Compendium/Acheson Boal.docx · Web viewExperimental Learning / Public Realm as Laboratory These case studies examine three very different contexts with contrasting challenges and

1EXPERIMENTAL LEARNING / PUBLIC REALM AS LABORATORY

Experimental Learning / Public Realm as Laboratory

Arthur Acheson & Marianne O’Kane Boal


Abstract

This paper focuses on the area of Practice: Advancing New Tools and Models for Public

Space and Placemaking, and also makes reference to the sub-themes of; Emerging tools and

toolkits, Placemaking in small towns and rural settings. In Northern Ireland over the past two

years, we have witnessed the power of ‘civic stewardship’ and ‘action learning’ as a means of

activating underused spaces. There is remarkable potential for experimental learning and

reinforcing the concept of the urban realm as an ideas laboratory. Through experiential

activity we have observed that it is social activity more than aspects of infrastructure that

enliven public space. Connectivity, relationship building and facilitation are the crucial

ingredients for enabling community engagement. Despite street furniture and infrastructure,

an unoccupied empty space, regardless of its aesthetics is greatly limited until activated by

human input. It is not enough to install interactive elements in the public realm, this must be

supported by demonstration and people as activation agents, to show what can be done with

familiar spaces, to encourage us to look again and engage with the overlooked.

To support the argument are three case studies (one relatively macro and two micro); ‘Civic

stewardship through MAG with 22 District Councils in Northern Ireland,’ the award winning

‘Creative Citizens Programme in Ballymena & the Debate Pod,’ and the ‘Yeats International

Architecture Competition in Sligo 2015.’ Through these examples the paper examines the

potential of study visits and action learning in the public sector, power of community arts; a

multi-faceted four month programme in a small borough and a competition for a light touch

temporary intervention on Innisfree Island to be reconfigured for a permanent location at a

third level college. In all cases there are passionate communities of interest who are either

driving, or supporting the longevity of these initiatives to enable a broader reach of a

successful concept.


Experimental Learning / Public Realm as Laboratory

These case studies examine three very different contexts with contrasting challenges and

opportunities – Northern Ireland, a town and an island. There are ownership and

responsibility issues in the various settings. It can be a process of gentle negotiation to

achieve a balance between council ownership and community need. What has to happen

before community activation of spaces in the public realm? How many local authorities are

happy to share spaces and experiment with their citizens? Stewardship is a simple concept but

it can be difficult for some to understand. It takes a degree of courage, foresight and a

particular perspective on the public realm as shared space in its fullest sense to allow

experimental learning and the establishment of the public realm as learning laboratory.

Through these three examples the paper examines the potential of study visits and action

learning in the public sector, the power of community arts and a competition for a light touch

temporary intervention on Innisfree Island to be reconfigured for a permanent location at a

third level college. In all cases there are passionate communities of interest who are either

driving, or supporting the longevity of these initiatives and enabling a broader reach of a

successful concept.

Civic stewardship through MAG with 22 District Councils in Northern Ireland

L-R Action Learning in Omagh, October 2013 with winter vegetables planted by passers-by. Omagh Academy Students Samba Drumming

with SRC Photography students in background


Northern Ireland has a population of 1,810,863 according to the 2011 census and this

constitutes around 30% of the island of Ireland’s total population. Until April 2015, Northern

Ireland was divided into 26 district councils. Following the Review of Public Administration

it is now comprised of amalgamated local authorities; 11 councils (comprising 460 wards).

Prior to the Review of Public Administration the Minister for the Arts, Carál Ní Chuilín

invited the Ministerial Advisory Group for Architecture and the Built Environment (MAG) to

invite all district councils to engage with the concept of civic stewardship to enliven public

realm in each council area. Of the 26 councils invited, 22 took the opportunity to welcome

MAG’s involvement. Each district council received an initial study visit where the principles

of civic stewardship were outlined by MAG representatives and a walking tour of the public

realm was conducted to look at potential areas for action learning.

‘The study of space opens up multiple discourse, we can no longer think in a

traditional way about the different roles each protagonist plays in creating and

experiencing the public realm.’ (O’Kane Boal, 2007, p.15) Nathalie Weadick,

Director of the Irish Architecture Foundation.

Over the past two years, we have witnessed the power of ‘civic stewardship’ and ‘action

learning’ as a means of activating underused spaces. There is remarkable potential for

experimental learning and reinforcing the concept of the urban realm as an ideas laboratory.

