Collaction booklet

collACTIONCollective ActionsUna raccolta di pratiche partecipate.

http://collaction.polimi-cooperation.org/

Politecnico di MilanoFacoltà di Architettura e SocietàTesi di Laurea Triennale in Scienze dell’ArchitetturaA.A 2012/2013

Sofia Coutsoucos 748191 Stefania Monici 748556Relatore: Prof. Gennaro Postiglione

Milano, 26 Febbraio 2013

collACTIONCollective Actions

Una raccolta di pratiche partecipate.


Sofia CoutsoucosStefania Monici

INTRODUZIONE

Il tema

Finalità

Tipologia di progetti raccolti

PARTECIPAZIONE E BOTTOM-UP

Pratiche bottom-up e spontanee

Partecipazione e ruolo dell’architetto

IL BLOG

Struttura

Categorie

Indicatori

Strumenti

Mappa

I 100 PROGETTI

ANALISI

Frequenze

Categorie Strumenti

Indicatori

Relazioni

Presenza del professionista

Impatto sulla comunità

Felicità

Bibliografia

INDICE

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3

4

6

7

12

14

20

33

35

39

13

147

153

157

164

176

184

190

INTRODUZIONE

1

IL TEMA

CollAction: collective Action è un progetto di ricerca che raccoglie e analizza pratiche partecipate in cui il coinvolgimento collettivo e la creatività spontanea dimostrano come i processi orizzontali di scambio e comunicazione possono avere il potenziale di modi-ficare l’ambiente urbano e le dinamiche sociali.

CollAction è sviluppato su blog, una scelta coerente con il con-cetto di partecipazione, dal momento che tutti possono commen-tare, condividere e inviare la descrizione della propria iniziativa affinchè venga pubblicata.

Gli interventi raccolti e analizzati sono stati selezionati princi-palmente da tre esibizioni internazionali che si sono tenute tra il 2008 e il 2012: Eme3, Spontaneus Interventions e CCA-Action.

Eme3 è un festival internazionale di architettura che si tiene ogni anno a Barcellona. La settima edizione, nel 2012, ha affrontato il tema del “bottom-up”, la creatività che nasce dal basso in ma-niera spontanea. Durante i quattro giorni di festival il programma comprendeva mostre, esibizioni, installazioni, workshops di au-tocostruzione, dibattiti, proiezioni e momenti di condivisione.

Spontaneus Interventions: Design Actions for the Common Good è l’esposizione allestita dal Padiglione degli Stati Uniti alla 13a Biennale di Architettura di Venezia del 2012, organizzata dall’In-stitute for Urban Design. L’esibizione comprendeva 124 interventi urbani, selezionati da oltre 450 proposte grazie ad una open call istituita negli USA.

CCA - Actions: What You Can Do With the City è un’esibizione pre-sentata da The Canadian Centre for Architecture, prima a Mon-tréal e poi a Chicago, fra il 2008 e il 2010. Comprendeva 99 azioni che avevano l’obiettivo di stimolare cambiamenti positivi nelle città contemporanee, ed è stata accompagnata dalla pubblica-zione di un libro omonimo.

2

3

FINALITA’

CollAction vuole essere una piattaforma aperta che raccoglie azioni partecipate, che sia utile e di ispirazione per nuove espe-rienze collettive, un terreno comune di pratiche condivise.Questo blog è uno strumento non tradizionale di archiviazione che permette a chiunque di individuare facilmente i progetti in base a caratteristiche di proprio interesse.Per ottenere questo obiettivo, tutti i progetti sono stati catalogati per categorie e per caratteristiche (tag). In più, a ogni progetto sono stati assegnati attributi sia qualitativi (ad esempio la sostenibilità), sia quantitativi (come la durata), che permettono di dettagliare ulteriormente le informazioni relative alle iniziative.Grazie a questo strumento versatile, il lavoro di catalogazione e analisi ha consentito di delineare un quadro generale sul tema delle pratiche spontanee e partecipate. E’ stato così possibile in-dividuare le tematiche più ricorrenti, i fattori in gioco più frequen-ti, le influenze e i rapporti che si creano tra i singoli attributi.

4

TIPOLOGIA DI PROGETTI RACCOLTI

Le iniziative raccolte sono azioni che si manifestano fisicamente nello spazio urbano oppure si sviluppano sotto forma di informa-zioni, comunicazioni o piattaforme digitali volte a rendere la città più comprensibile, permeabile e a dimensione umana. Gli interventi sono quindi spesso localizzati in un contesto urba-no, accessibili pubblicamente e al servizio del bene comune.

Le diverse pratiche sono condotte da artisti, attivisti, lavoratori, software designers, architetti, studenti, ricercatori, associazioni di quartiere, cittadini. I gruppi, spesso locali, grazie a conoscen-ze professionali, artistiche e informali, reinventano usi e pratiche attraverso modalità non tradizionali, agendo in maniera tattica, situazionista e attiva, creando strutture non istituzionali in grado di portare un vero cambiamento all’ambiente urbano. Un approc-cio che i professionisti tradizionali spesso non riescono a mettere in pratica.

Sono interventi provvisori, informali, di guerrilla, sovversivi, fai-da-te, insoliti, non pianificati, partecipati, tattici e open-source. Sono azioni di risposta individuale ai problemi, che siano di scala microscopica (una barriera architettonica, ad esempio) o più evi-denti (come un vuoto urbano inutilizzato). I progetti sono stati selezionati per restituire la diversità delle pratiche in grado di trasformare lo spazio pubblico al servizio del bene comune, e per creare un utile archivio di strategie che pos-sono essere replicate in altre città e in altri luoghi, presentandosi come possibile soluzione a problematiche simili.

Le iniziative propongono un insieme di attività come camminare, giocare, riciclare, fare giardinaggio e costruire: l’interazione spe-rimentale con l’ambiente urbano mostra la potenziale influenza che il coinvolgimento personale può avere nel modellare la città e nel chiamare i residenti a partecipare. Alcuni progetti riguardano l’agricoltura urbana e la produzione di cibo, altri si occupano del-la pianificazione e della creazione di spazi pubblici per rafforzare i legami nella comunità e promuovere il riuso di edifici abbando-nati e l’appropriazione di spazi urbani.

Gli interventi cercano di dare una risposta al crescente disinve-stimento negli spazi pubblici delle città, alla sempre maggiore presenza di luoghi abbandonati e in disuso, al senso di alienazio-ne sociale, oltre che alla mancanza d’informazione sulle modali-tà di partecipazione alle questioni di interesse pubblico.

Di frequente le persone compiono queste azioni spontaneamen-te, informalmente e auto-organizzandosi perchè si manifesta una necessità o semplicemente perché sono ispirate ad agire. Disponendo installazioni fantasiose e funzionali per migliorare la vita di tutti i giorni e sviluppando progetti in spazi sottoutilizzati, danno un contributo concreto al miglioramento della percezione dello spazio urbano: sempre più le comunità prendono nelle pro-prie mani la pianificazione del proprio quartiere.

PARTECIPAZIONE E BOTTOM-UP

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6

BOTTOM-UP

L’approccio tradizionale top-down impone normalmente le indi-cazioni direttive dall’alto, stabilendo obiettivi e linee guida e svi-luppando piani e procedure. Si tratta di un processo estrema-mente formale, in cui le decisioni sono influenzate dall’opinione di una sola persona o di un gruppo ristretto, spesso non diretta-mente in contatto con la realtà che si ha intenzione di modificare, con il risultato che le persone avvertono di non essere ascoltate, di non avere voce in capitolo. Questo processo genera di frequen-te mancanza di collaborazione e di conseguenza insoddisfazioni nei confronti del risultato finale. Al contrario, l’approccio bottom-up tende ad includere il gruppo nel processo progettuale ed ese-cutivo, rendendo il progetto partecipato in ogni sua fase.

Gli approcci bottom-up, contrapposti a quelli top-down, iniziano appunto con il contributo delle singole parti, con la creatività che nasce dalla base e con l’esigenza di una maggiore partecipazione orizzontale nei confronti dell’architettura e delle pratiche cultu-rali. Nella fase di cambiamento sociale, economico e culturale odierno, una serie di azioni emerge fortemente anche come ri-sposta a questo momento di crisi e incertezze. La presenza della crisi finanziaria e la mancanza di fondi pubblici hanno intensifi-cato la nascita di iniziative da parte dei cittadini che cercano di migliorare il loro ambiente senza il bisogno dell’intervento delle amministrazioni.Sta nascendo la coscienza condivisa del fatto che i processi tradi-zionali di progettazione top-down risultino spesso insufficienti in alcuni ambiti, e che i nuovi approcci e strumenti debbano essere sviluppati e usati dal basso verso l’alto. Inoltre la svalutazione delle risorse per il settore pubblico e l’urgenza di mantenere l’i-dentità e la coesione di quartiere spinge le associazioni locali, i designer e i residenti a subentrare come nuovi agenti di cam-biamento, introducendo pratiche innovative che richiedono poche risorse e permessi dalle autorità.

Tuttavia, l’approccio bottom-up alla progettazione come promo-tore di cambiamento non è ancora consolidato; i micro movimenti urbani talvolta non possono sostituire l’efficacia e la complessità della pianificazione top-down. Tra i due tipi di progettazione si può e si deve trovare un terreno comune, unendo le caratteristi-che più efficaci dei due approcci e ottenendo un metodo ibrido, incrociando strade istituzionali, presenza di professionisti e con-tributo dell’utente finale.

