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Anna Staniewska

stakeholder groups; Analysing preferences and needs (using various methods); The completion of the studies for the survey, report, initial definition of design guidelines; A design workshop; A design based on guidelines resulting from the research results and the problems included in the study curriculum; Project presentation, exhibition of projects. Information about work starting on a subject is provided through local newspapers or websites and social media. Invitations to workshops come in the form of posters, which challenge students with the task of

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Agnieszka Sobala-Gwosdz and Krzysztof Gwosdz

(regional and local) levels ( The Megasite Management Guidelines 2014 ). The area is located in the northern part of the vast Katowice inner zone, less than one kilometre from the historic core of the city, in close proximity to the city icon – the Spodek (‘Saucer’) Sports and Entertainment Hall ( Fig. 1 ). In the design, implemented in 1999–2015, the site forms an urban field, with a dominant function of culture and education and congress and exhibition space. Soon it will also be filled with commercial buildings (KTW office buildings) and a residential quarter

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Mixed use and diversity as a New Urbanism principle guiding the renewal of post-industrial districts

Case studies of the Paris Rive Gauche and the New Centre of Lodz

Monika Maria Cysek-Pawlak

-industrial buildings – Magasins Generaux and cold storage warehouses Frigo – are used as exhibition spaces and arts centres. The regeneration of the Paris Rive Gauche heritage: ‘reflects […] a changing attitude and keener appreciation for the role of industrial architecture as significant sites of collective urban memory’ ( Weiss 2009 : 137). The decision to convert historic buildings to new uses created numerous problems for the architects and had an impact on the district’s new functions. To turn the former railway site into a modern district, a transfer slab had to be

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Nikola V. Dimitrov, Blagoja Markoski, Ivan Radevski and Vladimir Zlatanoski

supported by a document from 1829, in which it states that the tradesman Anastas Tsalis from Bitola traded “on land and sea with Western Europe, Persia and India“ ( Turkish documents on Macedonian history 1958 : 53-56). In 1862, artisanal products from Bitola were present at the International Exhibition in London. They were the result of the hard work of 2,065 shops, with about 140 types of different crafts and professions and over 70 esnaf organizations ( Konstantinov 1961 : 103-106). In 1876, the official Turkish records listed 1650 shops, 150 magazas (emporiums

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Paweł Pistelok

accessibility. A. Sikora (2015: 44) spoke bitterly about the situation: ‘A district with cultural buildings has been created, with convenient access, and surrounded by car parks, like a huge shopping centre. (...) Such an organisation of this part of the city does not help the city to develop, since it fails to revive the area (because there is nothing there) – there is no one to radiate the culture to. It is a place you only come to occasionally, to attend an event (concert or exhibition), and then you go to your car and drive back home. It is a luxurious enclave, a cultural

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Aleksandra Sas-Bojarska

structures; moreover, their continuity is important in both contexts. However, linear revitalization refers not to the construction of new cities as urban belts, but to the repair and renewal of linear structures existing as various barriers in contemporary cities (regions). In both definitions, the common feature is referral to ecological and social ideas, focusing on lines, not points, and connecting areas with the use of various strips/belts/lines. It can be said that the ideas which appeared on the cover of the catalogue of G. Kowalski, from the exhibition of 1967