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The Citizen Architect Studio ______________________________________________________________________________________ Building Capacity and Community Engagement in Washington Park and Martin Drive Neighborhoods, Milwaukee Arijit Sen, Department of Architecture, UWM, in partnership with Quorum Architects, Office of Undergraduate Research, UWM, Milwaukee Public Library (Washington Park Branch), Amaranth Café, ACTS Housing, AWE Inc., the Buildings-Landscapes-Cultures field school, neighborhood residents and business owners, and students. Instructor: Arijit Sen Office Hours: By Appointment Studio meets at: AUP 361, Tuesdays, Thursdays, and Fridays 1:30 PM – 5:20 PM The Fall 2015 Citizen Architect Studio focuses on Washington Park and Martin Drive. These are two racially, economically and culturally diverse neighborhoods known for artist communities and active neighborhood groups. The Citizen Architect Studio explores how design practice may engage professionals, academics and local cultures and communities. According to American Institute of Architects, a “Citizen Architect uses his/her insights, talents, training, and experience to contribute meaningfully, beyond self, to the improvement of the community and human condition. … The Citizen Architect advocates for higher living standards, the creation of a sustainable environment, quality of life, and the greater good.” This studio examines methods and traditions to train a civic-minded architecture student to communicate, hear, listen and work with local partners at the Washington Park neighborhood of Milwaukee. The Citizen Architect Studio is sponsored and supported by Quorum Architects, a leading proponent of civic practice in the city of Milwaukee. The firm’s philosophy “begins with an understanding that our clients possess a comprehensive knowledge of how their facility operates. We listen. We care.” This ability to listen has influenced their engaged-practice and is central to the core values of this studio. Quorum Architects staff will serve as mentors for students and commit to attend design reviews. Design projects will be defined and generated together with Quorum Architects staff members. Learning Goals Your projects will be evaluated by testing if you achieve the following objectives:

Figure : Eric Parry pencil studies, in Clare Nugent blog, p.10. clarenugent.com. http://clarenugentdotcom.files.wordpress.com/2013/03/p2.jpg

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1. In the context of increasing social and economic inequities, declining urban communities,

and crumbling built infrastructure, cities like Milwaukee (also called legacy cities)1 serve as examples or case studies where architects and designers can find innovative and resurgent solutions that address the needs of local residents. In this studio we will identify “design methods” and research information that underpin our design responses. We will ask: How and why is design a social act?

2. Your project needs to demonstrate equitable engagement with users and local residents, and your design should address the myriad needs and expectations of end-users. We want to move beyond the one-day charrette as a mode of engagement with communities and explore deeper forms of interactions such as being involved in the community. We are interested in developing measures to evaluate success. That is, how do we demonstrate that we have been listening?

3. Your design should produce architecture that is resilient and adaptable. If we are to

survive economic, climatic, and social disasters in ways that are sustainable then we need to design buildings that accommodate and adapt to change and diversity, a quality that N J Habraken calls building capacity. What are the rules, moves, processes that constitute the language of capacity building?

You are expected to accomplish the above goals in the following ways. Note that in each case you are asked to set benchmarks and measurable goals so that the success of your design may be evaluated and clearly articulated.

1. Clearly identify and document the thematic elements and spatial grammar in your project. Clarify and enumerate your design methods and goals. Make your design goals measurable.

2. Demonstrate how you have integrated community needs and knowledge in the architecture program. Enumerate and evaluate our strategies and practices of civic engagement, list who you engaged with, what you learnt from your collaborators and what your collaborators’ expectations were. Show evidence of how we engage with community and measure success of such engagements.

3. Document, analyze, diagram and explain best practices within the context of Washington Park and Martin Drive neighborhoods. Demonstrate how your design builds capacity. Be ready to measure your success.

4. In addition, your projects will be judged using the following NAAB criteria A.1 PROFESSIONAL COMMUNICATION SKILLS Ability to write and speak effectively and use representational media

appropriate for both within the profession and with the general public A.2 DESIGN THINKING SKILLS Ability to raise clear and precise questions, use

abstract ideas to interpret information, consider diverse points of view, reach well-reasoned conclusions, and

test alternative outcomes against relevant criteria and standards. A.3 INVESTIGATIVE SKILLS Ability to gather, assess, record, and

comparatively evaluate relevant information and performance in order to support conclusions related to a specific

project or assignment. A.4 ARCHITECTURAL DESIGN SKILLS Ability to effectively use basic formal,

organizational, and environmental principles and the capacity of each to inform two- and three- dimensional design.