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LA PARTECIPAZIONE

Il concetto di partecipazione implica l’inclusione di soggetti o gruppi sociali in un processo progettuale che spesso è risultato di una consultazione tra vari attori (utenti, autorità pubbliche e attori privati). E’ una pratica in grado di costruire condivisione di senso e di aggiungere valore relazionale in una società spesso frammentata e vulnerabile. Il massimo grado di partecipazione si ha quando tutti intervengono in egual misura nella gestione e sono direttamente ed egualmente coinvolti nel processo decisio-nale.I processi partecipati sono avventure ad elevato grado di incer-tezza e imprevedibilità. Tuttavia in un rapporto complesso, i cui esiti finali sono determinati anche da numerose variabili di conte-sto, può essere utile tenere presente alcuni fattori in gioco come l’ascolto, il coinvolgimento e una sorta di educazione dei cittadini; si pongono le condizioni affinchè essi possano essere soggetti attivi di cittadinanza e interpreti di un nuovo modello di società. Nelle pratiche progettuali di questo tipo la partecipazione svol-ge un ruolo fondamentale. Infatti, l’uso finale sarà più efficiente quando la prospettiva dell’utente verrà considerata come parte del progetto.

La fase inaugurale dei processi di partecipazione avviene tra la fine degli anni sessanta e la fine degli anni settanta, rendendo evidente il conflitto esistente tra parte della società e le istitu-zioni, considerate incapaci di governare tenendo conto di bisogni e desideri comuni. In Italia, ad esempio, vedono la luce le prime esperienze dei consigli di quartiere.Gli anni ottanta vedono la mobilitazione di movimenti urbani in opposizione ai progetti di trasformazione territoriale. Nei casi di sindrome Nimby (acronimo inglese per Not In My Back Yard, let-teralmente “Non nel mio cortile”) si riscontra un atteggiamento che si attua nelle proteste nei confronti di opere di interesse pub-blico, temendo che si possano avere effetti negativi sui territori in cui verranno costruite; vengono riconosciute come necessarie ma, contemporaneamente, nessuno le vuole nel proprio territo-rio a causa delle eventuali controindicazioni sull’ambiente loca-le. La spinta ideologica della contestazione si manifesta debole e l’impegno progettuale è limitato; al contrario, ciò che rende forti queste proteste è la capacità di autorganizzazione e l’efficacia delle azioni.Durante gli anni novanta le istituzioni sono più predisposte verso strategie di costruzione del consenso, investendo anche in ope-razioni di sensibilizzazione e coinvolgimento nelle decisioni di in-teresse collettivo. Il passaggio tra gli anni ottanta e novanta rap-presenta quindi un momento di discontinuità e di affermazione dell’importanza dei processi partecipati; le amministrazioni ini-ziano a prendere in conto la partecipazione come strumento utile per perseguire un bene comune, sebbene continuino a emergere iniziative locali (e globali) di contestazione e mobilitazione collet-tiva autonoma.

Il principio fondamentale della partecipazione, su cui si basano anche le proposte di Yona Friedman, architetto e urbanista un-gherese, è la centralità degli abitanti: non devono essere con-siderati solo come consumatori, ma come dei professionisti ed esperti in materia di habitat, e di conseguenza devono essere coinvolti nella determinazione di ogni progetto. Uno tra gli obiettivi della ricerca di Friedman è quello di allegge-rire l’architettura dal peso della tecnicità e della specialisticità. Infatti egli vuole ricondurre la produzione artistica al di fuori del campo specialistico nel quale si trova, per metterla in contatto con la vita di ogni giorno e con i bisogni di tutti.

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Le strutture irregolari non sono interessanti solo per la ricchezza formale che creano: la vera risorsa sta nel modo di costruirle, tollerando quell’imprecisione che le rende accessibili a tutti i non professionisti, dotati di competenza media e privi di utensili raf-finati. Rendere facili e accessibili le tecniche costruttive può avere im-portanti conseguenze sociali, in quanto anche in assenza del pro-fessionista chiunque può materialmente dare forma alle proprie idee. L’architettura diventa così sempre meno la rappresentazione di chi la progetta e sempre piu la rappresentazione di chi la usa: libera, alla portata di tutti e legittimamente restituita all’utente.

Il tema della partecipazione viene affrontato anche da Giancarlo de Carlo, architetto italiano. Il suo pensiero si colloca all’inter-no di una riflessione che riguarda il progetto di architettura e il senso che questo può assumere per coloro che ne fanno uso ed esperienza. Il progettista è un esperto capace di portare a sintesi le dimensioni tecnica, politica, sociale e interattiva del progetto di architettura. De Carlo, allargando il proprio punto di vista da architetto verso orizzonti sociali, tiene conto del fatto che esiste la propensione verso un’organizzazione dello spazio fisico deter-minata dalla volontà delle istituzioni e della politica, mentre la volontà delle classi sociali non viene per nulla presa in conside-razione. Il controllo da parte dell’amministrazione e dei mercati speculativi è sentito dalla gente come un freno, un attrito che talvolta porta a proteste e rivolte. Secondo De Carlo occorre revi-sionare il modo di fare architettura, passando dalla tradizionale pratica autoritaria ad una nuova pratica fondata sulla partecipa-zione.Il primo tema da esaminare è colmare il divario tra ciò che è co-struito e ciò che è desiderato e necessario. La partecipazione ef-fettivamente va a guardare a questo divario coinvolgendo l’utente nelle fasi di progettazione, per arrivare ad un sensibile e predi-sposto ai cambiamenti.Un’operazione tradizionale di architettura vede tre momenti prin-cipali: la definizione del problema, l’elaborazione della soluzione, la valutazione dei risultati. La sequenza dei tre momenti è se-quenziale ed irreversibile e l’operazione è considerata conclusa una volta finito il percorso. Solo la progettazione e l’esecuzione dell’opera vengono considerate rilevanti, mentre nel primo mo-mento si ricorre spesso all’intuizione e non alla volontà dei de-stinatari e il momento della valutazione dei risultati viene poco affrontato.Al contrario, la partecipazione coinvolge gli utenti lungo tutto il corso dell’operazione, in ogni fase del progetto; i diversi momenti sfumano uno nell’altro, si intrecciano, l’operazione cessa di es-sere lineare e consequenziali. Il momento della definizione del problema è parte integrante del progetto: gli obiettivi dell’operazione diventano argomento di discussione con i futuri utenti. Il momento della progettazione non tende più ad un prodotto unico e finito, ma prende forma da una serie di ipotesi che continuano ad migliorarsi passando attraverso le opinioni e i contributi creativi degli utenti. Il compito del progettista è di estrarre le soluzioni da un confronto continuo con i destinatari dell’opera. La pratica della partecipazione varia dunque in ogni momento del progetto: obiettivi, soluzioni, modi d’uso e criteri di giudizio, aggiustandosi reciprocamente, genera-no un’esperienza che continua a accrescersi.

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IL NUOVO RUOLO DELL’ARCHITETTO

I professionisti che vengono dal campo dell’architettura e dell’ur-banistica stanno ripensando il loro ruolo all’interno dello sviluppo di questo tipo di pratiche. Il progettista non si afferma più come unico attore creativo, ma riveste il ruolo di mediatore tra contri-buti portati dagli utenti finali e conoscenze tecniche e formali ca-ratteristiche della propria professionalità; architetti e designers hanno sensibilità nel cogliere e risolvere con soluzioni ipotetiche problemi reali, locali, sociali ed urbani, portando concretamente l’idea dal foglio disegnato al mondo reale.

All’interno del processo partecipativo l’architetto quindi apporta proposte personali, coglie segnali e contraddizioni locali e le ri-compone in un progetto possibile; tuttavia la qualità del risultato si verifica davvero solo quando i partecipanti si riconoscono in ciò che l’architetto propone. Il ruolo dell’architetto è di essere mediatore e coordinatore, bilanciando quindi bisogni e richieste provenienti da parti diverse, esplorando e valorizzando sia risorse individuali che collettive al fine di risvegliare un nuovo spirito di comunità e facilitare il cambio di attitudini. Le proprie conoscen-ze e competenze di ordine tecnico ed artistico contribuiscono ad interpretare le indicazioni dei partecipanti secondo un linguaggio ed una forma originali, riconoscendo il valore dell’estetica, dei materiali e della progettazione. “L’architetto porta coerenza e stile all’intero processo: un’esperto è capace di portare a sintesi le dimensioni tecnica, politica, sociale e interattiva del progetto di architettura.” (Giancarlo De Carlo). In alcuni casi l’architetto sceglie di rimanere quasi invisibile, no-nostante apporti competenze decisive all’intervento; in questo modo i cittadini si assumono insieme al progettista la responsa-bilità diretta del luogo in cui vivono.

Yona Friedman afferma che l’architettura debba essere concepi-ta con le persone e materializzata il più possibile con le persone. Ciò non significa che l’architetto non abbia ruolo nel processo: egli fornisce appunto idee, tecniche, nuove estetiche, che ver-ranno validate però solo con le persone, per le persone, dalle persone. Anche gli architetti sono persone, appartengono alla categoria gente.

De Carlo suggerisce che infine l’architetto debba revisionare il modo di fare architettura per restituire legittimità all’architettura stessa;

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IL BLOG

12

LA STRUTTURA

Le pratiche sono state divise per due tipi di categorie: quelle che indicano l’ambito in cui si svolge l’azione, e quelle che individua-no la modalità di intervento. Ad ogni progetto sono state attribuite una o due del primo tipo (ambito) e una sola del secondo tipo (modalità).Ogni azione è descritta tramite una ID (carta d’identità), una de-scrizione d’insieme del processo e attraverso gli strumenti e materiali utilizzati. Inoltre è esaminata da dodici indicatori, sia di tipo quantitativo (come per esempio la durata del progetto) che di tipo qualitativo (come il livello di sostenibilità). Ogni indicatore ha quattro gradi di valutazione: “spento”, basso, medio, alto. Ogni progetto è contestualizzato in una mappa, è provvisto di gal-leria fotografica e dei link di riferimento della ricerca. Questo database permette all’utente di sfogliare ogni azione in vari modi: categorie, tag, indicatori, luogo.E’ possibile commentare e condividere su social network ciascun progetto.Inoltre è presente un’area che permette ai visitatori del blog di caricare i progetti per continuare a creare un utile archivio di strategie attuabili che possono essere replicate in altre città.


