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CUENCA RED | del proceso de socialización al diseño urbano

Category: ⚐ ES+arquitectura+ciudad+Cuenca Red+diseño+ecosistema urbano+espacio público+networked design+participación+urban social design+urbanismo

Entrevistas a los ciudadanos

En Septiembre de 2015 dimos inicio al proceso participativo Cuenca Red, un proyecto de reactivación del espacio público del Centro Histórico de Cuenca en el cual la participación ciudadana juega un papel fundamental. El proyecto lo promueven la Iniciativa de Ciudades Emergentes y Sostenibles del BID y la Municipalidad de Cuenca.

Hace algunos meses presentamos los resultados de la primera sesión de participación en este post y ahora retomamos el hilo de la narración. Antes de compartir los detalles específicos del proyecto y las estrategias de reactivación de espacio público, queremos compartir los resultados de la segunda sesión de talleres y cómo nuestra metodología participativa se ha ido afinando y sistematizando.

continúa leyendo

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Networked Urbanism: The real learning begins when things go live | part II

Category: ⚐ EN+creativity+ecosistema urbano+networked design+networkedurbanism+publications+urban social design

This is the second part (see the first part here) of our conversation with Paul Bottino, cofounder and executive director of TECH, Technology and Entrepreneurship Center at Harvard. Here you can read the first part.

BT&JLV The learning experience includes the possibility to learn from consequences, mistakes, and successes. This methodology emphasizes the value of the process itself, in contrast to a teaching approach primarily focused on the end results. How would you value the process versus the end results? Can we introduce failure/uncertainty as part of the development of the learning process?

PB You are being charitable because we people have proven ourselves pointless predictors! And our ever-growing connectedness and complexity are going to give computer power and big data analytics a long battle before we get much better. So as far as I can see, the value is in the process, and the end results are more or less kaleidoscopic: when the twirling stops for an instant, we see a pattern, rationalize how we got there, codify explanations, and issue predictions based on the code. The twirl resumes and reminds us of our folly but we can’t give up the game and our illusion of control. My response is to emphasize good practice—valuing process over results—in the hope that more often than not good results will emerge from good practice. Part of any good practice is periodic reflection intended to prolong the period where one is open to discovering the right practice for the right situation. That reflection includes looking at how the failure and uncertainty inherent in the process affects our practice; asking how we respond to and perceive failures; and how we perform and make decisions and communicate in uncertain circumstances.

BT&JLV Think Big / Start Small are two of the ten guidelines for the course, and are also key concepts for innovation in general. Do you have any advice about how to fill the gap between the “think” phase and the “start” phase? What are the most common challenges in the transition between the design phase and the actual implementation of the project in the real world?

PB Your eighth guideline for the studio is a great start, “Act Now!” (and ask questions later and along the way). Whenever possible, it’s a good idea to transform thoughts and words into actions and to test them with people. It is the formulation of something that people can see, touch, and experience that stimulates the most useful feedback. It is much easier to close this gap with virtual designs than it is with physical, but you can shrink it with models and simulations. In the virtual cases, the transition isn’t a bright line but a continual back and forth—two steps forward, one step back—of testing with people and redesigning until you realize your test subjects have become users and you feel you’ve made a phase change to implementation. With physical designs and more complicated virtual designs, there are clearer phase distinctions and cut-over moments. The real learning begins when things go live. The greatest challenge I see designers face in these moments is handling the pressure and responding to the unforeseen requirements that are now coming from stakeholders external to the design team, whereas before they were self-imposed. These events stress the entire design organism, from the belief that what you are doing is valuable to the little details that make it work. The best teams use systems thinking and parallel processing to tend to the entire organism in order to be as ready as they can be for these moments.

BT&JLV Historically, design schools have been somewhat segregated from other disciplines, and have been considered to be niche institutions. In the last decade, design has emerged as an overarching discipline, and design methods (design thinking) are strongly influencing other fields. These methods are frequently adopted by a wide range of disciplines, from scientific to humanistic ones.
How would you explain this opening? Has the role of the designer shifted from designing a building or product to “enhancing society”?

PB Design thinking fits a classic technology innovation paradigm, which is it takes on the order of 30–years to emerge from inception to widespread adoption. Ideas spread faster now but the 30 year rule still works for big changes. Design thinking is “process know-how” that fits the broad definition of technology. I would trace its origins back to 1961 and the publication of Synectics by William J. J. Gordon2. So many factors contribute to where it is today but perhaps the two main ones are increasing complexity frustrating a purely analytical approach and the shift from an industrial economy to a knowledge economy where the emphasis moved from labor, equipment, and capital to people, engendering a natural embrace of the human-centered precept of design thinking. The designer’s role changed right along with that. With a focus on people, the essential question is not what to make or how to make it, it is why to make it; so inexorably, designers (which includes makers by many other formal names) engage the issue of why, embody it in their designs, and find themselves working at the highest level of value creation.