A.5 ORDERING SYSTEMS Ability to apply the fundamentals of both natural and formal ordering systems and the capacity of each to inform two- and three- dimensional design.

                                                                                                               1 This term was coined by the 110th American Assembly held in Detroit in 2011. The Lincoln Land Institute Policy Report was an outgrowth of the Assembly. One of the authors is a senior fellow at the CCP a co-sponsor of that Assembly. http://americanassembly.org/project/reinventing-americas-legacy-cities

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A.6 USE OF PRECEDENTS Ability to examine and comprehend the fundamental principles present in relevant precedents and to make informed choices about the incorporation of such principles into architecture and urban design projects

A.7 HISTORY AND GLOBAL CULTURE Understanding of the parallel and divergent histories of architecture and the cultural norms of a variety of indigenous, vernacular, local, and regional settings in terms of their political, economic, social, ecological, and technological factors.

A.8 CULTURAL DIVERSITY AND SOCIAL EQUITY Understanding of the diverse needs, values, behavioral norms, physical abilities,

and social and spatial patterns that characterize different cultures and individuals and the responsibility of the architect to ensure equity of access to sites, buildings, and structures.

B.1 PRE-DESIGN Ability to prepare a comprehensive program for an architectural project that includes an assessment of client and user needs; an inventory of spaces and their requirements; an analysis of site conditions (including existing buildings); a review of the relevant building codes and standards, including relevant sustainability requirements, and an assessment of their implications for the project; and a definition of site selection and design assessment criteria.

B.2 SITE DESIGN Ability to respond to site characteristics, including urban context and developmental patterning, historical fabric, soil, topography, ecology, climate, and building orientation, in the development of a project design.

B.8 BUILDING MATERIALS AND ASSEMBLIES Understanding of the basic principles used in the appropriate selection of

interior and exterior construction materials, finishes, products, components, and assemblies based on their inherent performance, including environmental impact and reuse.

C.1 RESEARCH Understanding of the theoretical and applied research methodologies and practices used during the design process.

D.1 STAKEHOLDER ROLES IN ARCHITECTURE Understanding of the relationships among key stakeholders in the design

process—client, contractor, architect, user groups, local community—and the architect’s role to reconcile stakeholder needs.

Grading In order to be successful it is necessary to be flexible, self-critical and be ready to evaluate and value alternative perspectives, intentions, and positions than your own. This course encourages you to develop intellectual curiosity, take intellectual risks, and suspend disbelief while trying out ideas that are different and alien. Grades are based on the following categories: 20% In class participation; regular timely attendance; completing assigned readings and assignments in time, and leading discussions and sharing ideas 60% Projects, reviews and workshops (see above for criteria for evaluating designs) 20% Final Documentation (see above for criteria for evaluating designs) The “A” (4 points) grade indicates work of sustained excellence – work that demonstrates a high degree of technical quality, creativity and critical inquiry. The “B” (3 points) grade indicates work of significantly better than competent quality – work than demonstrates above average technical skills, creativity and critical engagement. The “C” (2 points) grade indicates satisfactory work – work that demonstrates technical, creative and critical competence. It reflects regular attendance, continuing improvement and successful accomplishment of course objectives. The “D” (1 point) grade indicates marginal competence in most or all areas of course study. Instructor may also award the “D” grade to students who demonstrate minor academic deficiencies. The “D” grade is not a substitute for the “F” grade and will be awarded only to

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students whose work indicates that they are prepared to advance to the next level of course work. The “F’ (0 point) grade indicates unsatisfactory quality and/or quantity of work. Late work and/or missed classes: There will be an automatic one full grade reduction per class on late assignment unless a written doctors excuse or the equivalent is presented. Each unexcused studio absence will reduce your grade by ¼ grade point. Course Texts:

Mike Lydon and Anthony Garcia. Tactical Urbanism: Short-term Action for Long-term Change, (Washington : Island Press, 2000). Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004)

Read before first day of classes Chapter 1, “Analysis of Poetic Language,” Umberto Eco, The Open Work, (Cambridge: Harvard

University Press, 1989), 24-43. Additional Readings (please note: additional readings may be assigned as necessary) N John Habraken, Conversations With Form: A Workbook for Students of Architecture, (New York:

Routledge, 2014). Jeffrey Hou and Michael Rios, “Community-Driven Place Making: The Social Practice of

Participatory Design in the Making of Union Point Park,” JAE 57 (2003): 19–27. Jeffrey Hou, Insurgent Public Space: Guerrilla Urbanism and the Remaking of Contemporary Cities,

