Project for Public Spaces » citizen activism

Book Review: Handmade Urbanism: From Community Initiatives to Participatory Models

Brendan Crain — Thu, 02 May 2013 22:40:23 +0000

As citizen-driven urban action becomes increasingly potent and well-disseminated, the tension between spontaneous, bottom-up improvements and top-down planning and policy is thrown into higher and higher relief. As often as that tension might manifest through loud, messy confrontations, a great deal of it simply takes the form of confusion. The bottom-ups and the top-downs aren’t quite sure what to do with each other, so the future of cities remains cloudy. How we get from here to a more harmonious future seems anybody’s guess.

“[Citizen-led] urban renewal instruments might take an important role,” opines Istanbul-based planner Erhan Demirdizen in the new book Handmade Urbanism: From Community Initiatives to Participatory Models, “but only if the local authorities can turn these applications into local development programs.” In other words, policymakers need to figure out better ways to facilitate and channel the energy of engaged citizens, in order for their cities to reach their full potential.

While its tone can, at times, be a bit aloof (read: academic) given the informality of the subject matter, Handmade Urbanism is a significant contribution to those who are trying to figure out how to adapt governance structures to ease the tension between citizens and officials and encourage more action at the grassroots level. The book’s unique format presents diagrams and statistics illustrating three transformative, citizen-driven interventions in five rapidly developing cities and analyzes their impact and meaning through interviews with local activists, designers, and academics. The result is something of a hybrid between a guidebook and a handbook.

The case studies, all of which were selected through the Urban Age program, highlight a wide variety of interventions in slums and favelas in Mexico City, Istanbul, Cape Town, São Paulo, and Mumbai. Presented together, they lead the reader on a journey through a potential place: a city where public spaces truly belong to the public, and everyone is encouraged to contribute. The analysis of these projects looks at each city through a five distinctly different lenses, discussing the role of citizen-led projects with community actors, government officials, academics, artists, and intermediaries, defined by the editors as “those operating at the middle level (between top-down and bottom-up interventions) intermediating scales, and different layers of knowledge and action.”

One of the book’s many detailed diagrams / Photo: Jovis

Unsurprisingly, given this staunchly multidisciplinary approach, there is a heavy focus on the role of partnerships in driving success with bottom-up projects. The success of any public space relies heavily on a strong network of partners, from individuals to organizations. This is especially true of citizen-led projects because unsanctioned improvements often require substantial public support to avoid being dismantled for any number of bureaucratic reasons once they are discovered. Thus, almost every case study presented in Handmade Urbanism involves some interesting examples of people from different constituencies working together. More importantly, several illustrate the power of partnerships and collaboration to transform and expand the reach of the groups that participate.

Take, for instance, Mumbai’s Triratna Prerana Mandal (TPM), which started out as a group of boys who gathered in an underused space to play cricket. They eventually began to take some ownership of the site, cleaning it regularly. This activity led to the site’s selection for a new toilet facility constructed through a World Bank/SPARC program. TPM was charged with maintaining the facility, and smartly capitalized on the centrality of this sanitation space within peoples’ daily routines by relocating their office on-site. Once there, they continued to care for and improve the space, eventually working with the community to create public cultural and educational programming. Their efforts have now been expanded into adjacent abandoned buildings, illustrating “how even basic infrastructure…can provide an impetus for much wider community activism and urban change” when woven into existing social networks.

The capacity for bottom-up projects to drive more systemic change is another key theme seen throughout Handmade Urbanism. Strong partnerships create the kind of productive bustle and vitality that spills over into the streets surrounding a public space, creating what the book’s editors refer to as a “ripple effect.” A case study from Istanbul, Music for Peace, illustrates this particularly well. The group set out to organize a music school and, taking a Lighter, Quicker, Cheaper-style approach, worked to improve surrounding buildings and public spaces “to create a proper spatial environment” for children to learn music.

They also considered how their activities would change the neighborhood’s social system: music was seen as a way to develop youth role models, and to fill the street with music as a way of enlivening public space. Kids carrying their instruments around the neighborhood affected the tone of the area’s street life. Altogether, this created a self-reinforcing cycle that generated support for and participation in Music for Peace’s programming. Within four years of starting up, the group was building a new music center. In 2012, a school was added. The group transformed their community; in return, the community transformed the group.