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PRINZESSINNENGÄRTE

N

January 26, 2013

by sofia

Place:Berlin (Germany). Date: 2009. Time: Ongoing.

Space: Vacant lot. Cost: Unknown. Public actors: -.

Private actors: Marco Clausen, Robert Shaw, residents,

volunteers. Prinzessinnengärten was…

FILL-A-VOID, LEISURE, URBAN AGRICULTURE

FORAT DE LA

VERGONYA

January 17, 2013

by sofia

Place: Barcelona (Spain). Date: 2004. Time: Ongoing.

Space: Urban void. Cost: -. Public actors: Barcelona City

Council. Private actors: citizens. Due to an urban

renewal,…

FILL-A-VOID, NEED, URBAN AGRICULTURE

HORTOLAB

January 12, 2013

by stefania

Place: Cáceres (Spain). Date: 2011. Time: Ongoing.

Space: Public space. Cost: Unknown. Public

actors: Ayuntamento de Cáceres. Private actors:

Straddle3, CTRL+Z, Todo por la Praxis, Ribera…

EDUCATION, NEW BUILT, URBAN AGRICULTURE

LE GRAND

DETOURNEMENTJanuary 11, 2013

by stefania

Place: l’Île-Saint-Denis (France) Date: May 2012 Time: 5

days Space: Abandoned place Cost: Unknown Public

actors: Plaine Commune, l’Île-Saint-Denis city Private

actors: Bellastock, architecture students Founded in…

EDUCATION, LEISURE, URBAN ACTION

AFTER [ANDES-

DOÑABITALIA]January 10, 2013

by sofia

Place: Bogotà (Colombia). Date: 2011. Time:

Undetermined. Space: Rooftop. Cost: Unknown Public

actors: – Private actors: University of Los Andes, Familia

Quemba, Habitat Din Fronteras,…

NEED, PARASITE

Guerrilla Bike Lanes

January 18, 2013 / by sofia / in

GUERRILLA, NEED

Illuminaccion

January 16, 2013 / by stefania / in

HIGHLIGHT, LEISURE, URBAN ACTION

Edible Schoolyard

January 15, 2013 / by stefania / in

EDUCATION, NEW BUILT, URBAN

AGRICULTURE

Recycling Tokyo

January 14, 2013 / by sofia / in

EDUCATION, MAPPING, RESEARCH

Islands of LA

January 14, 2013 / by sofia / in FILL-A-

VOID, HIGHLIGHT, LEISURE, URBAN

ACTION

Safari Basura

January 13, 2013 / by sofia / in NEED, RE-

USE, URBAN ACTION

ABOUT BLOG HOME UPLOADING FORM

APPROPRIATE, SUBVERTE, ACTIVATE!January 8, 2013

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Categorie

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NEEDNecessità

A livello di quartiere possono nascere dei bisogni e delle necessità tra la gente, dovuti prevalentemente alla mancanza di spazi per la socia-lità, alla presenza di vuoti urbani che potrebbero essere riempiti con attività, alla carenza di assistenza da parte della municipalità, spesso troppo lenta nel riconoscere i problemi dei cittadini e trovare loro una soluzione. A volte quest’ultima è data in parte da progetti ed azioni volti a concretizzare i bisogni del vicinato.

LEISURETempo Libero

Locali, attrezzature sportive, parchi, centri per il benessere, negozi, spa-zi pubblici, tutto può essere pensato e progettato per rendere il tempo che le persone trascorrono al di fuori del lavoro una parte importante della giornata. I progetti per il tempo libero si focalizzano sulla comuni-cazione sociale, l’accrescimento di capacità personali e il divertimento. L’impegno collettivo nasce anche dall’interesse individuale, che col cre-scere delle idee e dell’entusiasmo necessita anche dello spazio e delle infrastrutture per manifestarsi e concretizzarsi.

URBAN AGRICULTUREAgricoltura Urbana

Per agricoltura urbana si intende l’insieme di pratiche di coltivazione, lavorazione e distribuzione di cibo in contesto urbano. E’ compreso in queste pratiche anche l’allevamento di animali, l’acquacoltura, l’agro-forestazione e l’orticoltura, che possono essere svolte anche in aree peri-urbane. L’agricoltura urbana aumenta la quantità di risorse delle persone che vivono in città, permettendo loro la disponibilità di verdure, frutta e carne sempre freschi.

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EDUCATIONEducazione

Alcune azioni e progetti sono finalizzati sia all’apprendimento di tecni-che, procedimenti e conoscenze, sia alla sensibilizzazione verso diversi stili di vita e tematiche legate all’urbano. La formula del workshop, (in-segnare e imparare sul campo), permette al professionista di entra-re in contatto diretto con le persone e comprende spesso l’uso pratico di strumenti, il coinvolgimento attivo e lo svolgimento istantaneo delle pratiche che si vogliono comunicare.

MAPPINGMappare

Mappare luoghi e cose significa uno sforzo collaborativo tra persone che hanno interessi comuni verso un particolare territorio o argomen-to. La mappa può essere lo strumento e il mezzo ma anche il risultato finalizzato alla creazione di reti riguardanti attività simili e alla raccolta di informazioni da condividere che legano situazioni a luoghi.

HIGHLIGHTEvidenziare

Per richiamare l’attenzione delle persone verso un determinato tema o verso un problema, alcune azioni sono volte far risaltare e notare og-getti urbani, edifici abbandonati, situazioni di degrado e spazi di risulta. Cambiare il colore di un oggetto aumenta molto la sua visibilità, come anche illuminare gli spazi verso cui si vuole richiamare l’attenzione op-pure cambiare la loro ordinaria destinazione d’uso.

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RE-USERiuso

Gli edifici e gli spazi urbani possono presentare nei propri cicli di utilizzo dei momenti di transizione e abbandono, durante i quali le destinazioni d’uso iniziali vengono a mancare a causa di deindustrializzazione o cri-si economiche. Questi tempi di incertezza possono essere colmati da fenomeni di riuso, con nuove destinazioni d’uso che spesso riescono ad innescare dei processi di rigenerazione urbana attorno all’edificio soggetto di queste sperimentazioni.

PARASITEParassita

L’architettura parassita può essere definita come una forma adattabile e passeggera che sfrutta la relazione con l’edificio ospite per i proprio funzionamento, immettendosi come copro nuovo in un edificio o in una struttura urbana preesistente. Alcune architetture parassite non pos-sono sostenere la propria esistenza senza sottrarre energia dal surplus fornito dagli scarti dell’edificio ospite, mentre si legano ad esso spazial-mente e strutturalmente per necessità.

GUERRILLAGuerrilla

La guerrilla urbana è una strategia in cui vengono usati mezzi non con-venzionali e a basso costo (graffiti, stickers, flash mobs) per trasmette-re e promuovere idee. Questi interventi, spesso illegali, sono su piccola scala, localmente motivati e nascono dal bisogno di autorisolversi pro-blematiche attraverso azioni dirette. Gli ingredienti sono opposti a quelli per una progettazione tradizionale: lavorare velocemente, sovversiva-mente, in modo economico e con soluzioni temporanee.

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NEW CONSTRUCTIONNuova Costruzione

I progetti che non interagiscono con tipi particolari di spazi come vuoti urbani, edifici abbandonati o lo spazio pubblico, sono quelli di nuova costruzione. Vengono prevalentemente pensati per essere permanenti, ma non per questo escludono l’uso di materiali di riuso o temporanei.

URBAN ACTIONAzione Urbana

Le azioni urbane sono manifestazione di necessità di appropriazione personale per portare carattere a spazi anonimi e di passaggio come ad esempio la strada, principale palcoscenico per questo genere di fe-nomeni: gli spazi chiusi solitamente non favoriscono la stessa varietà che invece le pratiche orizzontali incoraggiano. Le azioni urbane sono esperimenti che mostrano come il coinvolgimento personale nel Fare possa avere un ruolo attivo nel dare una forma alla città.

FILL-A-VOIDColmare il vuoto

Molti terreni pubblici e privati in contesto urbano sono vuoti, sfitti o non trovano utilizzo; grazie ad azioni di rigenerazione urbana molte di que-ste aree sono diventate terreno di sperimentazione legata al sociale a livello di quartiere o ad attività legate al tempo libero. I vuoti urbani de-vono essere considerati “riserve” in grado di accogliere attività tempo-ranee di riattivazione urbana, in attesa di nuova destinazione d’uso.

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RESEARCHRicerca

Per ricerca si intende la tipologia di progetti e azioni che non sono at-tuati nel concreto e materialmente, ma rimangono teorici o virtuali. La loro visibilità per questo è quasi esclusivamente legata all’utilizzo del web, che se da un lato ne limita accessibilità diretta a livello locale (ad esempio a differenza di un’azione urbana, visibile e percepibile dai passanti), dall’altro ne aumenta il potenziale di condivisione ad ampia scala. Si mettono a disposizione conoscenze che sta all’utente reperire.

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Indicatori

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TIME LIFEDurata

Ø time life: Questi sono progetti “senza durata”, a-temporali. Infatti si tratta di progetti sospesi, oppure spesso di ricerche che non prevedono risvolti pratici o azioni urbane partecipate.

Temporary: I progetti temporanei, che sono spesso azioni, possono variare la loro durata da qualche ora fino ad un massimo di tre mesi. Questi sono spesso relazionati a un tempo tra un vecchio e nuo-vo uso dello spazio

Medium time life:Un progetto che esiste per un tempo variabile, che va dai tre mesi a pochi anni, pensato con una finalità non permanente.

Permanent: I progetti permanenti sono stati pensati con l’intenzione di per-durare nel tempo, e hanno una durata complessiva di anni.