(New York: Routledge, 2010). Amos Rapoport, "Systems of activities and systems of settings," in S. Kent (Ed.) Domestic

Architecture and the Use of Space (Cambridge: Cambridge University Press, 1990), 9-20. Amos Rapoport, “On Cultural Landscapes,” Traditional Dwellings and Settlements Review 3:2

(1992), 33 – 47. Amos Rapoport, “On the Cultural Responsiveness of Architecture,” JAE 41 (Autumn, 1987), 10-

15. Cal Swann, “Action Research and the Practice of Design,” Design Issues 19:2 (Winter 2002), 49-61. Emily Talen, Urban Design Reclaimed, (Chicago: APA Planners Press, 2009). Emily Talen, Design for Diversity: Exploring Socially Mixed Neighborhoods, (Architectural Press,

2008) Anne Vernez Moudon, Built for Change: Neighborhood Architecture in San Francisco, (Cambridge:

MIT Press, 1989). Jan Gehl, Life between Buildings: Using Public Space, (Washington DC: Island Press, 2011). Karen A. Franck and Lynda H. Schneekloth, Ordering Space: Types in Architecture and Design,

(New York: Van Nostrand Reinhold, 1994). Miwon Kwon, “By Way of Conclusion: One Place after Another,” One Place After Another: Site-

specific Art and Locational Identity, (Cambridge: MIT Press, 2004), 156-167. Nan Ellin, Integral Urbanism, (New York: Routledge, 2006). Nato Thompson, “In Two Directions: Geography as Art, Art as Geography,” Experimental

Geography: Radical Approaches to Landscape, Cartography and Urbanism, (New York: Melville House, 2009), 13-25.

Rachel Minnery, “Public Interest Design,” The Architects Handbook of Professional Practice, (New York: Wiley, 2013), 117-166.

Renee Y. Chow, Suburban Space, (Berkeley: University of California Press, 2002). Roger Trancik, “Three Theories of Urban Spatial Design.” Finding Lost Space: Theories of Urban

Design, (New York: Van Nostrand Reinhold, 1986), 97-124. Sue McGlynn, Ian Bentley, Graham Smith, Alan Alcock, Paul Murrain, and John Bennett,

Responsive Environments, (London: Architectural Press, 1985). Pedro Gadanho, Uneven Growth: Tactical Urbanisms for Expanding Megacities, (New York: The

Museum of Modern Art, 2014. http://www.publicinterestdesign.com/wp-content/uploads/2013/07/Wisdom-from-the-

Field.pdf http://site.ebrary.com/lib/papress--pub/docDetail.action?docID=10182747 N. John Habraken, The Control of Complexity, Places 4: 2 (1987), 3-15.

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Figure: Leon Ferrari, Pen and Ink

Schedule

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Wk Date and Location Scheduled tasks + Readings Notes 1 Read before first day of classes: Chapter 1, “Analysis of Poetic Language,” Umberto Eco, The Open Work,

(Cambridge: Harvard University Press, 1989), 24-43. Thursday September 3 SARUP

Introduction, group meeting and discussion of goals

Friday September 4 SARUP

Reading discussions Complete readings before class

Readings: Ch 1, 5 of Mike Lydon and Anthony Garcia. Tactical Urbanism: Short-term Action for Long-term Change, (Washington: Island Press, 2000). James Corner, “The Agency of Mapping: Speculation, Critique and Invention.” Mappings, Denis Cosgrove, Ed., (London: Reaktion, 1999), 213-52. Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004)

2 Tu September 8

WP Encounter: On site conversations Project 1 handed out

Th September 10 WP

Encounter: On site work Project 1

F September 11 WP

Encounter/Engage: On site work Project 1

3 Tu September 15 WP

Engage: Reading discussions Reviews

Complete readings before class

Readings: Ch 2, 4 of Mike Lydon and Anthony Garcia. Tactical Urbanism: Short-term Action for Long-term Change, (Washington: Island Press, 2000). Miwon Kwon, “By Way of Conclusion: One Place after Another,” One Place After Another: Site-specific Art and Locational Identity, (Cambridge: MIT Press, 2004), 156-167. Nato Thompson, “In Two Directions: Geography as Art, Art as Geography,” Experimental Geography: Radical Approaches to Landscape, Cartography and Urbanism, (New York: Melville House, 2009), 13-25. Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004)

