The aim of this paper is to study how women’s privacy needs are met through the physical form of public spaces in both old and new urban designs, using as a case study the city of Nablus, Palestine, which has been significantly influenced by the culture of gender separation. The findings will help develop a better understanding of the relationship between women’s privacy and the physical form of public spaces and will enhance the development of public spaces that women can use comfortably and actively to participate in the urban life. An environmental approach based on the concept of behavioural setting was used to examine women’s privacy issues in the chosen public spaces. Direct observations and questionnaires were used in the fieldwork, in addition to interviews with women and relevant people who influence the women’s privacy. Maps (GIS), sketches and SPSS techniques were used to interpret the data.
Art in public space in South Africa is
increasingly a more visible locus of sociopolitical resistance and recalibration
of the public sphere. This article focuses upon an emblematic example: the sculpture of a former colonialist, removed from its public university site in Cape Town following sustained protests. Since April 2015, the
empty plinth of Cecil John Rhodes has become a site of re-imagination – from graffiti interventions to performance and installation art. While the plinth continually morphs in symbolism and significance, its ousted artwork
waits at an undisclosed location for its fate to be decided. This interregnum represents a liminal condition that theorists call ‘third space’, extended in this research towards a fourth dimension of performativity. The
physical disappearance of the artwork has triggered a second life, its apogee a national protest movement with global resonance. Rhodes Must Fall and Fees Must Fall are student-led calls for university decolonisation and free education arguably best understood as provocation around systemic issues in society. As this deeper work ensues amid fractious contestations, the artwork's re-animation of the public sphere is clear. Its leftover plinth is political, making visible other kinds of structural voids. It is also poetic: a zombie monument demonstrating
through its reinventions public space as common space – contested, negotiated and performed in the daily creation of city futures.
