so-cial relations and power rela-tions takes place in space, but are also made possible with space as a ”tool” and as a medi-um. How the spatially structured social reproduction occurs is a matter that is affected by more aspects than the spatial order of physical space. Social reproduc-tions have many localities and are supported by both abstrac-tions of the mind and of sym-bolic representations that can’t

The construction of places through rep-resentation is highly i n s t i t u t i o n a l i z e d nowadays. Citiesare launched and land-scapes formed with the help of regional cultural

”Awareness of spaces ability to structure

and reproduce society entails

a chance to analyze how space can be made into an instrument of domination

and exercise of power.”

Henri Lefebvre

fully be captured or explained.

According to French sociologist and philosopher Henri Lefeb-vre, production of social space is a complex process that oc-curs at multiple levels, from the global market and the gov-ernmental “macro level” to the “micro level” of individuals.

To further explain these concepts of space Lefebvre constructs a “conceptual triad” to explain the components of spatial pro-duction, these components are those of; the perceived spaces of ”spatial practices”, the con-ceived spaces of ”representations of space” and the lived spaces of spaces of representations. The perceived spaces that are psychical are often referred to as real, and conceived spaces referred to as imagined. Lived space, or spaces of representa-tion is therefore a combination of real and imagined space. Lefeb-vre imagines these lived spaces

as the ”hidden/invisible space” of social life, where mediation takes place through non-verbal symbols and codes. Introducing this third element in his triad of space, Lefebvre presents spaces of representations as means to de-scribe the transmission between the abstract and the physical.

Further, representations of space are created not only to depict reality; they are exploited as models of transforming it. Rep-resentations are used as means to dominate the social land-scape. Phenomena in material space are converted into sym-bols, and the space is designed in a “logic of visualization”. It evokes an architecture designed to be read; sight prioritised over the body’s other senses. As a result of a strict separation of functions, Tensta is an inverted city where the borders between private and public has been be-come inarticulated. In presenting

The construction of places through rep-resentation is highly i n s t i t u t i o n a l i z e d nowadays. Citiesare launched and land-scapes formed with the help of regional cultural

a guide map I wish to explore the hidden, and invisible assets in the spaces in which social life in Tensta takes place. In connecting what is already there, an attempt to reveal the assets in the area is made, turning the social in Ten-sta inside out. In reaviling these hidden assets, values can be cre-ated as means to alter the city.

In the act of presenting a cul-tural network in Tensta with a Culture House, an Idea Store, an Info Centre and Tensta Street Market, the public spaces of the central strip Tenstagången would be transformed. Today all these functions and activities are present but have no presence in the public space. Offering neither identity nor readabil-ity to the space. A cultural net-work could generate meetings, clashes and cross-fertilization. Integrating the area on a mi-cro scale, transforming Tensta from being a segregated district to becoming a network society.

a guide map I wish to explore the hidden, and invisible assets in the spaces in which social life in Tensta takes place. In connecting what is already there, an attempt to reveal the assets in the area is made, turning the social in Ten-sta inside out. In reaviling these hidden assets, values can be cre-ated as means to alter the city.

In the act of presenting a cul-tural network in Tensta with a Culture House, an Idea Store, an Info Centre and Tensta Street Market, the public spaces of the central strip Tenstagången would be transformed. Today all these functions and activities are present but have no presence in the public space. Offering neither identity nor readabil-ity to the space. A cultural net-work could generate meetings, clashes and cross-fertilization. Integrating the area on a mi-cro scale, transforming Tensta from being a segregated district to becoming a network society.

THIS IS TENSTA

17 747 (2009)

85,9% (2008)

58,6 % 27,3%

42%

POPULATION

FORIGN DECENT

Foreign-bornSwedish born with two

foreign-born parents

UNDER THE AGE OF 24

HOUSINGApartments

PEOPLE WORKING

WITHIN THE AREA

Source: USK

6 2035 802

2 407

TENS

TAST

RÅKE

T

HAG

TRÅK

ET

TENSTAVÄGEN

TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

TENS

TAST

RÅKE

T

HAG

TRÅK

ET

TENSTAVÄGEN

TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

TENSTA OVERVIEW

TENS

TAST

RÅKE

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HAG

TRÅK

ET

SPÅNGA BY

EGGEBY GÅRD

WALKWAYS

THIS IS TENSTA

BUILDING BLOCKS

TENS

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TRÅK

ET

TENSTAVÄGEN

TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

ROADS

TENS

TAST

RÅKE

T

HAG

TRÅK

ET

TENSTAVÄGEN

TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

LARGE SCALE BLOCKS

TENS

TAST

RÅKE

T

HAG

TRÅK

ET

SPÅNGA BY

EGGEBY GÅRD

YARDS

TENSTAGÅNGEN1970

HISTORY

“A home environment that puts one of the stone city’s intensity, concentration and order to the city’s outer green, spaciousness and freedom from interference”(City of Stockholm in 1965, 2)

”En bostadsmiljö som lägger något av stenstadens intensitet, koncentration och ordning till ytterstadens grönska, rymlighet och frihet från störningar”(Stockholms Stad 1965, 2)

AND PRESCENSEPRESENT

STORYTELLING

There are a number of activities and services that are present in Tensta that offers no precence nor readability to the public spaces in the area. The local ser-vice have extedned itself to the districts needs. Shops, cultual activities etc. has found spaces that where not planned for the use that it serves today. Tensta is a hidden city. The areas hidden assets connects Tensta and the area has it own logic of urban spatiallity. Using ones imagina-tion a vibriat city unfolds.