Th September 17 WP

Engage/Enact: On site engagement Project 1

F September 18 TBA

Engage/Enact: On site Project 1

4 Tu September 22 WP

Enact: Work Project 1

Th September 24 WP

Enact: work Project 1

F September 25 Amaranth Cafe

Final review Project 1 Review Meet at Amaranth Café Project 2 handed out

5 Tu September 29 SARUP

Introduction, group meeting and discussion of goals + Reading discussions

Project 2

Readings: Roger Trancik, “Three Theories of Urban Spatial Design.” In Finding Lost Space: Theories of Urban Design, (New York: Van Nostrand Reinhold, 1986), 97-124. Chapters from Common Ground: Readings and Reflections on Public Space, edited by Anthony M. Orum and Zachary P. Neal. New York: Routledge, 2010. Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004)

Th October 1 SARUP

Encounter: On site Project 2

F October 2 WP

Encounter: On site conversations Project 2

6 Tu October 6 SARUP

Engage: Reading discussions and desk critique

Project 2

Readings: Sue McGlynn, Ian Bentley, Graham Smith, Alan Alcock, Paul Murrain, and John Bennett, Responsive Environments, (London: Architectural Press, 1985). Nan Ellin, Integral Urbanism, (New York: Routledge, 2006). Chapters from Common Ground: Readings and Reflections on Public Space, edited by Anthony M. Orum and Zachary

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P. Neal. New York: Routledge, 2010. Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004)

Th October 8 TBD

Engage: On site work/Quorum Project 2

F October 9 Quorum Architects

Engage/Enact: Review at Quorum Architects

Project 2 mid-review today Meet at Quorum Architects

7 Tu October 13 TBD

Engage/Enact: In class charrette Complete readings before class Project 2

Th October 15 WP

Engage/Enact: Work Project 2

F October 16 TBD

Work Project 2

8 Tu October 20 TBD

Work Project 2

Th October 22 TBD

Work Project 2

F October 23 Quorum Architects

Work Project 2

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Tu October 27 SARUP

Work Project 2

Th October 29 SARUP

Work Project 2

F October 30 Quorum Architects

Project 2 final review Project 2 Project 3 handed out Meet at Quorum Architects

10 Tu November 3 WP/Quorum

Readings Project 3 Complete readings before class

Readings: Emily Talen, Design for Diversity: Exploring Socially Mixed Neighborhoods, (Architectural Press, 2008) N. John Habraken, The Control of Complexity, Places 4: 2 (1987), 3-15. Renee Y. Chow, Suburban Space, (Berkeley: University of California Press, 2002). Amos Rapoport, “On the Cultural Responsiveness of Architecture,” JAE 41 (Autumn, 1987), 10-15. Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004)

Th November 5 SARUP

Work Project 3

F November 6 SARUP

Work Project 3

11 Tu November 10 SARUP

Work Project 3

Th November 12 SARUP

Work Project 3

F November 13 SARUP

In class review

Project mid review today

12 Tu November 17 SARUP

Work + Readings Project 3

Readings: Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004) Excerpts from Pedro Gadanho, Uneven Growth: Tactical Urbanisms for Expanding Megacities, (New York: The Museum of Modern Art, 2014.

Th November 19 SARUP

Work Project 3

F November 20 On site

Symposium On site

Symposium and roundtable debate On site: location tba

13 Tu November 24 Quorum Architects

Midterm review Midterm review

Th November 26 BREAK

THANKSGIVING RECESS

F November 27 BREAK

14 Tu December 1 Work Project 3

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SARUP Th December 3 SARUP

Production Project 3

F December 4 SARUP

Production Project 3

15 Tu December 8 SARUP

Production Project 3

Th December 10 Production Project 3 F December 11 SARUP

Final Review and exhibit of boards

University Policies

1. The university has a responsibility to promote academic honesty and integrity and to develop procedures to deal effectively with instances of academic dishonesty. Students are responsible for the honest completion and representation of their work, for the appropriate citation of sources, and for respect of others' academic endeavors. http://www4.uwm.edu/acad_aff/policy/academicmisconduct.cfm

2. Disabilities: If you need special accommodations in order to meet any of the requirements of this course, please contact me as soon as possible.

3. Sexual harassment will not be tolerated by the university. It subverts the university's mission and threatens the careers, educational experience, and well-being of students, faculty and staff.

4. All projects shall be designed to engage the environment in a way that dramatically reduces or eliminates the need for fossil fuels, and to convey an ethical position in regard to the use of non-renewable materials and materials that pose a threat to human and environmental health.