Through experiential activity we have observed that it is social activity more than aspects of

infrastructure that enliven public space. Connectivity, relationship building and facilitation

are the crucial ingredients for enabling community engagement. Despite street furniture and

infrastructure, an unoccupied empty space, regardless of its aesthetics is greatly limited until

activated by human input. It is not enough to install interactive elements in the public realm,


this must be supported by demonstration and people as activation agents, to show what can be

done with familiar spaces, to encourage us to look again and engage with the overlooked.

William Snyder defines ‘stewardship’ in his paper, Systematic Civic Stewardship (SCS) for

Societal Renewal (2011)

The term stewardship refers to the commitment to take on an issue of significance to

oneself and others. It is a discipline of active caring—tending to something that

matters on behalf of a broader community. It is oriented to both delivering outcomes

and building capacity. Stewardship entails three fundamental processes:

Learning Addressing complex challenges for which no ready-made solutions exist is

in essence a learning challenge. "Action-learning" combines thinking and doing; it

involves identifying gaps, problem-solving, taking actions, and learning from

experience.

Connecting Stewardship of a collective challenge depends on connecting those who

can contribute to defining and addressing it. The process entails building

relationships, trust, and collaborative capacity among diverse stakeholders.

Aligning Translating stewardship into action requires enough alignment among

stakeholders to engage their energies productively toward a shared vision that respects

both their diversity and the urgency of the goal. Aligning fosters learning and

collaboration among civic players (as individuals and as organizations at various

levels), both within and across localities.


All three processes are essential to effective stewardship; without one, the other two

will go astray or simply fail…Their interdependence makes stewardship both difficult

and catalytic.

In Northern Ireland the Ministerial Advisory Group has spent two years working on ‘Civic

Stewardship’ informed by its definition (Acheson, 2013, p.8).

Civic stewardship has been defined by the Social Capital Group in Cambridge,

Massachusetts as “active caring for people and places”. Civic stewardship is not

design, but it can be designed and can also inform design. It is purposeful, but does

not need to wait for big plans or big projects; it can begin anytime and keep going

sustainably. Civic stewardship can inform plans and projects while improving

people’s quality of life as soon as it starts.

When we read the attributes of ‘placemaking’ as it is defined by Project for Public Spaces in

New York, it is important to note that place in terms of the public realm is defined by people

and not buildings and infrastructure. It is stated that ‘placemaking is; community-driven,

visionary, function before form, adaptable, inclusive, focused on creating destinations,

flexible, culturally aware, dynamic, trans-disciplinary, context-led, transformative, inspiring,

collaborative, sociable.’ Placemaking transforms place from a passive concept to an active

realm. For PPS, place is personified, it is active, an agent of change and influence. It is for its

citizens and enlivened by them. Without people as creative agents within a given place, it is a

non-place, an empty space, a negative zone. (PPS website, What is placemaking)

In terms of tools for ‘action learning’ in Northern Ireland, MAG employed a range of planned

and unplanned activities that grew out of the study visits in each district council. Council

officials and MAG representatives were encouraged to lead by example in demonstrating the


concept of shared space in the public realm. Blackboards were created in towns to feature

events and activities – freestanding or a long painted wall. Hours were spent in underused

spaces engaging with passers-by and asking what they would like to see in their town. Street

games were tested. Planned activities were arranged – an urban photography project with a

nearby college, organic gardening and planting of winter vegetables. Pedestrians were invited

to engage and the majority had never planted anything before. A local school activated

various spaces through samba drumming. One of the key lessons MAG learned was that

people like to feel welcome in their public realm and the simplest gesture of having a place to

sit for as long as desired was missing. MAG brought a table and chairs to study visits to

engender this sense of welcome and the impact of having a place to sit was remarkable.

People felt inclined to engage with the process and enjoyed the sociability factor. This could

almost be seen as the first rule of engagement in civic stewardship and it is universal in

placemaking practice at this stage.