So how can the official systems in place today become more flexible and adaptable to allow for more responsive solutions to urban problems? There is, of course, no silver bullet for easing the tension between the bottom-ups and the top-downs. But Handmade Urbanism is a helpful tool for illustrating how collaboration can enhance the work that everyone is doing. Its case studies demonstrate for people at the top how citizen-led initiatives can create more bang for the buck. Through the interviews with policymakers and government officials, the book can also help citizens to better understand how contemporary decision-makers think about and approach this type of work, and what challenges need to be addressed.

Benjamín González, a cultural manager from Mexico City, offers perhaps the most succinct summary of the central message of Handmade Urbanism in his interview. Asked what he thinks the next steps would be for sparking more collaboration between arts and cultural programming and city governments to revitalize communities, González suggests that “[We need] to recognize that cities are also cultural projects, and that any particular initiative is also a cultural project, regardless of the subject, because in all of them we are talking about a change in people’s conception and behavior.”

As surely as we shape and change our cities, our cities shape and change us. Why not make that process as hands-on as possible?

A bustling street in Mumbai, one of the five cities explored in Handmade Urbanism / Photo: Jovis

Talking About "Writing About Architecture": A Conversation With Alexandra Lange

Brendan Crain — Mon, 23 Apr 2012 18:48:07 +0000

Click to view the Table of Contents / Photo: Princeton Architectural Press

As Placemaking Blog readers already know, we’re in the midst of launching a public conversation about the need for an Architecture of Place. In researching the current state of architectural criticism, we came across design critic Alexandra Lange’s brand new book, Writing About Architecture, which serendipitously provides an in-depth look at how to write effectively about the very subject we were arguing needs to be written more effectively about!

Lange, who teaches criticism at New York University and the School of Visual Arts, has created a hybrid that is part anthology, part handbook. Writing About Architecture presents six essays by well-known critics, including Lewis Mumford, Michael Sorkin, and Jane Jacobs, using them to illustrate various aspects of successful and effective criticism. I recently had the opportunity to chat with the author via email about activist criticism, improving communication between citizens and designers, and how the democratization of media is opening up this field to new voices.

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Brendan Crain: You devote a good deal of ink in Writing About Architecture to activist criticism, focusing (necessarily) on specific examples. Thinking more broadly, what would you say is the state of activist criticism today? Can you think of people who are doing a particularly good job with this kind of writing? And if there are any, what are some of the broader goals of contemporary activist design criticism?

Alexandra Lange: In the last chapter of my book I discuss Jane Jacobs, and how she might have reacted to the Atlantic Yards project. I think it needed a Jane Jacobs to stop it — an advocate as eloquent about the costs, and the alternatives, as those seductive Gehry renderings — and for whatever reason, one did not appear. But the activist spirit was by no means dead. It just got diffused into activist non-profits and activist blogs and activist essays. The diffused media landscape made it easier to follow the saga week by week, but perhaps made it harder for any one person to become the voice.

Activist criticism now is less likely to be on the pages of a major media outlet and more likely to be on a purpose-built blog. Jane Jacobs and Michael Sorkin had the Village Voice; today, I think of Aaron Naparstek and Streetsblog, which he founded but has now become a larger, multi-writer entity. He built his own platform for what the New York Times would not cover. That’s incredibly exciting but also potentially limiting — what if you have activist thoughts about other topics? Preservation is another area where I think critics can be effective, but I wouldn’t want to write about modernist preservation all the time.

In terms of broader goals, I can think of three areas that seem to attract activism: public space (like PPS), preservation (like DOCOMOMO, Landmarks West!) and transportation (Transportation Alternatives, Streetsblog). But more people get their news about the city from places like Curbed and other real estate blogs, and I am still always hoping that those sites will get more critical, and put their readership to use. It isn’t really in their personality profile, but I’m an optimist.

BC: That raises the question of why, at a time when architecture is purportedly paying more attention to social issues, the audience for writing about it seems to be shrinking, with the “death of architecture criticism” meme making the blog-rounds over the past few months. Groups that are particularly well-organized online–bicycling advocates, urban gardeners, transportation wonks, and even real estate gawkers–seem to dominate the conversation about cities. Discussions about architecture seem much more insular. How might the conversation about the built environment be opened up to appeal to a wider audience?

AL: I’m not sure I think the “death of architecture criticism” meme is real. I am sad when publications that have longstanding critic positions decide they don’t need them anymore, but I wonder if the real story isn’t architecture criticism exploring the new media landscape. TV criticism went through a tremendous transition, embracing the recap, rejecting the recap, making a case for itself as the central cultural critique of our day. It could be amazing if architecture criticism made a similar transition and came out stronger.