5. Religious observances. Accommodations for absences due to religious observance should be noted. http://www4.uwm.edu/secu/docs/other/S1.5.htm

6. Students called to active military duty. Accommodations for absences due to call-up of reserves to active military duty should be noted. http://www4.uwm.edu/current_students/military_call_up.cfm

7. Incompletes. Generally no incompletes will be given in this course. A notation of "incomplete" may be given in lieu of a final grade to a student who has carried a subject successfully until the end of a semester but who, because of illness or other unusual and substantiated cause beyond the student's control, has been unable to take or complete the final examination or to complete some limited amount of term work. http://www4.uwm.edu/secu/docs/other/S31.pdf

8. Complaint procedures. Students may direct complaints to the head of the academic unit or department in which the complaint occurs. If the complaint allegedly violates a specific university policy, it may be directed to the head of the department or academic unit in which the complaint occurred or to the appropriate university office responsible for enforcing the policy. http://www4.uwm.edu/secu/docs/other/S49.7.htm

9. Grade appeal procedures. A student may appeal a grade on the grounds that it is based on a capricious or arbitrary decision of the course instructor. These procedures are available in writing from the respective department chairperson or the Academic Dean of the College/School. http://www4.uwm.edu/secu/docs/other/S28.htm

10. Selected Academic and Administrative Policy 24.5, Firearms and Dangerous Weapons Policy.

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Assignments

Figure:  Architecture  of  Madness,  Leon  Ferrari

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Assignment 1: Amaranth Alley Learning the process, producing real results

Time: 4 weeks Form: In 2014, Claire Olson, who took this studio, suggested that one of the central strategies of building in this neighborhood was to rethink and creatively adapt existing infrastructure in order to serve diverse functions and needs of multiple local stakeholders. Olson’s project focused on an alley behind Amaranth Café. Some of the uses she suggested included those that these spaces were not originally design for. But how do we reconsider infrastructure in innovative ways? What tools, tricks and *** [positive stuff] were available to the designer to help them in this process? Olson suggested a taxonomy of spatial “parts” that already existed in this neighborhood. She generated a library of spaces and forms— small, medium, large and extra-large spaces, planes and surfaces with definite textures, shapes and sizes, linear elements placed in rhythmic intervals and conditions of visibility and lighting created by the organization and arrangement of formal geometric architectural elements in this alley. Time: Another student Hillary Byrne, suggested time — more specifically, change over time — as a design element. According to her, temporality produced a particular rhythm along Lisbon Avenue, a syncopated world that changed during days, nights, seasons and uses. Time, as it changes, also brings in transforming conditions of light and color. This year we will intervene in this physical and social landscape in ways that transforms how people view and know this alley. Borrowing from Claire and Hillary’s research, we will use form and time as two design elements. Process The design process involves three interconnected and iterative steps. Each step deals with ways you interact with the site — we will call it the scene — to order the architectural, social, and

experiential conditions of the site. You will first enter and encounter the scene. This is a personal journey, for we always understand the world around us through our own perceptions, via our experiences, memories and interpretations. For each step apply the “design-thinking” process discussed in the tactical urbanism reading. Please remember that steps 1 and 2 do not define a linear process but is rather an iteratively recursive one. That means that you should be moving back and forth between the three steps in order to inform each of them. That means you do step 1, then step 2 and then return to step 1 to revise your argument and thesis, redo the steps again in order to fine tune your idea before you move into step 3.

Step 1: Encounter The first process will require you to map the physical world in innovative ways to express your personal interpretations of the scene. During this initial mapping process you will produce three sets of drawings: first set will be analytic and diagrammatic representations of the architectural

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orders within the physical environments. In order to do that you will adapt traditional orthogonal projections. The second set of maps will be informational. Here you will identify the various environmental and ecological elements (climate, elements, human, flora, fauna, and non human objects) and document their movement, numbers, characteristics, density and behavior. Map the site as property. Are there empty/open lots, foreclosed and boarded up properties, parking lots along the alley? Create map overlays using demographic, climatic (wind, runoff, soil quality), topographical, physical (figure-ground variations, objects, buildings, gates, hardscapes and softscapes), transportation networks (bus-lines, streets, sidewalks) or assets.

The third set of maps will not even look like a map, but will be taxonomic drawings. Taxonomic drawings will serve as a conclusion for your observations. They will create a hierarchy of terms and ideas that help us see this site as you see it. They will organize the site according to the ways you perceive it. Please read the associated readings and refer to studio lectures for reproducing taxonomies.