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Ø sustainability: I casi in cui non è stato possibile valutare l’aspetto della soste-nibilità (come per esempio progetti di ricerca senza obiettivi so-stenibili).

Low sustainability:Un’azione che include solo un alcuni degli aggettivi precedenti è stata definita “bassa sostenibilità”.

Medium sustainability:L’indicatore “media sostenibilità” è stato dato nei casi in cui manca qualcuno dei precedenti fattori.

High sustainability:E’ molto sostenibile ogni progetto che ha avuto l’intenzione di un approccio consapevole, grazie all’utilizzo di materiali di riciclo o di riuso, o al ciclo di vita pensato in ogni sua fase, all’intenzione di riqualificare un luogo dismesso, e all’ alterazione non perma-nente del sito in cui è inserito.

SUSTAINABILITYSostenibilità

L’intento di un’azione sostenibile è quello di minimizzare l’impatto am-bientale, in modo da non compromettere le opportunità di sviluppo per le generazioni future. Questo approccio cosciente prende in considera-zione ogni fase del progetto: dalla selezione dei materiali alla costru-zione, dal mantenimento alla dismissione. Nell’ambito delle pratiche partecipate può rappresentare una sfida etica nel ritardare la caducità di determinati materiali e nel sfruttare le risorse a noi disponibili, ma anche una sfida estetica nel trasformare qualcosa considerato in disuso in un’opera di immaginazione.

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Ø community impact: “no impatto sulla comunità” include gli interventi che non han-no avuto risvolti positivi sulla comunità, e comprende spesso le ricerche che non sono direttamente esposte o accessibili alle persone.

Low community impact:I progetti a “basso impatto sulla comunità” possiedono solo al-cuni dei fattori precedenti.

Medium community impact:Se manca qualcuna delle caratteristiche sopra descritte, il pro-getto si definisce con “medio impatto sulla comunità”.

High community impact:Alto impatto sulla comunità è presente quando in un intervento è coinvolto un considerevole numero di persone, e la partecipa-zione avviene da parte di diversi gruppi sociali. La comunità trae benefici dalla soluzione di problemi comuni.

COMMUNITY IMPACTImpatto sulla comunità

L’impatto che può avere un’azione sulla comunità è considerato in ter-mini di benefici e vantaggi per le persone. Alcuni problemi sociali (come la presenza di vuoti urbani e il conseguente svilupparsi di relazioni am-bigue, il senso di alienazione tipico delle grandi città a causa della man-canza di memorie comuni o per l’assenza di esperienze condivise) pos-sono trovare una soluzione, o per lo meno migliorare, grazie ad azioni partecipate nella loro creazione e utilizzo.

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Ø friction: I progetti che non incontrano alcun tipo di tensione e di-saccordo durante il loro percorso.

Low friction:Alcuni progetti vedono espresso un disaccordo tra i singoli auto-ri dei progetti e le autorità.

Medium friction:Lo svolgersi di un azione illegale, come l’appropriazione indebita di spazi, provoca qualche tensione, che non vede però interventi da parte delle amministrazioni.

High friction: Dove è presente molta tensione, che si è trasformata in azioni violente da parte delle autorità o degli utenti.

FRICTIONTensione

Le pratiche partecipate possono creare tensioni sociali, politiche e me-diatiche, a causa di contoversie sulle modalità di azione, l’appropria-zione illegale di spazi e la mancanza di comunicazione tra gli attori. Passare il limite tra legalità e illegalità, innesca dinamiche di conflitto che speso portano a tensioni, espresse dai cittadini e dagli organizzato-ri, oppure tramite interventi da parte delle autorità.

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Low happiness:I progetti poco accessibili o poco utili. Non sono condivisi nè nell’ideazione nè nell’utilizzo. Talvolta si tratta di sensibilizza-zione, senza coinvolgimento diretto delle persone. Non sono progetti condivisi.

Medium sustainability:Progetti accessibili e interattivi. Può trattarsi di un’iniziativa di un gruppo all’interno della comunità, ma che non ha risvolti con-creti positivi, o di un intervento di sensibilizzazione interattiva che non crea coinvolgimento attivo. Può crearsi felicità grazie alla soluzione a desideri effimeri o meno profondi, oppure in ma-niera solo temporanea (per esempio nei casi di azioni urbane). L’utenza è attiva ma poco coinvolta, oppure il progetto è poco condiviso. E’ possibile che siano presenti tensioni.

High happiness:Si tratta di progetti condivisi, accessibili, in cui il coinvolgimento delle persone è alto, e si crea un alto livello di soddisfazione. Riguardano interventi che rispondono a desideri non effimeri, duraturi. Sono compresi progetti che riguardano il tempo libero e il divertimento, e con ampia risposta da parte dell’utente. Sono totalmente assenti eventuali tensioni.

HAPPINESSFelicità

Indurre felicità è per lo più dovuto alla capacità di rispondere a desideri individuali e di influenzare gli stati d’animo delle persone. Nel caso di azioni partecipate è possibile grazie al senso di utilità sociale, al lavoro collettivo e all’aiuto reciproco. Anche il risultato è importante: la qua-lità estetica e il successo di un progetto creato dai cittadini aumenta il sentimento di felicità. La verifica dei risultati, riferita al modo in cui il prodotto è utilizzato, e il giudizio sono più o meno positivi a seconda che le esigenze degli utenti siano più o meno soddisfatte.

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Ø cost effective:Non produttivo.

Low cost effective:Progetti che generano economia solo occasionalmente.

Medium cost effective:Progetti in cui avviene un processo produttivo grazie a risorse naturali, come la creazione di orti urbani o simili. Si tratta di progetti che producono beni, anche grazie ad eventi culturali o musicali.

High cost effective:Interventi in cui si crea un circolo di denaro grazie a funzioni come bar o ad attività culturali come corsi e workshop.

COST EFFECTIVEProduttivo

La capacità di un progetto di generare beni, che siano economici o di consumo, può giovare ad una comunità sia per la loro vendita che per il loro consumo. Infatti, può svilupparsi un modo di vivere nuovo e alter-nativo, che produce e consuma beni, cultura e servizi nello stesso luogo, rafforzando la capacità di recupero di una comunità. Anche la terra e la natura sono il complesso delle risorse naturali (terra, materie prime, energie naturali) che contribuiscono al processo produttivo, mentre il capitale è il complesso delle risorse materiali prodotte dal lavoro.

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Ø DIY:Se non è prodotto nulla di materiale, o il progetto è stato inte-ramente costruito da un impresa incaricata o da professionisti del mestiere.

Low DIY:Si tratta delle installazioni di artisti, che per definizione sono au-tori delle proprie opere, oppure di progetti che sensibilizzano/educano all’autocostruzione.

Medium DIY:Professionisti che auto-costrusicono dei progetti in cui l’auto-costruzione è vista come un valore aggiunto del lavoro.

High DIY:Progetti di autocostruzione da parte di persone non professioni-ste, talvolta accompagnate dalle indicazioni di un architetto o di collettivo di architetti

DO IT YOURSELFAutocostruzione

E’ un’attività manuale che consiste in lavori di auto-costruzione che una persona, generalmente non professionista, esegue per proprio conto e propria soddisfazione, nel tempo libero. Il valore di questa pratica è il potere dell’individuo e delle comunità, che sono incoraggiati, attraver-so l’uso di approcci alternativi, a raggiungere i propri obiettivi. Ciò che conta è la creatività e l’immaginazione che ogni singolo abitante può mettere a disposizione per appropriarsi di un dato contesto fisico; infatti questa pratica soffisfa non solo esigenze pratiche, ma anche creative: oltre a migliorare le condizioni materiali, è un supporto al bisogno di co-municare rappresentando se stessi. Il fatto di coinvolgere direttamente le mani rappresenta il modo di dedicarsi fisicamente alla costruzione e non solo alla progettazione. Una volta date le istruzioni, trovati i materiali e procurati gli strumenti, l’auto costruzione può avere inizio: la forma si definirà mano a mano che si procede nella realizzazione della struttura.

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Ø professionist presence:Il professionista è totalmente assente, c’è totale autonomia da parte della comunità

Low professionist presence:Il professionista è presente solo in una delle fasi precedenti.

Medium professionist presence:Il professionista è presente in due delle tre fasi precedenti

High professionist presence:Se il professionista è presente in tutte le seguenti fasi: ideativa, progettuale e costruttiva.

PROFESSIONIST PRESENCEPresenza del professionista

Il ruolo dell’architetto nelle pratiche partecipate è di mediare tra gli attori, di portare le sue competenze e nel portare idee, tecniche, coe-renza, stile ed estetica all’intero processo progettuale. Come dice Yona Friedman, questi esperti verranno poi validati con le persone e dalle persone. Il dibattito sulla trasformazione del ruolo dell’architetto è fre-quente oggi: il nuovo ruolo sembra essere quello di intermediario tra gli attori, tra i disaccordi, tra i conflitti d’interesse e la qualità, facendo del risultato finale una risposta a diverse individualità. L’architetto parte-cipa a una pratica bottom-up dando potenziale e forma alle esperienze condivise.

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Ø politics:E’ assente l’amministrazione nei processi del progetto.

Low politics:E’ presente approvazione da parte delle autorità, tramite con-trolli e permessi.

Medium politics:L’amministrazione è presente come supporto ad un progetto.

High politcs:I casi in cui il progetto è stato promosso da un ente pubblico o dall’amministrazione; professionisti sono stati chiamati dalle autorità per intervenire su un’area. Possibile anche la presenza delle autorità come ostacolo forte alla realizzazione di un pro-getto.