For that to happen, I think criticism needs to take more forms: not just appear in the culture section, but in news and opinion; appear on Twitter, in conversations with other fields; point out how it is central to questions of development, and environmentalism, and even television, that people are already engaged with. Readers need to recognize that it doesn’t have a single personality. Unfortunately, the first people critics need to convince are the editors, and I know from experience that can be tough.

BC: In addition to diversifying the ways in which critical writing is being disseminated, does the scope of what what’s being written about need to widen? In the book, you’ve included “You Have to Pay for the Public Life,” an essay by Charles Moore that contrasts architectural with social monumentality. You note that, by Moore’s definition, a place as simple and unadorned as a meadow can be considered monument if that meadow resonates with the surrounding communities — “people make monuments.” Do you think writing about more ordinary elements of the city could be helpful in broadening the audience for criticism?

AL: Moore’s essay is one of my all time favorites, and I constantly refer to it in my thinking about public space and the way we make cities. ‘Who is paying’ and ‘How are we paying’ are questions relevant to almost any public space. In that chapter I even review, in a sense, the Urban Meadow in my Brooklyn neighborhood as a monument. So yes, I do think critics need to widen their scope, but I also think people need to notice that they’ve already done that, and have been doing it. Justin Davidson has a piece in this week’s New York magazine about Times Square, and he’s written about it at least one other time. Michael Kimmelman is making the architects mad by writing about planning and not architecture for the Times. Karrie Jacobs has been doing this all along. There was a tendency to starchitecture criticism, but it wasn’t forever and it wasn’t everyone.

BC: Due to the technological changes that you spoke of earlier, it’s easy now for anyone with an interest in architecture and design to participate in the public discussion about these topics. Blogging and tweeting are to media, in a way, what “Lighter, Quicker, Cheaper” interventions are to design. In the book, you refer to Jane Jacobs’ Death and Life of Great American Cities as “a primary document for a ground-up, deinstitutionalized form of architectural criticism.” Are there other books, essays, blogs, etc. that you think are particularly instructive for people who, like Jacobs, aren’t trained as designers or architects, but who want to write about how design affects their communities?

AL: I like the approach Alissa Walker takes on her own blog, Gelatobaby, as well in her freelance work (she now has a column at LA Weekly). I like the kind of events the Design Trust for Public Space organizes, creating social interactions in unusual parts of the city. I think Kevin Lynch’s Image of the City is well worth reading, even though it is dated, because his mental mapping project, and the five elements of the city he identifies (path, edge, district, node, landmark), remain useful in trying to figure out what’s missing. If you want to read more Lewis Mumford, I recommend the collection From the Ground Up, which has a lot about cars, housing and streets. I just read an essay on architecture and urban development in Kazakhstan by Andrew Kovacs, soon to be published in PIDGIN, that I found fascinating. Sometimes just reading an account of what it is like to walk around in a strange place is enough, and that’s a great place for the non-designer to start. Get out the AIA Guide and go explore.

BC: Getting out and observing how a place works is something we highly recommend! But sometimes people can sense things intuitively about a place that they may not be able to articulate in a way that design professionals respond to. We conducted one of our How to Turn a Place Around training workshops at the PPS offices in New York last week, and one of the attendees said that she was participating because she would like “for designers to think more like citizens, and for citizens to think more like designers.” You’ve included a bunch of great exercises in Writing About Architecture to help readers put lessons learned from the various essays into action. Can you think of one or two exercises that could help citizens to communicate their concerns more effectively to designers–and vice versa?

AL: I think for the non-designer, getting specific is really helpful. Achieving a higher level of noticing. Do you always trip on that step? Why do you take the stairs rather than the ramp? Is it just too hot in the park? Think about the height, the materials, the lighting level, the plants and try to figure out what it is that isn’t working. No one likes to hear, “I just don’t like it…” and I think making the problem as concrete as you can helps designers to hear you. Also, if you are in a place that isn’t working, try to think of a similar one that you do like. What does that one have that this one doesn’t? Compare and contrast is really effective.

As for the designers, I’m with the anti-archispeak contingent. Architects have to get specific too, and not talk about landscape elements rather than plants, etc. It is a kind of shorthand, but it is off-putting. More important, though, is to discuss the narrative of a project: why you chose this material rather than that, how it is supposed to make citizens (not users!) feel and act, what’s the point. Everyone wants places that work, but there are so many different ways to get there.