Correlate one or more of these variables to craft a visual narrative to define this site. Refer to the Corner reading for ideas. Grading: Your grades will depend on the 1) clarify and depth of analysis, 2) innovative yet clear diagramming/drawing quality, 3) iterations of analysis (i.e. the number of times you map and number of map experiments) 4) comprehensive understanding of the site, its constituent elements and conditions and 5) sophistication with which you understand and analyze the sense of place and the sense of time . Step 2: Engage While your eyes, ears and body helps you enter into the scene, a deeper understanding requires you to engage with the many users and stakeholders of the site. Designing multiple forms of engagement is part of the design process. Engagement ranges from direct conversations, formal interviews, informal talking, observations, participant observation, participating in community and public events, newspaper and media analysis, archival and historical research. Grading: Your grades will depend on the 1) number of times you engage with users, 2) the variation and diversity of users you engage with, 3) the innovative and rigorous methods of engagement, 4) quality of documentation and analysis of user interviews. Step 3: Enact

This is when you create a design intervention plan. However, even this process is recursive since once you create a sketch idea of what should happen, you need to re-engage with the stakeholders to evaluate and review your ideas. Grading: Your grades will depend on the 1) number of

times you engage with users in order to evaluate and review your design ideas, 2) the clarity and innovativeness of your design idea, 3) appropriateness and reliability of your idea, 4) quality of documentation and drawings.

Suggestion: Map experience, affect, movement and emotions as a way to delineate site. It requires you to be more experimental in your cartography. Using the phone app EveryTrail (www.everytrail.com; The Bike Computer; or a comparable GPS tracking system) create a GPS drawing that amplifies points made by Miwon Kwon or Simon Sadler. “Consider a description of this mediated medium by an early proponent. ‘Jeremy Wood started GPS drawing to explore the expressive qualities of digitally tracing his daily movements. His work binds the arts and sciences by using languages of drawing and technology to present a personal cartography. By revealing ones tracks the technology can introduce new approaches to travel, navigation and local awareness. GPS drawing engages a range of creative applications and challenges perceptions of scale by traveling as a geodetic pencil.’” Some suggested strategies include: 1. A virtual journey: Plotting a course for others to follow with

highlights and points of interest, can contain photographs. 2. Drawing overlay: Journey of the possible/impossible. Draw

over a map in advance with your own iconography-maybe challenging to traverse.

3. Pre-planned working with the map: Extrapolate a route by studying a map ahead of time and find premeditated image therein.

4. Open space as empty canvas: Turn on tracking in Everytrail ® and watch your phone as you move making a trail or drawing in real time—allows engagement and interactivity as you discover the site. This process challenges you to transform a affective experience into something that makes sense to others.

5. Conceptual and experimental: Explore the creative potentials of technology.

Suggestion: How do you find people to interview or collaborate? Instead of depending on individuals or asking for appointments, go to a public place where there are people present —bus stops, children playing on the street, cafes, grocery stores and neighborhood stores and engage them with maps, drawings and questions. Take your studio to the street instead of waiting for people to turn up.

Suggestion: You do not need to rediscover representational techniques. Go to the Resource Center and ask Sharadha for help. She is aware of your assignment and has books ready for your perusal. Ask students who took Professor Cornelius’ studio on representation. Ask Professor Furgiuele (antonio.furgiuele@gmail.com). He too knows about your project and is ready to help. Make use of SARUP resources.

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Readings Ch 2, 4 of Mike Lydon and Anthony Garcia. Tactical Urbanism: Short-term Action for Long-term Change, (Washington: Island Press, 2000). Chapter 1, “Analysis of Poetic Language,” Umberto Eco, The Open Work, (Cambridge: Harvard University Press, 1989), 24-43. James Corner, “The Agency of Mapping: Speculation, Critique and Invention.” Mappings, Denis Cosgrove, Ed., (London: Reaktion, 1999), 213-52. Miwon Kwon, “By Way of Conclusion: One Place after Another,” One Place After Another: Site-specific Art and Locational Identity, (Cambridge: MIT Press, 2004), 156-167. Nato Thompson, “In Two Directions: Geography as Art, Art as Geography,” Experimental Geography: Radical Approaches to Landscape, Cartography and Urbanism, (New York: Melville House, 2009), 13-25. Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004) Simon Sadler, “Formulary for a New Urbanism, Rethinking the City,” The Situationist City, (Cambridge: MIT Press, 1998): 62-104.

Please work with your community mentors! End products: Site interventions, Site analysis documents and design documents (plans, sections, diagrams, analysis drawings, taxonomy, and site plan, policy/rules document explaining your concept and how to add/change your intervention one year later, landscape maps showing asset categories and GPS maps. Final pdf document + 3 final boards.