BT&JLV You work as an educator with students and professionals coming from various institutions, with different backgrounds, education, and expectations.
In your experience, do designers and/or students of design have special capabilities for creative problem solving?

PB All children have the basic capabilities and unfortunately it seems mainstream schooling retrains them to concentrate on solving right-answer problems with predetermined tools. Design students seem to have either never lost or have managed to reawaken the childhood ability to see things differently, dive into open-ended challenges and try to figure things out without knowing the “right” way. That and a healthy quotient of cultivated empathy and the energy to exercise it regularly is what I see setting design students apart.

BT&JLV Networked Urbanism provides students with a toolbox of 10 guidelines to use during the research process:

1.EXPLORE
2. RESEARCH
3. NETWORK
4. SHARE
5. BE OPEN
6. THINK BIG
7. START SMALL
8. ACT NOW!
9. COMMUNICATE
10. MOVE BEYOND

Which other ingredients would you add to it?

PB This is a tremendous set to which I’d add:

11. DECLARE your ignorance: embrace what you don’t know and can’t explain and cultivate it as an energy source to ward off the tendency to believe you have an answer before you do—and the tendency not to risk losing what you think you have.
12. DEFY known authorities: their dissonance is as good an indication of value as your adopter’s resonance.
13. FOCUS on the meaning of your design: value springs from metaphorical shifts.
14. NARRATE the story of your design complete with round characters, rich settings, true heroes, and real villains.

You can access the complete publication here

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Networked Urbanism: The real learning begins when things go live | part I

Category: ⚐ EN+creativity+ecosistema urbano+networked design+networkedurbanism+publications+urban social design

GSDbook_654

#networkedurbanism is a series of studios taught in the Urban Planning and Design Department at the Harvard University Graduate School of Design between 2010 and 2014.

The #networkedurbanism studio aims to bring network-design thinking to the forefront of design disciplines and strives to solve real-world problems on the ground, providing an alternative to the traditional approach of designing urban environments from a bird’s-eye view, and a single designer’s perspective. Networked Urbanism not only examines the physical dimension of the city, but also its social processes and fluxes, developing initiatives that generate spontaneous transformations and set up conditions for change.

The #networkedurbanism studio provides the framework for students to pursue their own interests, find their own means of expression, and create their own paths. They are encouraged to work with others, to create connections and to search for new problems and opportunities that underlie our society, visibly or subtly. Overall, they are expected to explore the city and design new tools to creatively improve urban life.

The following conversation with Paul Bottino is an excerpt from our publication Networked Urbanism, Design Thinking Initiatives for a Better Urban Life

Paul Bottino is cofounder and executive director of TECH, Technology and Entrepreneurship Center at Harvard.
TECH’s mission is to advance the understanding and practice of innovation and entrepreneurship through experiential education: by initiating, advancing and informing student projects. TECH helps faculty create and deliver innovation and entrepreneurship project courses, provides students with project support and sponsors and advises student groups working to build the Harvard innovation community.TECH is based on the belief that boundaries—between disciplines, people, organizations, and ideas—need to be crossed continually to create the insights that lead to innovations because socially useful and commercially viable advancements require the right mix of scientific and engineering knowledge, entrepreneurial know-how, and worldly perspective.

Belinda Tato and Jose Luis Vallejo (BT&JLV): TECH promotes experiential education, a pedagogical approach that informs many methodologies in which educators purposefully engage with learners in direct experience and focused reflection in order to increase their knowledge, develop their skills, clarify their values, and develop their capacity to contribute to their communities.
Networked Urbanism studio incorporates this methodology, requiring participants to leave their comfort zone in order to introduce them to realities in today’s society – outside the walls of Academia—in which designer’s skills are needed. Do you think that this non-academic, feedback-driven process should be used more often in design courses? Does it help to foster an entrepreneurial spirit among students?

Paul B. Bottino (PB): Absolutely. Though it is only non-academic in the sense of that word that means concerned solely with matters of theoretical importance. I consider it academic because it is central to learning, which is my chosen sense of the word. The kind of experiential education that my students and I practice does have practical ends as well as theoretical. But in a creative economy, where knowledge is the primary means of production, education is inextricably linked to practical ends. All of the educators and learners I know—be they at the lifelong, higher, secondary, elementary, or natural level—want to create useful knowledge for their desired ends, and those ends include everything imaginable on the spectrum of human experience. In my case, and I believe this is true of the Networked Urbanism studio, the end goal is to help build students’ innovative capacity.
In order to do that, educators and students must jointly go on an implicit knowledge exploration.