It all started with the chairs. By simply placing some movable furniture in Harvard

Yard in 2009, the University took the first steps in what would eventually become a

long-term activation of its outdoor campus space. With just this small, temporary act

of placemaking, the change was dramatic and immediate. (PPS, 22 Mar 2015)

The idea of a revolution in placemaking and public realm activation beginning with

temporary placement of chairs is somewhat remarkable but this is the essence behind the

Harvard concept of ‘lighter, quicker, cheaper,’ and urban experimentation. It is effective

because it is subtle, inviting and unexpected. There are positive associations and connotations

with placing chairs; a temporary device it can be taken away when desired, an invitation to a

pedestrian to rest spontaneously and unexpectedly in an outdoor setting, a civic picnic where

a passer-by can sit to eat lunch, a symbol of shared ownership of public realm in a seat


available to any citizen. It is also delightful in that it becomes a natural curiosity prompt. Just

as in Lewis Carroll’s Alice’s Adventures in Wonderland allowing the protagonist’s

engagement with her surroundings prompted by messages in her dreamscape, Alice’s ‘eat

me’ and ‘drink me’ becomes ‘sit on me’ and the chair is personified as a welcome friend in

the public realm. As we walk around our towns and cities the casually placed chair is

refreshing and it arouses our curiosity but also makes us smile. It is only through engaging in

the practice of civic stewardship and observing the interaction of people that the power of this

one prompt can be fully appreciated.

Following a day of action learning in Omagh County Tyrone, Feargal Harron, MAG Expert

Advisor commented on the simplicity of this device of civic stewardship

‘…as an architect and knowing the wider context I was amazed by the potential of

simple intervention of an activity into an existing space that was under-utilised. I was

very impressed by the simple beauty of what a chair can do! Both in providing

comfort to somebody who wants to use that space but also how it makes that person

look from onlookers. It has totally changed my opinion on the potential of street

furniture and the flexibility of what that can do. There areas don’t need so much

strategic infrastructure projects to regenerate them, but a little thought on their actual

use.’ (Acheson, 2013, p.4).


Creative Citizens Programme in Ballymena and the Debate Pod

L-R Debate Pod Discussion, Ecos Park, March 2014. ‘Exploration IV’ by Donnacha Cahill outside school in Ballymena. Presence

unexplained to students.

Ballymena is a large town in County Antrim with a population of 29,467 people. The

borough has an area of 200 square miles and a population of 64,044 according to the 2011

census. It is in this context that the Creative Citizens Programme has been established and is

now in its second year of delivery. Ballymena Borough Council engaged creatively and

wholeheartedly with the Ministerial Advisory Group on civic stewardship in 2013 and from

this experience the Ballymena Blackboard was created; an award winning noticeboard

concept that has a strong social network presence.

The programme is themed directly from the results of a call out to local people in the

Borough of Ballymena to demonstrate their creativity. Each year there are over 150 events

and over 50 local groups participating. The programme runs for 4 months from March to June

each year. 11 partners are involved ranging from the Department of Culture Arts and Leisure

to British Film Institute. The principal partner is Voluntary Arts Ireland. In terms of festival

duration, at four months, it is the longest running programme in Ireland. It is also one of the

largest and unique in that its programme is informed directly by the local citizens and

delivered under the supervision of a three person Arts and Events Service team. This

demonstrates the potential of civic stewardship and arts programming when led by, and


informed by its local citizens. The Programme was awarded the first All-Ireland Carnegie

Trust Award 2014 for Arts, Design & Well-being. (Lowry, 2014)

Jenny Brotchie, Project Officer, the Carnegie Trust (Dec 2014) described the success of the

Creative Citizens Programme and its relevance to the borough.

Shutters Up Night followed the success of the Ballymena Arts Partnership Creative

Citizen’s Programme, an arts festival that turns the spotlight on local citizens and the

town of Ballymena. Rather than bringing artists and performers from outside in to

Ballymena – the programming was instead designed by the local community. The

programme intentionally spilled out into the town centre – sculptures popped up in

unusual places, a debate pod appeared in a local park and a harpist performed in the

high street barbers. Creative Citizens and Shutters Up Night grabbed national

headlines, bringing positive attention to the borough and encouraging new groups of

citizens to come forward and take part in the cultural life of Ballymena. (Brotchie,

p.6).

From the Carnegie Trust Award and report, case studies were written up on the five winning projects.

In concluding this document five key lessons learned were detailed and five

recommendations for public policymakers were outlined.1 Similar to Project for Public

1 Five recommendations for public policymakers:

* Recognise the importance of high quality public spaces in national and local performance frameworks

* Make it easier for communities to access funding

* Put quality public spaces at the centre of town centre regeneration

* Be creative and just say ‘yes’ – local government empowering citizens

* Recognise public space improvement as a central component to a preventative approach to health inequalities and wider inequalities

Brotchie, J. (2014, Dec, p.11). Places that love people – learning from the Carnegie prize for design and wellbeing.