Suggestion: Create a visual taxonomy chart This project challenges you to identify and create taxonomy of outdoor and in-between spaces. In order to do this,

1. Categorize a series of open spaces based on dimensions and proportions.

2. Identify and classify a series of open spaces based on micro-climates (that may include eddies, topography, water runoff, flora and fauna)

3. Organize a taxonomy based on light 4. Identify spatial zones based on

materials (soft, hard, concrete, grass etc.)

5. Define a series of place-types based on activities.

 

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Assignment 2: Repeating the Process for a Residential Block Applying the process within a larger context

Time: 5 weeks This is a major project that may include smaller sub-projects. These sub-projects are subject to change. In 2014 Michael Babbitt and Hebah Abu Baker suggested catalytic intervention as a possible design reaction to the needs of this neighborhood. Such interventions may be small and DIY at the initial stage, but they have the potential to snowball further changes and engage multiple stakeholders. Babbitt suggested that the best location for such interventions may be along the edges. By using the term “edges” he was referring to border zones, spaces that occupy a position between and betwixt multiple sites, social spaces and zones. Border zones are powerful spaces

because they are domains where new ideas, hybrid forms and shared concepts are prevalent. Please read the article on border zones to understand how to find such a space. Using this theoretical concept as your point of departure you will carefully study a neighborhood at the edge of Washington Park, Martin Drive, Harley Davidson campus and Vliet Street as a site of catalytic interventions.

Process: You have already applied the encounter-engage-enact process in the previous assignment. You will continue applying that process in this assignment. However during the application be aware that the scale of this context is different — unlike the previous project, this assignment examines an entire neighborhood with its diversity of residents, distinction between different streetscapes, and the slight different micro-environments in different locations within this space.

Readings Nan Ellin, Integral Urbanism, (New York: Routledge, 2006). Chapter 7, Quentin Stevens, The Ludic City: Exploring the Potential of Public Spaces, (New York: Routledge, 2007), 152-177. Sue McGlynn, Ian Bentley, Graham Smith, Alan Alcock, Paul Murrain, and John Bennett, Responsive Environments, (London: Architectural Press, 1985). Chapters from Common Ground: Readings and Reflections on Public Space, edited by Anthony M. Orum and Zachary P. Neal. New York: Routledge, 2010. Nabeel Hamdi, Small Change: The Art of Practice and the Limits of Planning in Cities, (London: Earthscan, 2004) See also, Ana Luz, “Places In-Between: The Transit(ional)

Locations of Nomadic Narratives,” Place In-Between ***

And, remember to work with your community mentors!

Figure:  Planet,  1979.  Stainless  Steel,  51"  dia,  Leon  Ferrari.  Museum  of  Modern  Art,  New  York

Suggestion: Design spaces in between buildings —streets, sidewalks, niches, backyards, alleys, rooftops, empty lots and open spaces. Any community is built on agreement and trust. Based on the four principles of integral urbanism (hybridity, porosity, vulnerability and authenticity) you may design spaces in between buildings (edges, sidewalks, yards, alleys). Consider multiple hierarchies of privacy as you design these spaces. Consider how the 5 ordering systems (dimensions, structure, access, privacy, assemblage/tectonics, form, and light) may help you design a system of outdoor settings in this neighborhood.

 

Suggestions: Clearly enunciate rules of engagement and change. Just because you design a publicly accessible space, does it automatically mean that people will come and use these spaces? No. How then would your design encourage innovative and appropriate uses? How could you design for long-term use and ownership? Clarify a series of rules/agreements that will define future interventions. What could potentially happen over a 5 years, 10 years and 20 years period? Remember, on the one hand, when agreements and rules are too restrictive and proscriptive, cultural innovations, change, and diversity are stifled. On the other hand rules and agreements that are too loose produce anarchy and a lack of identity.

 

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End Products: Goal statement, program strategy, cost-benefit analysis, principle/ethical statement. Plans, sections, site plans, and long term 5-20 years plan, Landscape design intervention documents, material and dimension systems diagrams, visual taxonomy of place-types, material and planting suggestions.