POLITICSPolitica

L’amministrazione è uno dei vari attori che possono contribuire alla re-alizzazione di una pratica partecipata. Infatti da legittimità alle procedu-re e alle politiche di pianificazione urbana. Nelle dinamiche dei progetti bottom-up, la pianificazione e la costruzione non possono essere più unilaterali; diventano un ibrido tra auto-gestione e controllo dell’ammi-nistrazione. Il soggetto di molte controversie è la questione della politi-ca che a volte diventa un ostacolo alla libera concezione e allo sviluppo dei progetti partecipati, riguardo a problemi che nascono da conflitti di interessi economici e pollitici.

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Ø aesthetic:Progetti non valutabili sotto l’aspetto dell’estetica, come ricer-che, o azioni urbane che non includono un aspetto visivo.

Low aesthetic:Progetti in cui l’estetica è lasciata al secondo posto, per soddi-sfare criteri di funzionalità e utilizzo.

Medium aesthetic:Non sono presenti tutti i fattori sopra descritti.

High aesthetic:I casi in cui la chiarezza della forma è in relazione ai suoi principi generatori, in cui i materiali sono utilizzati in maniera coerente e compositivamente efficaci.

AESTHETICEstetica

Ci sono molti valori che contribuiscono a dare al progetto qualità este-tica. Questa è strettamente legata alla forma: elementi che definiscono l’estetica possono essere infatti la chiarezza della forma in relazione ai suoi principi generatori, l’espressione congruente dei principi interni al progetto. Elementi tecnologici come i materiali, sono selezionati sulla base delle loro proprietà visuali e performative, le soluzioni strutturali sono applicate al lavoro efficientemente e per dare un caratere estetico al progetto. Una buona relazione con il contesto aiuta a creare un inte-grazione armoniosa del nuovo lavoro.

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Ø site specific:Alcuni progetti sono addirittura mobili, il che significa che sono totalmente distaccati dal tipo di spazio e dal luogo in cui vanno ad inserirsi, e che si materializzano solo dove e quando ne è ri-chiesto il bisogno.

Low site specific:Al contrario, ci sono progetti che possono essere ripetuti ovun-que, grazie alle loro caratteristiche adattabili all’uso comune e ai materiali reperibili, che possono essere disegnati a moduli prefabbricati.

Medium site specific:Alcuni progetti sono strettamente legati al tipo di spazio per cui sono stati pensati e progettati, ma non al luogo specifico in cui si trovano. Per esempio un generico vuoto urbano o edificio abban-donato, che si trovi in italia o negli stati uniti.

High site specific:Il progetto non può essere replicato in nessun’altro posto a cau-sa delle sue caratteristiche peculiari che lo collegano stretta-mente al sito per cui è stato pensato. Spesso questi sono proget-ti permanenti, come restauri di edifici, con una stretta relazione con il contesto, in cui si utilizzano materiali locali o soluzioni su misura.

SITE SPECIFICDurata

Un intervento si definisce site specific quando è pensato e si inserisce in un preciso luogo, e la sua interazione con l’ambiente circostante è stretta e fa riferimento a tutti gli aspetti della sua identità.

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Ø social network:Quando non è presente alcun tipo di informazione online sul progetto

Low social network:Se i progetti e/o i progettisti possiedono un sito web aggiornato, e interagiscono con le persone tramite social network come Fa-cebook o Flickr, ma non c’è necessità per il fine del progetto di avere interazione basata sul web.

Medium social network:Se i blog, i siti web e cosi via sono utilizzati come strumenti per comunicare l’evoluzione di un progetto o di un azione, per invi-tare a prendere parte ad eventi che hanno luogo nello spazio del progetto.

High social network:I casi in cui il web è lo strumento necessario perchè il progetto possa esistere.

SOCIAL NETWORK

L’uso di social network come Facebook, i blog o di canali video come Youtube o Vimeo, è molto aumentato negli ultimi anni. Sono piattaforme di scambio e connessione tra una moltitudine di utenti, uno strumen-to utile a raccogliere un gran numero di opinioni e commenti. I social network promuovono la creazione di una comunità attiva, sono i motori che aiutano i progetti a guadagnare visibilità e partecipazione senza re-strizioni.

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mediumhappinessmedium politicsmediumprofessionistpresencemedium sitespecific mediumsocial networkmediumsustainabilitymediumtemporary metal sheet

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Home / 596 Acres

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596 ACRES

January 26, 2013 · by stefania · in MAPPING, RESEARCH

©2013 Google -

Imagery ©2013 TerraMetrics,

PlacePlace: New York (USA).

DateDate: 2011.

TimeTime: Ongoing.

SpaceSpace: Vacant lots.

CostCost: 2,230$.

Public actors:Public actors: -.

Private actorsPrivate actors: 596 Acres team, citizens.

Vacant urban land abounds, often locked behind chainlink fences in neighborhoods

sorely in need of green space and other amenities such as fresh produce. A

multidisciplinary group (including a programmer, designer, and artists) formed 596

Acres to encourage communities to re-envision the possibilities for the vacant lots in

their own backyards. The name refers to the quantity of vacant city-owned land in

Brooklyn, which the group catalogued, mapped, and printed on a poster that reads “Find

the lot in your life. Contact the owner. Work out a deal. Grow something. We can help.”

They hung the posters on hundreds of lots, prompting locals to action. Their interactive

online map, combined with educational workshops, “labeling walks,” and more, have

made 596 a valuable community resource. [from SpontaneousInterventions]

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References:

http://596acres.org

Tags: high professionist presence, high social network, high sustainability, laptop, low cost

effective, low diy, low happiness, map, medium community impact, medium site specific, no

aesthetic, no friction, no politics, no time life

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Home / 1415 Mallinckrodt

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1415 MALLINCKRODT

January 20, 2013 · by sofia · in LEISURE, RE-USE

©2013 Google -

Imagery ©2013 DigitalGlobe,

PlacePlace: St. Louis (USA).

DateDate: 2012.

TimeTime: Ongoing.

SpaceSpace: Abandoned building.

CostCost: 100,000$.

Public actors: Public actors: -.

Private actorsPrivate actors: Rebuild Foundation, Most

Holy Trinity Catholic School, volunteer,

students.

When Theaster Gates – artist and founder of the Rebuild Foundation – led a series of

classes asking students from Most Holy Trinity Catholic School and Academy to describe

a healthy community, it could have ended there. Instead, an inspired parishioner

donated a dilapidated multi-family building that Gates, and an army of volunteers

(including students from Washington University’s CityStudioSTL), transformed into an

arts center providing the cultural programming lacking in the neighborhood. Volunteers

re-clad one wall of the house, known as 1415, in reclaimed hardie board, made a

community theater/performance space by replacing a wall with a garage door, and

established a community advisory committee to help with programming. The

transformed structure now houses arts classes, workshops, and artist residencies.

[From SpontaneousInterventions]

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References:

http://www.rebuild-foundation.org/

http://www.flickr.com/photos/rebuildfoundation/

http://www.facebook.com/rebuildfoundation?fref=ts

http://www.spontaneousinterventions.org/project/1415

Tags: high community impact, high happiness, low politics, low site specific, low social network,

medium aesthetic, medium cost effective, medium diy, medium professionist presence, medium

sustainability, no friction, paint, permanent, wood panel

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Home / A di città

← Soundmap Subjective map of Valadares →

A DI CITTÀJanuary 21, 2013 · by stefania · in FILL-A-VOID, LEISURE, NEED

©2013 Google -


PlacePlace: Rosarno (Italy).

DateDate: 2012.

TimeTime: One week.

SpaceSpace: Vacant lot, public space.

CostCost: Unknown.

Public actors: Public actors: Municipality of Rosarno.

Private actorsPrivate actors: Collectif ETC, students,

citizens.

The project is about urban regeneration of public vacant spaces with an interdisciplinary

approach (from art to architecture). During the one week workshop have taken part

architecture students, city residents, various artist (Ivan, Spy…) and Collectif ETC. Three

empty spaces have been chosen as locations of daily cultural events and participation in

designing and auto-constructing. The main site used to be a storage for waste materials

by the Municipality: during the workshop they have been used by the group of

architecture students, who divided the space into five parts with different uses (the

results of collecting desires and ideas from the residents): a garden, an outdoor lounge,

a gazebo, a football pitch, a playground. But when the workshop ended, the Municipality

closed the area probably due to safety problems, and the residents of Rosarno can not

access to the renewed public space.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

Videos:

http://www.youtube.com/watch?v=FYaScZNGHCk&feature=player_embedded

References:

http://www.collectifetc.com

http://adicitta.wordpress.com

Tags: Collectif ETC, high diy, high happiness, high professionist presence, high sustainability,

low friction, low social network, medium aesthetic, medium community impact, medium politics,

medium site specific, no cost effective, paint, pallet, temporary, tire, wood plank

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Home / AFTER [Andes-DoñaBitalia]

← AFTER [La Otra-Sentires] Getxoberpiztu! →

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AFTER [ANDES-DOÑABITALIA]January 10, 2013 · by sofia · in NEED, PARASITE

©2013 Google -


PlacePlace: Bogotà (Colombia).

DateDate: 2011.

TimeTime: Undetermined.

SpaceSpace: Rooftop.

CostCost: Unknown

Public actors: -Public actors: -

Private actorsPrivate actors: University of Los Andes,

Familia Quemba, Habitat Din Fronteras, Red

Unidos-Accion Social, Arquitectura Expandida.

After Project allowed different collectives linked to architecture and design to give a

second life to artifacts with a short term of life (ephemeral) in different social and urban

contexts, thanks to a wide network of collectives and social movements in Bogota D.C.

