By Daniel Hinchcliffe, Judith Rugg

This moment quantity investigates the multi-disciplinary terrain of area and tradition, extending the limits of urbanism and addressing problems with public area. It demonstrates that severe realizing of cultural interventions in public area is now suitable to more than a few disciplines. Contributions comprise works on: the exam of ''authentic'' public house in Barcelona; the connection of the paintings of Doris Salcedo to the unseen areas in Birmingham; the results of gender within the production of The Wapping venture in East London; the self-representation of asylum-seekers from Bosnia-Herzegovina; the problem of the ''imagined'' group on the subject of the Irish in Britain; and the importance of assemblage within the paintings of Mierle Laderman Ukeles and the worldwide value of neighborhood activities in collaborations among ecologists and artists.

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Marcuse and van Kempen (2000) have defined this phenomenon as the metaphor of ‘the layered city’, referring to a temporal layering of activities and groups in the same environment that never meet. In Barcelona these Regenerating Public Life? 33 layers emphasize the pre-existent, geographical quartering of the city to create an increasingly fragmented public life in which different cultural practices are hemmed in by their own boundaries and spontaneous encounters are diminishing. Conclusion In looking at the regeneration of El Raval I have several conclusions.

The absence of balconies is deeply felt as it is regarded as a common feature in the neighbourhood and also part of the relationship both new and old residents have to the immediate outside environment. The balcony helps to ‘open up’ the neighbourhood as it permits one to step outside and get a sense of space in this densely built area. Balconies in the old houses can be regarded as extending the private living space of people into the public sphere and thereby diluting strict separations between public and private.

The Placa dels Angels is illuminated with blue-white lights, its architectural designer landmarks lit spectacularly against the night sky. The streets and the square become quiet and deserted. Junkies, homeless, and drunkards take over the museum’s square and surrounding streets. These sounds echo in the square and take over the neighbourhood. Each morning, new graffiti appears on the walls, sometimes only paintings, at others, more political statements – needless to say, both are quickly whitewashed the next morning.

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