It is obvious but worth saying that knowledge about the future and the new designs that will inhabit it is not explicit, meaning you can’t enter search terms in Google and get answers, even if Google had access to every bit of knowledge available. Instead, it is a research process in which you craft a probe in the form of a design concept and take it to people to educe knowledge about it. If it is a new concept, which it must be to qualify as a potential innovation, then it is going to generate new thoughts. The designer takes those new thoughts not as answers, but rather as feedback. The endeavor of the designer is to transform concepts into value. Value is a utility function; it derives from the use of designs by some number of people. So the essential way designers create value is by engaging in a process of formulation-feedback-reformulation that transforms neurons firing into words, visuals, prototypes, and designs. In my experience, learning via this process is the only way to develop the kind of embodied knowledge that lasts and evolves. Willingly engaging in this full experience and being vulnerable to it is the essence of the entrepreneurial spirit. And, as Oliver Wendell Holmes, Jr., is quoted, “A mind that is stretched by a new experience can never go back to its old dimensions.”

BT&JLV Networked Urbanism encourages students to choose a topic at the intersection of their interests and society’s needs. They have to take the initiative and make decisions. Projects become unique and linked to their personal stories and many of them live beyond the term. This isn’t the traditional academic approach but it is a common entrepreneurial construct, and designers are increasingly expected to define both the problem and the solution. Do you think that “problem finding” skills have become a fundamental base for innovation?

PB Yes, most certainly. I would say those skills always have been essential to innovation, but it is probably more apt to call them something else because in many cases you don’t need to find the problem, it is in clear view. Consider certain diseases where the problems are well known—when a treatment or cure is discovered, invented, and developed, it is very likely immediately deemed an innovation. This is a process of innovation that occurs almost entirely by devising a new solution to an existing problem. I think it is fair to differentiate creative problem-solving, where the problem is given or known, from innovating, where it is not, yet still call creative solutions that are widely used, innovations. To this way of thinking, the full experience of innovating starts with some kind of finding—finding problems people don’t know they have or finding opportunities others don’t see. These kinds of findings emerge from change. Change causes uncertainty about the meaning of existing things and whether they are still useful and valuable. The designer interprets change, sees things differently, and creates new meaning and value. Because there is so much change, the possibilities are endless so it is essential to filter them through one’s values, interests, and capabilities to make a starting choice. This is wonderful for the educational experience because it supplies personal purpose, relevance, and intrinsic motivation to the exploration.

BT&JLV One of the crucial benefits during the Networked Urbanism studio has been the cross-pollination of students with many different backgrounds from all the programs within the GSD. Moreover, the collaboration with people outside of the studio enhanced the innovation of the projects exponentially, since students are required to build up connections with others, creating a network of advisors and professionals within the field, as well as existing and potential community members. Is interdisciplinary collaboration now a necessary ingredient for successful entrepreneurship and innovation?

PB It is probably too much to say that it is absolutely necessary in all cases because there will always be instances of people seeing things differently and innovating without too much assistance, but it feels like those are edge cases that are more and more extreme. More the norm is where the challenge is complex, and seeing and approaching things differently comes from a combination of perspectives and abilities. It is often hard for one person to see things differently. Some people are more agile than others at changing frames internally; most need collaboration and other inputs to do it. I think this is due to a combination of the way our neural pathways are formed and maintained and a lack of meta-thinking practice. That combined with increasingly specified knowledge domains and the training and concentration necessary to master those domains means collaborating with people from other areas, worldviews, and walks of life increases your chances of seeing things differently, getting the diversity of feedback you need and finding the knowledge resources you need to create value.

The second part of the conversation with Paul Bottino has been published in this post.

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Presenting the 'Networked Urbanism' Book | Available Online for Free!

Category: ⚐ EN+networked design+networkedurbanism+urban social design

Book Cover Book Cover

After several months of work here in Madrid, collaborating with our associate editors at the GSD in Boston, we are happy to announce that the Networked Urbanism book has finally been published online and is making its way through the printing process!

We have been presenting the work of the “Networked Urbanism” students in a series of posts on the blog and they have been publishing many of their ideas and the results of their efforts on networkedurbanism.com, but having the book finally printed on paper is an important milestone considering that the book also contains 4 unpublished essays and an exclusive interview. For those of you that haven’t been following our updates during these years at the GSD, here comes the short story of the book and its contents.