The After [Andes-Dona Bitalia] habilitated an extension for a low income family house,

with products coming from an experimental dwelling workshop for the Andes University

in Bogota. Students, teacher and arquitectura expandida together designed a structural

element, a versatile space through a simply structure made of Osb panels and

polycarbonate cover, that stores heat from solar radiation. This structure became

parasitic and symbiotic with the house through its use. These “After” research and

action lines merged and contaminated each other continuously, creating links among

projects, individuals, collectives and teams.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST

EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE

SPECIFIC

SOCIAL

NETWORKS

Videos:

http://vimeo.com/32642291

References:

http://arquitecturaexpandida.org/

Tags: Arquitectura Expandida, high happiness, high professionist presence, high site specific,

high sustainability, low community impact, low social network, medium aesthetic, medium diy,

no cost effective, no friction, no politics, permanent, polycarbonate panel, wood panel

URBAN AGRICULTURE

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Home / AFTER [La Otra-Sentires]

← Can Batllò AFTER [Andes-DoñaBitalia] →


AFTER [LA OTRA-SENTIRES]January 9, 2013 · by sofia · in FILL-A-VOID, LEISURE

©2013 Google -


-Place-Place: Bogotà (Colombia)

-Date-Date: 2011

-Time-Time: Ongoing

-Space-Space: Urban void

-Cost-Cost: Unknown

-Public actors: --Public actors: -

-Private actors-Private actors: Arquitectura

Expandida, Todo por la praxis,

Zuloark, Triptópolis, Territorios Luchas,

Pandemia Audiovisual, Laredada,

MedioLibre, Fundación Sentires, children

After Project allowed different collectives linked to architecture and design to give a

second life to artifacts with a short term of life (ephemeral) in different social and urban

contexts, thanks to a wide network of collectives and social movements in Bogota. The

After [La Otra-Sentires] implemented a children’s playground in a vacant lot, in

partnership with the children of Sentires Foundation, using products of an ephemeral

installation in “La Otra”, Contemporary Art Fair in Bogota. These “After” research and

action lines merged and contaminated each other continuously, creating links among

projects, individuals, collectives and teams.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST

EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

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SPECIFIC

SOCIAL

NETWORKS

Videos:


References:


Tags: Arquitectura Expandida, high community impact, high diy, high happiness, high site

specific, high sustainability, low aesthetic, low social network, medium professionist presence,

no cost effective, no friction, paint, permanent, tire, wood panel

URBAN AGRICULTURE

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Home / Al di qua del giorno

← Local Previews All Aboard →

AL DI QUA DEL GIORNO

January 27, 2013 · by stefania · in LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Prato (Italy).

DateDate: 2005.

TimeTime: 16 hours.

SpaceSpace: Public space.

CostCost: Unknown.

Public actors:Public actors: City of Prato.

Private actorsPrivate actors: Vittorio Corsini, people.

Al di qua del giorno is a public action 16 hours long by Italian artist Vittorio Corsini. An

apartment perimeter and its rooms (a kitchen, a livingroom, two bedrooms and a

bathroom) were drawn on the Cathedral Square in Prato. The objects of each room were

installed in the perimeter, so that once entered the rooms, visitors could experience

exactly a flat atmosphere. The apartment was open to public from 7 pm to midnight and

everyone could use and live the spaces as being at home. A real dinner was prepared in

the kitchen and offered to everyone. Also the surrounding buildings were part of the

work: their façades were used as screens for projecting the images of their inner flats.

This work was an attempt of experiencing the work of art by taking part in a public

event. [from CCA-actions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

References:

http://www.vittoriocorsini.com

http://cca-actions.org/actions/al-di-qua-del-giorno-day

Tags: chair, high professionist presence, low community impact, low diy, low politics, medium

aesthetic, medium happiness, medium site specific, medium sustainability, no cost effective, no

friction, no social network, paint, temporary, video projection

URBAN AGRICULTURE

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Home / All Aboard

← Al di qua del giorno ParcCentralPark →

ALL ABOARD

January 27, 2013 · by stefania · in GUERRILLA, HIGHLIGHT

©2013 Google -


PlacePlace: London (UK).

DateDate: December 2007.

TimeTime: 5 months.

SpaceSpace: Urban voids.

CostCost: Unknown.


Private actorsPrivate actors: Jean-François Prost

(Adaptive actions).

In September 2007 a 11 mile blue wall was erected in London to fence in the Olympic

building site, creating new boundaries and blocking the existing roads and paths. Graffiti

and stickers appeared immediately as sign of protest, and the neighbourhoods shew a

lot of discontent too. One day Jean-François Prost took up painting with the same blue

of the wall every object in the nearby and rubbish thrown away by passers-by. This

action is about possible permeability and accessibility of neglected areas, urban voids

appropriation and giving a meaning to transition periods of spatial changes. Little

attention has been given to the construction period of the Olympic structures, and

Londoners have lived many inconveniences in the every day life. This action did not solve

the problems, but highlighted signs of life in the surroundings, reusing and relocated

abandoned objects in the public space.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

Videos:

http://www.youtube.com/watch?v=ri8_ebfCv5E&gl=CA

References:

http://www.adaptiveactions.net/action/41/

Tags: high site specific, low community impact, low diy, low happiness, low sustainability,

medium aesthetic, medium friction, medium professionist presence, medium temporary, no

cost effective, no politics, no social network, paint

URBAN AGRICULTURE

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Home / Appropriate, Subverte, Activate!

← Demolition. Detroit. Disneyland. Can Batllò →


APPROPRIATE, SUBVERTE, ACTIVATE!

January 8, 2013 · by stefania · in HIGHLIGHT, URBAN ACTION

©2013 Google -


PlacePlace: New York (USA), Reykjavik (IS).

DateDate: 2011 – 2012.

TimeTime: Few hours.


CostCost: Unknown.

Public actors: Public actors: -

Private actorsPrivate actors: Marcos Zotes, Columbia

University, Reykjavik Winter Lights Festival

2012.

Appropriate, Subverte, Activate! Projection as Urban Activator” is a research about

temporary appropriation of public spaces through light projections on them. The project

carries out a series of interventions that change the perception of a space during

everyday order of urban life, criticizing the way politics manages urban spaces through

the highlighting of the physical or conceptual conflicts in each place. “Appropriate,

Subverte, Activate!” is a projection on the Columbia University Library, a call for action

seeking to create moments of reflection on the use of public space; the illicit action was

made even if the Columbia offered a censured version. “CCTV/Creative Control” is a

projection of an enormous big eye onto the lower surface of a water tower in Brooklin,

NY, “Rafmögnuð Náttúra” transforms the static facade of a church in Iceland into a

vibrant public space.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

Video:

http://www.youtube.com/watch?feature=player_embedded&v=NvDjiE5mHWI

http://www.youtube.com/watch?v=s7ptzUWaDYw&feature=player_embedded

References:

http://unstablespace.com/http://unstablespace.com/

Tags: high aesthetic, high professionist presence, high site specific, low friction, low happiness,

low politics, medium community impact, no cost effective, no diy, no social network, no

sustainability, temporary, video projection

URBAN AGRICULTURE

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Home / Astoria Scum River Bridge

← Kingshighway Skatepark Recycling Tokyo →


ASTORIA SCUM RIVER BRIDGE

January 14, 2013 · by stefania · in NEED, URBAN ACTION

©2013 Google -



DateDate: 30th December 2009.

TimeTime: 3 months.


CostCost: 0 $.

Public actors: Public actors: NYC Council.

Private actorsPrivate actors: J. Eppink, Posterchild.

For more than twenty years, pedestrians in Astoria, Queens were faced with trudging

through a cesspool of standing water on a heavily trafficked stretch of 33rd Street.

Caused by leakage from a pipe on the Amtrak bridge overhead, the Astoria Scum River,

as it became known, presented a situation that was unpleasant at best, and hazardous

at worst. Urban interventionist Jason Eppink and street artist Posterchild responded by

constructing a bridge from materials found on the street, including a work bench and

screws from a trashed desk. This unauthorized but long-overdue pedestrian bridge was

a tactical urbanist triumph: It got the attention of a local councilmember and spurred

Amtrak to fix the problem. Within weeks, the bridge was no longer needed. [From

SpontaneousInterventions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST

EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE

SPECIFIC

SOCIAL

NETWORKS

Video:

http://vimeo.com/10680837#at=0

References:

http://jasoneppink.com

Tags: high community impact, high site specific, low aesthetic, medium diy, medium happiness,

medium politics, medium professionist presence, medium sustainability, no cost effective, no

friction, no social network, temporary, wood plank

URBAN AGRICULTURE

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Home / Ball

← El Tanque Guerrilla Drive-In →

BALL


©2013 Google -

Imagery ©2013 Aerodata

PlacePlace: Brussels (Belgium).

DateDate: 2000.

TimeTime: Years.


CostCost: Unknown.


Private actorsPrivate actors: Citymine(d), citizens.

Since 2000 in Brussel three-meter diameter red and green balls are placed in the city to

highlight the role of public space. The presence of these huge mobile objects raise the

attention to the place and to the people around such as children and youngs who use the

urban space. The balls are made by red plastic, inflated by a vacuum cleaner, and in

case of holes easy to be repaired with glue. The balls are used as tools to higlight the

lack of place where it is possible to play and share experiences, to raise political

awareness about the need for space for young people. They infact can interact with this

tool, write on it and move it to other places that also need media and public attention.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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DIY

PROFESSIONIST

PRESENCE

POLITICS

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SOCIAL NETWORKS

References:

http://www.citymined.org

Tags: citymine(d), cloth, low diy, low friction, medium aesthetic, medium community impact,

medium happiness, medium professionist presence, medium sustainability, medium temporary,

no cost effective, no politics, no site specific, no social network

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Home / Better Block

← DUB 002 CoCook →


BETTER BLOCK

January 18, 2013 · by stefania · in EDUCATION, LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Dallas and USA.

DateDate: 2010 – to present.

TimeTime: Few days.


CostCost: 2,500$.

Public actors: Public actors: City officials.