COLLECTING STORIES

STORY ITensta is a locked structure,adding is almost impossible

STORY IIThere is not space for two large cultural institutions in Tensta.

REFLECTIONS

QUESTION ICan this area be a host for culture?

QUESTION IIHow can the subject achive the ability and power to create and sustain, appropriate and control space in Tensta.

1. Some of the main actors spoken to where Tensta Träff, Tensta Konsthall, Livstycket, Tensta Against Crime rescidents and sho-powners in the Area

In conversations with some of the main actors in Tensta(1) two reflections about the area where recurring and central. It was the issue of Tenstas flexebility and ability to meet the need of com-mercial growht in order for small scale buissnes to evolve. Anoth-er central issue in Tensta was the how the cultual activities where distributed. Since 1998 Tensta Konsthall was founded. The art space has in many ways put Ten-sta on the map. In 2003 Tensta konsthall faced some leadarship issues and in 2004 a new pro-grame was set. Tensta Kosnthall went from being a international artscen into becoming a local artspace.

“to construct

the imaginary is more

important than the built”

Liza Fior, MUF

REALIMAGINED

SPACE

1. Some of the main actors spoken to where Tensta Träff, Tensta Konsthall, Livstycket, Tensta Against Crime rescidents and sho-powners in the Area

Tensta wants to be much more than a rescidential area, and im many ways it is much more than that. With it’s over 17.000 rescidents it has traversed into becoming a district of Stock-holm holdig many functions that complements the city’s variaty of culture and commersial ac-tivities.Since the area has not been planned for many of the activi-ties that are present today. The question of how Tensta is evolv-ing into a vibriant distric and how the area can be a host for culture becomes more and more intersting.

FOOD MARKET HALLTENSTA

8 covenience stores2 supermarkets

2 restaurantsan open air market

and 1 baklava bakery

TENS

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TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

SHOPPINGTENSTA

TENS

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TENSTAVÄGEN

TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

100 REASONS TO GO TO TENSTA

The hidden activities and servic-es connects the area on a local scale and in providing a guide the area becomes accesible to visitors and connecting the area on a regional scale.

There are thousands of reason for anyone to visit Tensta...

1. Tensta is only a 20 min subway ride from Stockholm City center.

2. The artwork in Tensta Subway station are by artist Helga Henschen.

THE FAMILIAR

NAVIGATION

1.

2.

3.

4.

5.

TENSTA BACKARTENSTA CENTRUM

TENSTA PORTENGULLINGE GÅRDARTENSTA DALEN

DISTRICTS

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TENSTAVÄGEN

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

SOTINGEPLAN

TISSLINGEPLAN

BJÖRLINGEPLAN

FARINGEPLAN

BJÄRKINGEPLAN

STADINGEPLAN

GULINGEPLAN

HUSINGEPLAN

UPPINGEGRÄND

TAXINGEGRÄND

KÄMPINGEBACKEN

RISINGEPLAN

HYPPINGEPLAN

GLÖMMINGEGRÄND

LÄFTINGEBACKEN

ÅVINGEGRÄND

KRÄLLINGEGRÄND

MELLINGEBACKEN

SKÄFTINGEBACKEN

VISSLINGEBACKEN

TENSTA ALLÉ

SVINNIGEGRÄND

HOLMINGEGRÄND

TENSTA ALLÉTENSTA

PLAN

NYDAL

ERIKSLUND

GULINGEPARKEN

SPÅNGA BY

JÄRVAFÄLTET

EGGEBY GÅRD

ELINSBORGSBACKEN

3.

5.4.

1.2.

TENSTA CENTRUM1.

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TENSTAVÄGEN

TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

TENSTA BACKAR

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TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

2.

TENSTAPORTEN

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SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

3.

GULINGE GÅRDAR4.

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TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

TENSTADALEN5.

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TENSTAVÄGEN

TENSTA ALLÉ

HJULSTAVÄGEN

SPÅNGA KYRKVÄG

BUSSENSHUSVÄGEN

“Space is both

the producer and

the product of social life”

Henri Lefevbre, The Production of space

REALIMAGINED

SPACE

“Space is both

the producer and

the product of social life”

Henri Lefevbre, The Production of space

REALIMAGINED

SPACE APPROPRIATION

SIGNS

SIGNS

APPROPRIATION

ENTRANCE

DIRECTIONS

POSTERS

OUTDOOR DISPLAY

BUILDING PERMITS

CONNECTING AN ENCLAVE

TEMPORAL

BILLBOARDS

CONNECTING AN ENCLAVE