The High Points of Placemaking: Around the World in 2010

dkitzes — Thu, 03 Feb 2011 18:29:01 +0000

As cities, even countries, move toward a place-based agenda for determining how they will develop in the future, PPS has discovered emerging trends that can improve how we create vibrant, livable cities. Looking back on 2010, we realize just how far the idea of Placemaking has come as a strategy for building great public spaces and communities around the world.

Compiling this list of the Placemaking highlights of 2010 confirmed for us that these ideas have real importance to people in different types of communities, in different styles of public spaces, in different economic settings and in different parts of the world. As the year ahead unfolds, we think these trends will continue at an even greater rate.

Upcoming PPS newsletters will focus on exciting plans for our transformative agendas on markets and transportation, as well as our Digital Placemaking initiative, waterfront developments and a new PPS training course on managing and improving public spaces. We will also continue to revisit our core values, which began with Holly Whyte’s captivating book and film about the importance of getting the details right in the design of public spaces..

And now for the highlights of 2010…

Lighter, Quicker Cheaper
And the Silos Came Tumbling Down…
The Boom in Citizen Activism
Return of the Civic Square
Placemaking Heard Around the World

Lighter, Quicker, Cheaper

Projects that are generally of smaller scale, can be constructed more quickly than traditional developments and can be done for a smaller amount of capital are catching on as a new way of doing development in public spaces. Eric Reynolds, founder of Urban Space Management in London coined the phrase “lighter, quicker, cheaper” nearly 40 years ago when he implemented an innovative project at the UK’s Camden Lock in London.

Such projects are being implemented in a variety of environments including markets, waterfronts and even on parking lots throughout the world. The results are destinations that grow out of the community in which they are located, creating jobs and a sense of community ownership.

In 2010, PPS hosted two forums that brought together implementers of the idea. Eric’s business partner, Eldon Scott, is promoting the concept in the U.S. with innovative markets in New York, including the Union Square, Madison Square, and Columbus Square holiday markets.

And the Silos Came Tumbling Down…

“The whole earth is in jail and they are planning this incredible jailbreak.” – Legendary Bay Area activist, Wavy Gravy

Perhaps the biggest obstacle to placemaking and community building today is the tendency to define design professions so narrowly that important goals which could make cities more livable are lost. Fortunately, a new trend is emerging in which local governments realize how much more effective they can be when interacting with a number of different disciplines and implementing changes that reach broader audiences.

One of the outcomes of this kind of “Silo Busting” is a more holistic approach to implementing public spaces and a greater recognition of the convergence that occurs between movements such as preservation, economic development, sustainability and health. For example, transportation is converging with health and community development to promote the health benefits of walking and biking, as well as the benefits of using transportation to build compact community centers. PPS’ transportation program is a leader in the Partners for Livable Transportation Solutions that seeks seeks to change the culture of transportation planning in America from a single-minded focus on high speed mobility to a greater focus on service in which communities view transportation as a logistical means to societal ends.

The Boom in Citizen Activism

There has been an explosion of community-led efforts efforts that represent a new kind of planning – one that is proactive, positive, passionate, practical and provides a new model for the development of public spaces. We’ve seen it happening in places as diverse as Corpus Christi, TX, Buffalo, NY, Annapolis, MD and Tupelo, MS.

Return of the Civic Square

PPS is excited to announce the opening of four projects in which we were involved that created new gathering spaces in each of the cities: Market Square in Houston; Market Square in Pittsburgh; Main Plaza in San Antonio; and the Perth Cultural Centre in Australia. In each of these places, PPS worked with the communities and stakeholders to create a place-based vision that informed the program and concept plans for the activities taking place. In addition, the Chinatown Summer Nights in Los Angeles, which grew out of a series of PPS workshops, was a catalytic project that kick started improvements for the area

Placemaking Heard Around the World

Placemaking is definitely taking hold internationally. Last year, PPS staff worked in South Korea, South Africa, the Netherlands, Italy, Norway, Australia, New Zealand, Serbia, Montenegro, and Bulgaria.

As we look towards the future, we continue to be excited about the range of resources available on PPS.org. We have created our website to be a town square where people can gather to find out what’s new and participate in a powerful exchange of ideas that helps propel the Placemaking movement forward.

We are excited to explore with you ways that the Town Square can evolve in the future. We think we are at a turning point and look forward to your continued support and ideas for making better public spaces.