The book is the product of three different studios taught by Belinda Tato and Jose Luis Vallejo at the Harvard University Graduate School of Design, in Boston, during Fall Term of 2010, 2012, and 2013. The three courses shared the same approach while focusing on slightly different topics; this approach, what we call network-design thinking, is an alternative to the traditional way of designing cities from a bird’s eye view, and a single designer’s perspective.

What is Networked Urbanism?

In today’s connected world, urban design can no longer be addressed from a singular perspective, but should result from an open and collaborative network of creative professionals, technical experts, citizens, and other stakeholder, we need to explore the new role of the designer as an activator, mediator and curator of social processes in a networked reality, but above all, we must develop and test tools that allow citizens to be active participants at all stages: before, during, and after the design process.

Networked Urbanism promotes the exploration of new tools that can become the catalyst to spark creativity and multiply the possibilities of interaction and connection among individuals in the search for more healthy and sustainable communities. The studio challenges future designers to develop initiatives that reconcile existing physical conditions with the emerging needs of citizens through network-design thinking, and promotes active participation in the redefinition of the contemporary city.

The pedagogical approach: the toolbox

The Networked Urbanism studio adopts a framework of experiential education that promotes learning through direct action on the ground and reflection in a continuous feedback loop. With this approach, students actively engaged in posing questions, assuming responsibilities, being curious and creative, investigating, experimenting, and constructing meaning. They became intellectually, emotionally, and socially engaged. This involvement produced a perception that the learning process is authentic, necessary, and real, as a starting point, the Networked Urbanism toolbox provided a set of guidelines that could be applied sequentially throughout the design process:

1. EXPLORE: Choose a topic at the intersection between your personal interests and societal needs.
2. RESEARCH: Become an expert on the topic.
3. NETWORK: Create a network—from citizens to experts—and explore connections at both the official and grassroots level.
4. SHARE: Confront and experience ideas outside your own desk: feedback is a treasure.
5. BE OPEN: Start with a detailed plan but be prepared to disrupt it, responding to its natural development.
6. THINK BIG: Focus on a small-scale design that has the potential of the larger scale, and design a strategic overall vision.
7. START SMALL: Any aspect can be the starting point; the concept will grow as your project develops.
8. ACT NOW!: Prototype and implement in real life at least a small but significant part of the design.
9. COMMUNICATE: Take your initiative to a broader audience.
10. MOVE BEYOND: How can you develop your project beyond the limits of the studio?

The book contents

GIF animation of the contents of the book

The book dives deep into the exploration of these principles, first through four essays: “Digitas Meets Humanitas” written by Blair Kamin, the Pulitzer Prize-winning architecture critic of the Chicago Tribune; “A Different Design Education” by Lulu Li, a former student and creator of bikenapped.com; “Out of the Studio onto the Streets” by Scott Liang, Thomas McCourt, and Benjamin Scheerbarth, also former students and now entrepreneurs with their project Place Pixel; and “Reflection in Action” by Belinda Tato and Jose Luis Vallejo containing the famous 10 points of the Networked Urbanism Toolbox; and then with an interview on the importance of design thinking with Paul Bottino, the co-founder and executive director of TECH at Harvard.

The second part of the book contains 19 selected projects organized by their main area of intervention. Even if, obviously, they all can not be easily categorized under a single topic, the first projects are more focused on Environmental issues followed by the ones centered on Social interventions and finally by projects considering more the Digital realm, which are reconnected to the Environmental ones closing the conceptual circle of topics.

Until the printed version is released, you can read the book online and download it in digital format:

Enjoy!

If you want to explore the projects briefly, you can have a look at the list of posts with the projects organized by different thematic categories:

1- Bicycle Culture

2- Turning waste into resources

3- Active awareness

4- Better communities better places

5- Your digital opinion is importat to us

6- Physital social networks

7- Time, space, and memories

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El libro de Dreamhamar, mención en la BIAU

Category: ⚐ ES+dreamhamar+networked design+noticias+publicaciones

El libro de Dreamhamar

Vista del interior del libro, mostrando el calendario de desarrollo del proyecto

Nuestro recientemente publicado libro Dreamhamar: a network design process for collectively reimagining public space ha sido seleccionado, con una mención, entre las publicaciones premiadas en la Bienal Iberoamericana de Arquitectura y Urbanismo.

Lugadero, la editorial con la que hemos desarrollado este libro, tiene dos de sus publicaciones entre las premiadas. ¡Enhorabuena!

