Abstract
Urban space involves a heterogeneous, complexly organized structure within which space clots pulsate (shopping malls, plazas, markets and so on). In one companys town industrial enterprise is a centre of such a cluster, its currents are currents of the town. Space of the town, the landscapes are still determined by the "factory". It can be understood as a network of enclaves (fixed sites) and armatures (infrastructure), following D. Shane and O. Jensen. In the post-Soviet era factories have been privatized and came out from the state control. ?Make a profit? ? became main target of enterprises. Globalization of ?industriality?, inclusion of plants into large holdings rips them from the urban network structures and places into the global market network. Space of the city is losing coherence and organization. Ural town Asbest, appeared in the field of natural deposits of asbestos material, this material is used in a variety of sectors of the economy - from construction to domestic needs. Current transformation of Asbest urban space, due to decline in production of enterprises, is to display alternate player on the scene ? a company that will be mined and processed magnesium. Plant-enclave is complemented by another one. Over-centralized town space has no chances to turn into city space, which collects a variety of sources of attraction and repulsion, organized by distance, etc. Residents of these towns, however, insist on the necessity of developing both larger stores and entertainment centres, which could become new centres of organization of space, along with an industrial enterprise. One company towns analysis involves empirical data from the ongoing research project ?Dynamics of life support practices among one company towns population?

Abstract
The transition to democracy has brought many spectacular social and economic changes into the life of Budapest. Urban and social space has been restructured, development in the scenes of technology, science, economy and media has resulted major changes in the demands of society. The borders between public and private are fading. Throughout this period an effective discussion has begun between the different creative professions of the urban planning and designing era - including social workers and researchers. For today the interdisciplinarity in urban planning became accepted and highly recommended. A landscape architect through its professional activity faces even more and more challenging topics of urban rehabilitation, open space design, urban regeneration projects and public art works. All these works are connected to the city as a living-space of people which fact is the main focal point in all cases of urban regeneration and design process. Creating a structure that links the different scales of design and society to each other is gives the key of the sustainability of our cities to the designer. In the last few years Budapests citizens acquired in a sudden way how to use widely their urban spaces; parks and squares. The designers had to adapt the skill of creating multi-functional places, with great multi-use destinations due reflecting on these changing demands and dealing with several influential factors like building regulations, public art, the taste of the majority, or financial issues. The main aim of The paper is to analyse the process shaping Budapests built environment in a human-centered way. Through studying several existing urban spaces and in-progress regeneration projects of Budapest as model sites, the study brings out the tendencies of the urban design process as an essentially non-human aspect moving together hand in hand with the society it is for.

Abstract
In France, the artistic practices (dance, circus?) remain remain little taught at school, while they integrate the national curriculum. This research studies how the artistic dimension is taught and learned in PE, particularly during contemporary dance cycles. We define ?artistic? as both art and the construction of meaning which, in turn, can lead to the possibility of communicating a set of emotions to a public. Art aims at communicating by the means of a remote setting of reality (Ruyghe, 1992). In the case of dance, the PE teacher guides students to develop a symbolic motricity. Two research questions concern both teacher and students : which are the curricular choices of the teachers and in how students develop an artistic activity? The theoretical framework cross two fields : PE didactic and curricula sociology. We analyse the effective taught/learned curriculum by an ascending approach of didactic transposition. The data collection consisted of the video recording of two cycles of contemporary dance in high school (n = ten lessons). The observation of two teachers, specialists of dance and of contrasted students groups (strong/weak) was crossed with semi-directed interviews with the teachers and their pupils. The results show how the expressive project is progressively co-constructed by the teacher and students. Movements become more nuanced and more complex as creativity is injected. This process of shared construction of the curricula reveal indicators of the development of artistic competencies, which contribute ?to producing a space of possibilities in which we can reflect on pedagogy? (Johsua & Lahire, 1999).