Spaces in New York the personification of place is inherent in the report’s title ‘Places love

People.’

As part of the Creative Citizens Programme, a number of town centre interventions were

curated by Marianne O’Kane Boal. These include an audience development concept design

and response to the Braid Town Hall Arts Centre by Culturstruction, a nomadic sculptural

experiment created by Donnacha Cahill entitled ‘Exploration IV’ that saw an unexplained

sculpture turning up in unlikely places in and around the town of Ballymena and a Debate

Pod, intended as a space where artists and architects would come together to discuss ideas,

brainstorm ideas and consider solutions for mapping and connecting towns and communities.

For five days, from 18th-22nd March 2014, the Debate Pod featured scheduled discussions

that were invigilated/photographed/filmed. Individuals were interviewed and also interviews

were conducted collectively in groups of 2-6 participants discusing ideas and thoughts on

participation, rural and urban development, environmental awareness, fitness, architecture,

art, public art, community awareness, civic stewardship, and consultation. Another important

aspect of the Pod were the people who came in to engage out of interest and were interviewed

or listened to discussions in progress. The Debate Pod was strategically located on the

grounds of the Ecos Centre in Ballymena and some discussions centred around connecting

Ecos more visibly to the town centre. This project was delivered as part of Creativity Month

and was funded by DCAL in partnership with Arts and Business Northern Ireland and

Ballymena Borough Council.

Participants during the week included artists, architects, arts officers, arts administrators,

curators, environmental workers, community leaders from the local Ballymena area, Northern

Ireland and the Republic of Ireland; Ciaran Mackel, Nuala ní Fhlathúin, Marianne O’Kane

Boal, Sarah Villiers, Brian Connolly, Eddie O’Kane, Jayne Clarke, Annette Hennessy, Arthur


Acheson, Ralf Sander, Grazyna Sander, Adrian O’Connell, Fiona Mulholland, Rosalind

Lowry, Hannah Gibson, Greg Winning, Ben Simon, Conal Stewart, Donnacha Cahill,

Jennifer McLernon, Alastair Keys, Susanna Allen, Neil Quinn, John Byrne, Jane Burnside

and Paul Bell.

The Debate Pod concept was developed in 2013 before the release of the Farrell Review2 but

it ties in thematically with the concept of the ‘urban room.’ The first urban room, a

recommendation of the Farrell Review, opened in Blackburn in October 2014 to host debates,

exhibitions and workshops. Max Farrell outlined Blackburn’s intention in creating an urban

room; ‘The town is leading the way by creating a hub where people can visit to understand

and debate the past, present and future of their place. They are all led by different people

from different walks of life. The urban rooms are about urban activism – about engaging

people with the planning of their cities.’ The Debate Pod also engaged local citizens in

discussion of their town, community and challenges of planning.

Placemaking in a rural setting

Chupin, Cucuzzella and Helal, (2015) have written about the emergence of architecture

competitions, crediting the French Revolution as the time when this practice was formalised.

...the history of this competitive practice still needs to be written properly. Some of

the more knowledgeable amongst the proponents of competitions will evoke a

timeless practice in terms of transparency and equity, while others will pinpoint the

origins of this practice with the holding of mythical competitions like the one for the

reconstruction of the Parthenon in ancient Greece or, more symbolically for the

building of Architecture as an autonomous discipline, the famous competition for the

‘solving’ of the Florence’s Dome in the mid-15th Century, brilliantly won by Filippo

2 http://www.farrellreview.co.uk/


Brunelleschi. More sceptical commentators could trace back a legendary origin of

modern competitions to the infamous co-optation practices of the late 20th Century

Ecole des Beaux-Arts, using this link to prove the obsolescence of competitions in

supposedly transparent educational contexts. All these standpoints remain partial

views. In fact, despite a handful of notable ancient competitions, organised sometimes

at the initiative of a prince, at other times controlled by the Academies – or both as

was the case for the façade of the Louvre under the regime of Louis XIV – it would be

more accurate to historically link the beginning of the contemporary political and

democratic use of competitions to the concerns in the wake of the French Revolution,

as ‘public order’ becomes a matter of ‘public welfare. (p.12).