Assignment 3: Building an intervention Design for diversity

Figure: Architecture of Madness, Leon Ferrari

Time: 6 intense weeks http://www.ted.com/talks/amanda_burden_how_public_spaces_make_cities_work?language=en https://www.ted.com/talks/janette_sadik_khan_new_york_s_streets_not_so_mean_any_more?language=en http://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift Task 1: Design the in-between Figure: Levels of Decision Making, N J Habraken

Emily Talen, Design for Diversity: Exploring Socially Mixed Neighborhoods, (Architectural Press, 2008). N. John Habraken, The Control of Complexity, Places 4: 2 (1987), 3-15. Renee Y. Chow, Suburban Space, (Berkeley: University of California Press, 2002). Amos Rapoport, "Systems of activities and systems of settings," in S. Kent (Ed.) Domestic Architecture and the Use of Space (Cambridge: Cambridge University Press, 1990), 9-20.

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Chapters from Common Ground: Readings and Reflections on Public Space, edited by Anthony M. Orum and Zachary P. Neal. New York: Routledge, 2010. Ray Oldenburg, Great Good Place: Cafés, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community. (New York: Marlowe, 1999).

You have been immersed in this neighborhood and its diverse social world since early this semester. This final set of projects ask you to design for the diversity of this neighborhood. Carefully research the use of the term “diversity.” It is not merely about race or ethnicity, diversity also refers to a multiplicity of class, gender, occupational, age, language, bodily ability, memories, and histories. In fact, designing for a single diversity-variable reproduces stereotypes— you should instead try for intersectional concepts that examine how multiple diversity-variables work in relation to each other. The best way to begin will be to think of a system of activities and a system of settings as suggested by Amos Rapoport. For each stakeholder (group or individual) you may consider a network of places and practices that define their everyday world. There are two different sites you may choose from. Site 1 is a newly acquired land by Rosalind Cox, a local resident. Cox is a very active in the neighborhood and she has recently acquired a $1 vacant lots from the city on 1643 35th Street. She writes, “Lord willing another rain garden will soon be installed at 1643, raised beds, chicks, outdoor theater, landscaping and more.” Site 2 includes properties owned by Cha Lor, a Hmong American community leader and pastor. He is interested in creating a space for the local Hmong community, but also a site where other the diverse residents of the neighborhood meet each other and learn to become tolerant neighbors. In the words of Ray Oldenburg, Lor needs a third space. Check the word out, it will be worth it. What will be your design? You may choose to suggest programs for a series of adjoining plots, a network of dispersed sites, or a set of similar building types. Your programming ideas should “repair the sundered socio-spatial fabric” and your programs should identify programmatic responses beyond mere housing. End products: Building models, drawings, plans, sections, elevations, building type typology, detailed programs, cost-estimation. Website: Project description 2-3 paragraphs, reflection and analysis, process documentation.

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Examples of maps http://www10.aeccafe

.com/blogs/arch-showcase/files/2011/12/Loop-City_diagrams_copyright-dark-adept.jpg

http://www.globalquakemodel.org/media/cms_page_media/98/findings-indonesia.png.1280x1024_q85.png

http://www.cudc.kent.edu/blog/wp-content/uploads/2012/11/diagram_strategrams_1.jpg

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http://www.presidentsmedals.com/showcase/2010/l/2594_25144859619.jpg

New York Deconstructed: http://landscapeandurbanism.blogspot.com/2011/02/deconstructed-city.html

http://stoss.net/directus/media/thumbnails/09671ece33d221c6f9f9bf6d06cb80d8.jpg?w=1280&h=1024&c=false

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pre- and post- test

1. In the context of increasing social and economic inequities, declining urban communities,

and crumbling built infrastructure, cities like Milwaukee (also called legacy cities)2 serve as examples or case studies where architects and designers can find innovative and resurgent solutions that address the needs of local residents. In this studio we will identify “design methods” and research information that underpin our design responses. We will ask: How and why is design a social act?

2. Your project needs to demonstrate equitable engagement with users and local residents, and your design should address the myriad needs and expectations of end-users. We want to move beyond the one-day charrette as a mode of engagement with communities and explore deeper forms of interactions such as being involved in the community. We are interested in developing measures to evaluate success. That is, how do we demonstrate that we have been listening?

3. Your design should produce architecture that is resilient and adaptable. If we are to

survive economic, climatic, and social disasters in ways that are sustainable then we need to design buildings that accommodate and adapt to change and diversity, a quality that N J Habraken calls building capacity. What are the rules, moves, processes that constitute the language of capacity building?

                                                                                                               2 This term was coined by the 110th American Assembly held in Detroit in 2011. The Lincoln Land Institute Policy Report was an outgrowth of the Assembly. One of the authors is a senior fellow at the CCP a co-sponsor of that Assembly. http://americanassembly.org/project/reinventing-americas-legacy-cities