Private actorsPrivate actors: Team Better Block, people

What makes some city streets thrive, while mere blocks away, others flounder? Activists

Jason Roberts and Andrew Howard in Dallas wanted to propose some answers, so in

2010, they transformed a blighted street into a “better block” for 24 hours – with bike

lanes, sidewalk cafes, food stalls, and other amenities. A Better Block was born. These

“living charrettes” demonstrate that obsolete zoning or commerce restrictions often

pose obstacles to such things as outdoor seating or music, and encourage communities

to actively participate in the shaping of their own neighborhoods. City officials are now

recognizing Better Block as a useful economic development tool. In the past two years,

32 Better Blocks have been realized across the U.S. by the original team and by

independent community groups [From SpontaneousInterventions]

TIME LIFE

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AESTHETIC

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SPECIFIC

SOCIAL

NETWORKS

Video:

http://vimeo.com/24599512#at=0

References:

http://teambetterblock.com

Tags: chair, high diy, high happiness, high professionist presence, high sustainability, low cost

effective, low site specific, medium aesthetic, medium community impact, medium politics,

medium social network, no friction, paint, pallet, temporary, trees

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Home / Caban Unnos: It’s Now-or-Never

← The Uni Espais Comuns →

CABAN UNNOS: IT’S NOW-OR-NEVER


©2013 Google -

Imagery ©2013 Cnes/Spot

PlacePlace: Berlin (Germany).

DateDate: 7th June 2008.

TimeTime: One night.


CostCost: Unknown.


Private actorsPrivate actors: No Fixed Abode (Eastwood,

Slater), T. Broomhead, D. McTiernan, 50

participants

Caban Unnos: It’s Now-or-Never, demonstrates the outcome of a relationship between

an architect, an environmental project manager and No Fixed Abode, which saw the

realisation of a contemporary one-night house. Taking as their point of departure a

globally standing legislative loophole which offers that if a house can be built between

sunset and sunrise on common land, then the erectors hold the right to maintain a

residence on that land. Around 50 participants contributed to its construction. The team

selected appropriate materials that would be freely available in the city. Palettes and

plastic cooler bottles were chosen as they would provide a standardised, abundant and

re-usable building material. Alongside this there were various other scavenged and

recycled materials from the various wastelands and empty plots of Berlin. The house

only stood for two hours. At Sunday morning, Polizei arrived and demanded its instant

removal. [from CCA-actions]

TIME LIFE

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COMMUNITY

IMPACT

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DIY

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SOCIAL NETWORKS

Video:

http://www.dailymotion.com/video/x7y2me_caban-unnos-it-s-now-or-never_news?

start=159

References:

http://www.nofixedabode.org.uk

http://www.wooloo.org

http://www.flickr.com/photos/east-street-

arts/sets/72157606420731855/with/2655942064/

http://cca-actions.org/actions/caban-unnos-its-now-or-never

Tags: high diy, high professionist presence, high sustainability, low community impact, low

social network, medium aesthetic, medium friction, medium happiness, no cost effective, no

politics, no site specific, pallet, recycled bottles, temporary

URBAN AGRICULTURE

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Home / Can Batllò

← Appropriate, Subverte, Activate! AFTER [La Otra-Sentires] →


CAN BATLLÒJanuary 8, 2013 · by stefania · in LEISURE, RE-USE

©2013 Google -


PlacePlace: Barcelona (ES)

DateDate: 2011

TimeTime: Ongoing

SpaceSpace: Abandoned building

CostCost: Unknown

Public actors: Public actors: City of Barcelona

Private actorsPrivate actors: Recuperem Can Batllò, La

Col Arquitectura, citizens

In 1976 the General Metropolitan Plan of Barcelona defined that Can Batllò, an old

industrial complex, would become a green areas with facilities for public use. In June

2011 the group “Can Batllò es pel barrì” occupied one of the building of the complex,

Bloc 11, obtaining the authorisation from the City Hall to use it as public space.

Everyone can contribute to this participatory process contacting the neighbourhoods or

the group Recuperem Can Batllò; the project guide lines are the restoration of the blocs,

the use of urban agricolture, the creation of a public park, and first of all the

maintenance of the public layout for all the complex. LaCol Arquitectura got involved in

2009 giving a technical and professional contribute to the restoration of Bloc 11; they

design a library, an auditorium, a coffeebar and the vertical connection.

TIME LIFE

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Video:


References:

http://canbatllo.wordpress.com

www.lacol.org

http://www.flickr.com/groups/canbatllo/pool/with/5821546500/

Tags: chair, high community impact, high cost effective, high diy, high happiness, high site

specific, ipe, la col arquitectura, low politics, low social network, medium aesthetic, medium

friction, medium professionist presence, medium sustainability, paint, pallet, permanent

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Home / Canillejas imagina un parque

← Roaming Forest UN:UN salle →


CANILLEJAS IMAGINA UN PARQUE

December 21, 2012 · by stefania · in EDUCATION, FILL-A-VOID, LEISURE

©2013 Google -


PlacePlace: Madrid (Spain)

DateDate: 2012

TimeTime: 1,5 months

SpaceSpace: Urban void

CostCost: around 1200€

Public actors: Public actors: Madrid Municipality, La

Alameda school

Private actorsPrivate actors: Asociaciòn Otro Habitat,

Urbanacciòn, students, neighborhood

“Canillejas imagine a Park” is a project proposed for the competition Urbanacciòn in

2009 about the use of vacant lots in Madrid. Asociaciòn Otro Habitat submitted a

proposal in which urban voids next to schools could be recovered and filled with

activities concerning education and play. The project is the result of a creative workshop

making the children ones of the main actors; it started in February 2010 with La

Alameda school, taking information about the site, collecting ideas and needs of the

community, and designing a collective proposal. Attending the contract of the temporary

use of the site (a months and an half), more ideas were collected, and in March 2012 the

collective action took place with an on-site workshop of auto-construction with recycled

materials and other tools brought by the neighborhood. The space is divided into 5

different playground areas.

TIME LIFE

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References:

canillejasimaginaunparque.wordpress.com/

Tags: Asociacion Otro Habitat, high community impact, high diy, high happiness, high

sustainability, low aesthetic, low politics, low site specific, medium professionist presence,

medium social network, no cost effective, no friction, paint, pallet, temporary, tire, wood trunk

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Home / Casa Insecto

← PARK(ing) DUB 002 →


CASA INSECTO

January 17, 2013 · by sofia · in GUERRILLA, HIGHLIGHT, NEED

©2013 Google -


PlacePlace: Seville (Spain).

DateDate: 2001.

TimeTime: Ongoing.

SpaceSpace: on a tree.

CostCost: unknown.


Private actorsPrivate actors: Recetas urbanas, people.

A single-person tree-inhabitation structure designed for rapid installation, anti-police

protection, and summer ventilation, the Insect House was built in one night at the

invitation of a group protesting the planned removal of trees along Alameda Avenue in

Seville. Temporary and reversible guerrilla construction projects offer a way for citizens

to quickly and significantly participate in urban planning. Santiago Cirugeda is an

architect based in Seville who has proposed semi-legal strategies for housing and urban

renovation under the name Recetas Urbanas, or “urban prescriptions,” since 1996. He

inhabits gaps between laws, exploiting overlap and oversight to practice autonomous

architecture. [from CCA-actions]

TIME LIFE

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References:

http://www.recetasurbanas.net/

Tags: high sustainability, low friction, low site specific, medium aesthetic, medium community

impact, medium diy, medium politics, medium professionist presence, metal sheet, no cost

effective, no social network, recetas urbanas, scaffolding tubes, temporary, trees

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Home / Casa Rompecabeza

← Temazcal Raval generator →


CASA ROMPECABEZA

January 13, 2013 · by sofia · in FILL-A-VOID, LEISURE, NEED

©2013 Google -



DateDate: 2002-2003.

TimeTime: few moths-two years.

SpaceSpace: Urban void.

CostCost: Unknown.


Private actorsPrivate actors: Recetas urbanas, landlords.

Casa Rompecabeza is a mobile studio-house: it can be desassembled and easily

transported and installed in different places. The project is based on a strategy for

autonomous construction, based on the idea to temporary occupy vacant lots in the city,

with an agreement with the landlord, that permits the use of his property from a few

months to max two years. This succeeded in interpret the law and go around it, skirting

city building rules and avoiding legal restrictions. The house can be installed in different

locations, so it’s designed that their parts could be arranged in various ways, to better fit

the dimensions of the lots and the needs of its inhabitants. The owner of “Boat No. 9″ lot

gave the permit in exchange of € 150 rent per month, and signed a contract for a

minimum one year.

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References:

http://www.recetasurbanas.net/

Tags: high professionist presence, low aesthetic, low community impact, low cost effective, low

politics, medium diy, medium happiness, medium sustainability, medium temporary, metal

sheet, no friction, no site specific, no social network, recetas urbanas, wood panel

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Home / Chair Bombing

← Serendipitor Prinzessinnengärten →

CHAIR BOMBING

January 26, 2013 · by stefania · in GUERRILLA, LEISURE

©2013 Google -



DateDate: 2011.

TimeTime: Ongoing.


CostCost: 0$.


Private actorsPrivate actors: DoTank

When San Francisco passed the Sit-Lie Ordinance in 2011 banning sitting or lying on

sidewalks, it crystallized a stance that many cities worldwide seem to have adopted over

the years, to dissuade public sitting by removing benches or implementing other subtle

anti-loitering urban design measures. Enter chair-bombing. This tactic involves placing

homemade seating in public spaces “to improve comfort, social activity, and [their]

sense of place,” in Aurash Khawarzad’s words. Khawarzad is an urban planner and

leader of DoTank, a Brooklyn-based activist design collective that fashions Adirondack

chairs from discarded shipping pallets. “These benches are more than places to sit,”

reads a note pasted to a San Francisco bench-bomb in protest of Sit-Lie. “They are a

visual resistance to the privatization of public space.” [from SpontaneousInterventions]

TIME LIFE

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Videos:


References:

http://dotankbrooklyn.org

http://www.spontaneousinterventions.org/project/chair-bombing

Tags: high sustainability, low community impact, low happiness, medium aesthetic, medium diy,

medium professionist presence, no cost effective, no friction, no politics, no site specific, no

social network, pallet, temporary

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Home / City Farm

← Guerrilla Bike Lanes No Longer Empty →


CITY FARM

January 18, 2013 · by stefania · in FILL-A-VOID, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Chicago (USA).