Following this initial emergence, during the nineteenth century in England and Ireland, there

were over 2500 competitions in a 50 year period. The Institute of British Architects drafted a

set of competition rules in 1839 and formalised regulations in 1872. (Cees and Mattie, 1997)

Competitions have been an important means of procurement since the nineteenth century

with a range of landmark buildings commissioned. These include; Houses of Parliament,

London, 1835 by Charles Barry; Centre Georges Pompidou, Paris, 1971 by Renzo Piano and

Richard Rogers; Tokyo International Forum, Tokyo, 1987 by Rafael Vinoly and Jewish

Museum, Berlin 1989. Competitions continue to hold importance in architecture. In France

design competitions are compulsory for all public buildings exceeding a certain cost. It is the

only country in Europe that has regulations that make competitions a pre-requisite.

(Cabanieu, 1994) Through competition submissions architects can test concepts and ideas

often in unfamiliar contexts. The Yeats Architecture Competition has provided precisely this

challenge and invited architects and collaborators to consider concepts that respond initially

to a rural island setting on Lough Gill, County Sligo but were the built intervention will be

ultimately relocated to very different place – a third level college, IT Sligo in September.


Innisfree Island photograph by Marianne O’Kane Boal

The Yeats Architecture Competition is part of the Yeats2015 celebrations - a year-long

program of cultural and artistic events to celebrate the 150th anniversary of the birth of Irish

Nobel prize-winning poet William Butler Yeats. In January 2015, conceptual interpretations

were invited of William Butler Yeats’ famous poem ‘The Lake isle of Innisfree’. The

competition was conceived by the Institute of Technology Sligo Architectural Design

Programme team, in partnership with the Model Sligo, Yeats 2015, Hazelwood Demesne Ltd

and Sligo County Council. The response to an open call for submissions produced remarkable

results. There were over 400 initial registrations from 33 countries and 165 final complete

proposals submitted. The competition had two categories, a main award to design an

intervention for Innisfree Island and a student prize for the best conceptual response to the

context. Selected competition entries from the Yeats Architecture Competition will be on

display as part of a special exhibition in the Model, Sligo during September and October

2015.

In his Assessors Report (2015), Professor Michael McGarry described the challenge of the

competition.

The competition presented something of a paradox or perhaps an inspired dilemma,

the addition of an artefact to an imagined island. In truth, the assessors approached


their task with some trepidation, heightened by their visit to the island, and the

lingering sense of the fragility of the place both on the lake and more importantly in

our collective imagination. Yeats' interest was the condition, atmosphere, location of

the island rather than its actuality; whether he ever visited Innisfree is neither

established nor that relevant, such is the essence of poetry. Added to this conundrum

was the inaccessibility of the island to all but a small minority of entrants;

wonderfully, the imagined exists as its own and our shared reality.

Into this imagined condition, the prospect of nailing the actuality of the place and its

poetry with a built artefact becomes highly charged, requiring a cool clarity of

purpose and a rare and deft sensibility. The range of responses was wide, ranging

from the allegorical and narrative driven, those focused on the place and its

(imagined) tactility, to the more formal where the intrinsic value of the addition would

release meaning. The assessors were delighted by both the sincerity and the

sophistication of the responses, most appreciative of the enormous endeavour

involved, and tellingly reminded of the depth of meaning provoked by Yeats and his

adopted landscape; particularly encouraging was the calibre of the entries in the

student category.

‘Square Moon’ winning design in Yeats Architecture Competition by shindesignworks


An Anglo-Korean design concept entitled ‘Square Moon’ was selected as the overall winner

of the Yeats Architecture Competition. The winning concept was submitted by

shindesignworks - a design team based in London and Daegu, South Korea. Their

submission, which is an aluminium-scaled frame and uses luminous lantern light, impressed

the independent judging panel for its clarity and simplicity. The overall winning design was

temporarily installed along the jetty area Innisfree Island on Lough Gill for Yeats Day, June

13th 2015, as a realisation of Yeats’ vision. This temporary installation will also coincide with

a series of special events at the Model in Sligo. The structure will then be moved to its

permanent home - on the campus of IT Sligo.

In terms of placemaking and activation of this rural setting, ‘Square Moon,’ is located on the

edge of the island and signals its presence as a beacon or portal for visitors. It is intended as a

meeting place and people are encouraged to interact with the intervention and to utilize it as a

creative backdrop. By day its portal-like profile frames the landscape of Innisfree and creates

an area for activities such as poetry reading and play. By night, the structure becomes a

lantern for shadow play. The small footprint of the structure means it has a minimal impact

on the existing ecology of the island and it leaves no trace on departure.