Ficha del libro en la BIAU: Dreamhamar por Ecosistema Urbano + Lugadero
¿Quieres un ejemplar? Puedes adquirirlo en la página de Lugadero

 

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Dreamhamar + Den Kulturelle Skolesekken | Education, culture and ideas

Category: ⚐ EN+dreamhamar+ecosistema urbano+events+networked design

The Cultural Rucksack (Den Kulturelle Skolesekken) is a Norwegian national programme for art and culture provided by professionals in Norwegian schools. The programme helps school pupils to become acquainted with all kinds of professional art and cultural expressions. Last year Hamar Kommune decide to connect it with the project Dreamhamar which was at that point under development. This meant that 1292 students from different local schools joined dreamhamar providing their own ideas for the square Stortorget.

Kids drawings Cultural Rucksack 2011 - click to enlarge

Kids drawings Cultural Rucksack 2011 - click to enlarge

From fountains to hot dogs, from ice skating rinks to dancing contests, all sort of ideas emerged through the process and some of them made it through influencing the final design.

This year, again, the Kommune joined Den Kulturelle Skolesekken with Dreamhamar and our colleague Liz Eva Tollefsen is working on site, sharing with a new group of students the whole creative process as well as the final design we delivered last July.

Liz Eva Tøllefsen presenting the Cultural Rucksack

Liz Eva Tøllefsen presenting the Cultural Rucksack

We are really looking forward to see this year’s ideas and we hope kids get interested on urban landscape and design.

If you are curious about last year’s activities, you can check our Flickr galleries, featuring a small selection of the more than 1000 drawings and models we collected:

Drawings from Cultural Rucksack.
Models from Cultural Rucksack
More photos from Cultural Rucksack

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Dream Your City | Ecosistema Urbano at Venice Biennale of Architecture 2012

Category: ⚐ EN+design+dreamhamar+ecosistema urbano+events+networked design+social toolbox+urban social design

Dream Your City - Ecosistema Urbano at the Venice Biennale of Architecture 2012

Dream Your City - Ecosistema Urbano at the Venice Biennale of Architecture 2012

Dream Your City - Ecosistema Urbano at the Venice Biennale of Architecture 2012

From past August 27th to November 25th, the Venice Biennale of Architecture, titled “Common Ground”, is open to visitors; and so is SpainLab, the Spanish pavilion, in which we were invited to take part for this edition.

The curators Antón García-Abril and Débora Mesa proposed us to show the way we work, according to the “lab” approach of the pavilion. We decided to do this with a single project, Dreamhamar, which incorporates many of the concepts, objectives and means that Ecosistema Urbano has been working on and is currently experimenting with: urban development, advocacy, citizen participation, workshops, digital tools, design, open culture, network learning, urban actions, network design…

We understand the role of the architect and urban planner is undergoing a huge transformation according to the new needs of contemporary society. This forces us to redevelop a whole “set of tools” to be able to meet these new needs and challenges. Under the title of DREAM YOUR CITY we explain these new tools or methods we are dealing with and the way we think network design can be applied to socially engaged designs for the creation of city spaces. This 90 seconds movie illustrates how we understand network design and how we specifically implemented it in Hamar or how it could be applied somewhere else.


Video by ecosistema urbano + forma.co

Considering the ephemeral nature of the exhibition, we chose to make it a simple, lightweight installation, consistent with the way we are used to work in this kind of projects: trying to get the most out of minimal resources and low-cost means. Almost all materials needed for the installation were taken to Venice by ourselves, as checked-in luggage.

The paint that covers the floor and the walls, made by urban artists Boamistura, transforms the perception and character of the space with a single intervention, bringing to the hall the look and feel of the previous PaintHamar urban action in Stortorget, the main square of Hamar. The natural light, the seats integrated on the floor and the trampoline all recall that outdoor public space and invite visitors to occupy it with their minds and bodies.

Seven small screens show videos telling different aspects of the network design process we deployed in Hamar, giving the visitor some brief glimpses of the variety and complexity of the project without trying to explain it thoroughly –which will be done soon in a more suitable format.

A series of real-scale pictures of various day-to-day objects that were used during Dreamhamar, some of them being physically on display, show the variety of work/life situations that the team had to cope with while working in this project both remotely from Madrid and locally in Norway. From the more disciplinary tools to objects related to social life or cultural events, they evoke the changing role of the urban professional.

Here are some quick photos we shot during the process, taken from the Flickr gallery.

Created with flickr slideshow.
We invite you to visit the installation, have some fun jumping on the trampoline and imagining you are in Stortorget, and share your thoughts –and your photos!– with us on Twitter, Facebook or just down here in the comments.