Student Category winner Zita Fodor, Nóra Ferenczi and Éva Baráth, from Budapest University of Technology and Economics in Hungary


The student category award was won by Zita Fodor, Nóra Ferenczi and Éva Baráth, from

Budapest University of Technology and Economics in Hungary. The designers stated in this

conceptual proposal,

The monument is raised above the water, emphasizing its lightness. It rises above the

water and it never overflows. At night, the form of the perfect circle shines with lights

that work with solar cells. The writing on the bottom of the construction reads:

William Butler Yeats (1865-1939) who longed for this island.

Within the Assessor’s Report (2015), this submission was described as ‘a most elegant spatial

gesture taking advantage of the particularity of the island's outline to inscribe a space

occupied by water; a most sophisticated cool proposal shrewdly calibrated.’

Although this rural context is not the typical realm for stewardship, it is a context that can be

adapted to and from experiential learning. As a special area of conservation and a culturally

important island; due to the literary focus of Yeats, Innisfree provided the canvas to explore

ideas of a light touch, temporary intervention with an environmentally sensitive approach that

is respectful to the flora and fauna of the environs. The level of interest and engagement on

the part of competition entrants with the concept and the site was remarkable. The panel of

six adjudicators assessed the entries in March and a winner was selected for both main award

and student prize. There were four submissions commended/highly commended in each

category. The competition was managed by a team of four; project manager and three

architects from IT Sligo Architectural Design Program. In terms of toolkit, the detailed

competition brief provided context and requirements, competition website provided imagery

and site plan, site visit was offered to entrants, entries were submitted on two A1 boards,

models were optional but welcomed and the intention was that the selected intervention

would be a gift back to Yeats on his 150th birthday. In terms of lessons learned, it is felt that


an interview stage for a range of shortlisted candidates would be helpful to inform selection

of a final winning design for delivery.


References

Acheson, A. (2013, Nov). MAG civic stewardship…doing more with what we’ve got. Interim Report.

Retrieved from http://www.dcalni.gov.uk/civic_stewardship_symposium_-_interim_report_-

_final.pdf

Acheson, A. (2014, Oct). MAG civic stewardship…doing more with what we’ve got. Report and

recommendations 2013-2014. Retrieved from www.dcalni.gov.uk/civic_stewardship_-

_final_report.pdf

Brotchie, J. (2014, Dec). Places that love people – learning from the Carnegie prize for

design and wellbeing. ISBN 978-1-909447-26-4

Chupin, J.P., Cucuzzella, C. & Helal, B. (2015) Architecture Competitions and the

Production of Culture, Quality and Knowledge: An International Inquiry.

Montreal: Potential Architecture Books. ISBN 978-0-9921317-0-8

De Jong, C. & Mattie, E. (1997). Architectural competitions 1792-1949. Cologne: Taschen.

ISBN 3-8228-8599-1

Herrman, C. S. (October 22, 2009). Civic Stewardship, Part I - ATX Equation & Method Is Job One.

Retrieved from http://dx.doi.org/10.2139/ssrn.1478139

Lowry, R. (2014, July). Creative Citizens Factfile. Information document sent by email to authors.

McGarry, M. (2015, Mar). Assessor’s Report. Sent by email to authors

O’Kane Boal, M (2007). Two Minds: Ten Artists + Ten Architects. Belfast: RSUA.

ISBN 978-0-9557469-0-1

Snyder, W. M. (2011, Nov). Systematic Civic Stewardship (SCS) for Societal Renewal: Exploratory

Outline of an Emergent Discipline and Proposal for an Action-Learning Initiative. Cambridge,

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MA. Note on Revisions March 2013. www.CivicStewardship.com

PPS. (22 Mar 2015) Harvard's Lighter, Quicker, Cheaper Revolution. Placemaking News,

E-newsletter.

Mark, L. (23 Sept 2014). First Farrell Review-inspired 'urban room' set to open. Architects Journal.

Retrieved from http://www.architectsjournal.co.uk/news/first-farrell-review-inspired-urban-

room-set-to-open/8670060.article

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Documents

Compendium/Acheson Boal.docx · Web viewExperimental Learning / Public Realm as Laboratory These case studies examine three very different contexts with contrasting challenges and