DateDate: 1999.

TimeTime: Ongoing.


CostCost: 60,000$.


Private actorsPrivate actors: Resource Center, citizens

It makes sense that the Resource Center, the venerable Chicago nonprofit that has led

the way in innovative recycling, upcycling, and farming techniques for 35 years, would

also be a pioneer in urban farming. Their mission to deflect the abundant waste in cities

while improving the quality of life of urban dwellers extended naturally to agriculture.

Turning neglected fallow land into sustainable farms, the center operates more than 20

productive plots that are financially self-sufficient, employs neighborhood residents,

and sells vegetables on site and to local restaurants. The center’s flagship City Farm

sits in the middle of a downtown housing project and has played a key role in

strengthening its community. City Farm is a proven model that supports the local

economy by growing food, jobs, beauty, and change. [From SpontaneousInterventions]

TIME LIFE

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Video:

http://www.youtube.com/watch?v=3KNcl33-XGk&feature=player_embedded

References:

http://www.resourcecenterchicago.org http://urbancycles.resourcecenterchicago.org

https://www.facebook.com/CityFarmChicago

http://www.flickr.com/photos/resourcecenterchicago

Tags: chair, greenhouse, high community impact, high cost effective, high diy, high happiness,

high sustainability, low politics, medium aesthetic, medium professionist presence, medium site

specific, medium social network, no friction, permanent, straw, vegetables, wood panel, wood

trunk

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Home / City Island

← The Greening of Detroit Making the Edible Landscape →

CITY ISLAND

January 20, 2013 · by stefania · in FILL-A-VOID, LEISURE

©2013 Google -


PlacePlace: Madrid (Spain).

DateDate: 2010.

TimeTime: One month.


CostCost: -

Public actors: Public actors: Ayuntamiento de Madrid.

Private actorsPrivate actors: Exyzt Collectif, citizens,

volunteers, Basurama.

The French collective Exyzt set up a temporary public space reusing the site of a

dismissed swimmin pool, 500m away from Plaza Mayor in Madrid. City Island was built

in two weeks with the aid of volunteers who lived in the camping site placed for that

period and worked together with the community colleting common desires and needs.

All the materials were recycled stuff then reused by other collectives or associacion (in

collaboration with Basurama). The installation was opened during the Madrid White

Night 2010. City Island was created like a rain forest made of planks and raw wood,

providing shaded areas, some spaces hosting sunbathing zones, a bar and a 2 foot high

swimming pool, a symbolic quotation from the previous use of that space. The result

was the recreation of certain social relationships and a fertile ground for a month.

TIME LIFE

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Videos:

http://www.youtube.com/watch?v=TfJL-vEiOBE

References:

http://www.exyzt.org

http://www.flickr.com/photos/exyzt

https://www.facebook.com/pages/Collectif-Exyzt/177921258975494?fref=ts

Tags: basurama, exyzt, high aesthetic, high diy, high happiness, high professionist presence,

high site specific, high sustainability, low social network, medium community impact, medium

cost effective, medium politics, no friction, temporary, wood plank

URBAN AGRICULTURE

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Home / CoCook

← Better Block Guerrilla Bike Lanes →


COCOOK

January 18, 2013 · by sofia · in LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Stockholm (Sweden)

DateDate: 2011-ongoing.

TimeTime: few hours.


CostCost: -


Private actorsPrivate actors: CoCook, people.

CoCook is a collaborative global movement that involves cooking and eating in urban

public spaces. In this project, the event is considered on the same level as the space,

performing direct interventions in rarely used public spaces. CoCook team has

constructed the mobile kitchen unit from reclaimed and repurposed materials. The

event consist in a meal in which participants cook and eat together. Everybody can join

just by bringing ingredients that will be added to an open recipe. A spot in the city is

used as the support of the temporary public space created by the event. There is also a

‘Cocook première brochure’, cointainig a DIY kit with the list of items needed, tips on

getting them and the assembly process description, but also the event picture album

and a collection of paper dolls in order to re-experience the event in a performative way.

TIME LIFE

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References:

http://cocook.tumblr.com/

http://www.facebook.com/letscocook?fref=ts

Tags: chair, high diy, high happiness, high sustainability, low cost effective, low professionist

presence, low social network, medium community impact, no aesthetic, no friction, no politics,

no site specific, temporary, vegetables

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Home / Concurso de las rutas inciertas

← Noupaticastellum Le grand detournement →


CONCURSO DE LAS RUTAS INCIERTAS

January 11, 2013 · by stefania · in MAPPING, URBAN ACTION

©2013 Google -

PlacePlace: Everywhere

DateDate: 2012

TimeTime: 3 months

SpaceSpace: Public space

CostCost: Unknown


Private actorsPrivate actors: Clara Nubiola, participants

On March 2012 the blog “Los vacios quotidianos” posted a Call for Participation of a

virtual and urban experiment about derive, “Las rutas inciertas”. Everyone can

participate sending by email the name of the city where he lives, and soon will receive

the coordinates of a random place where to begin the trip, documenting it with in a free-

style way such as pictures, videos, sketches, collages, texts… In this way walking

becomes a tool of creativity, communication and discovery; cities are described in the

most personal way even though people do not know not only the exact route of their

walking and the context of the start. The initiative is created by Clara Nubiola, writer of

“La guia de las rutas inciertas” that with her blog tries to make people think about the

territory they live.

TIME LIFE

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Video:


References:

losvaciosurbanos.blogspot.com

concursodelasrutasinciertas.blogspot.com.es

Tags: camera, high aesthetic, high diy, high social network, low community impact, low

professionist presence, map, medium happiness, no cost effective, no friction, no politics, no site

specific, no sustainability, paper&pencil, shoes, temporary

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Home / Cow the Udder Way

← Subjective map of Valadares Dispositivo de la Cebada →

COW THE UDDER WAY

January 23, 2013 · by sofia · in EDUCATION, FILL-A-VOID

©2013 Google -


PlacePlace: Liverpool (UK).

DateDate: 2005.

TimeTime: 9 days.

SpaceSpace: Vacant lots.

CostCost: Unknown.

Public actors: Public actors: Shrinking Cities exhibition.

Private actorsPrivate actors: Cow The Udder Way,

residents.

Cow The Udder Way was a planning provocation that emerged out of an entry to the

Shrinking Cities exhibition. The project proposed an alternative use for a vacant lot in

Toxteth, an inner-city area of Liverpool, by bringing ten dairy cows to the site for nine

days. Locals could learn to care for the herd, whose milk and manure were available for

the community. The project provoked residents to propose future uses of the site by

demonstrating its appropriation. A number of products from toothpaste to shoe polish

were produced and made available for barter. In addition to instructions for use, the cow

products come with instructions for production. Cows produce twice as much manure as

milk, yet this resource is considered a waste regardless of its history of useful

application. [from CCA-actions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

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DIY

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SOCIAL NETWORKS

References:

http://www.what-if.info/theudderway/index.html

http://cca-actions.org/actions/cows-push-residents-plan

Tags: high community impact, high sustainability, low happiness, medium cost effective,

medium diy, medium professionist presence, medium site specific, no aesthetic, no friction, no

politics, no social network, straw, temporary

URBAN AGRICULTURE

LEISURE

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Home / Demolition. Detroit. Disneyland.

← IOT Appropriate, Subverte, Activate! →


DEMOLITION. DETROIT. DISNEYLAND.

January 8, 2013 · by sofia · in GUERRILLA, HIGHLIGHT

©2013 Google -


PlacePlace: Detroit (USA)

DateDate: 2006

TimeTime: 4 Hours

SpaceSpace: Abandoned buildings

CostCost: 500-1000 $


Private actorsPrivate actors: Object Orange

Detroit. Demolition. Disneyland. is an artistic project that wants to bring attenction on

abandoned buildings in Detroit, by painting them with “Tiggerrific Orange”, from the

Disney paint catalogue. The local artists group Object Orange choose neighborhoods

with a high visibility from the highway, and the bright orange colour because it’s often

used as a warning colour, to better highlight the problem of decay in the city. They have

sometime chosen buildings that were already decided to be demolished, sometimes the

building are demolished after they paint them orange. The Mayor’s office views the

artists action as vandalism. With this action they want to declare “this building aren’t

scenery” and they try to bring awareness into the people, to invite everyone to take

action, making everyone looking not only at these houses, but also ar every abandoned

building in their city.

TIME LIFE

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References:

Object Orange Flickr

Tags: low aesthetic, low happiness, medium community impact, medium diy, medium friction,

medium politics, medium site specific, medium temporary, no cost effective, no professionist

presence, no social network, no sustainability, object orange, paint

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Home / Depave

← Dispositivo de la Cebada Soil Kitchen →

DEPAVE

January 23, 2013 · by stefania · in NEED, RE-USE, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Portland, Oregon (USA).

DateDate: 2007.

TimeTime: Ongoing.

SpaceSpace: Asphalt lot.

CostCost: 70,000$ per year.

Public actors: Public actors: EMSWCD, WMSWCD, City of

Portland.

Private actorsPrivate actors: Depave team, Friends of

Portland Community Garden.

When Depave founder Arif Khan tore down his garage in 2005 and replaced it with a

grove of fruit trees, he realized the same action could be applied on a much larger scale.

Three years later, Depave’s first parking lot transformation was complete: Khan and 147

volunteers transformed an under-utilized asphalt lot into the Fargo Forest Gardens, a

community garden. The nonprofit will mobilize workers to remove impervious paving for

anyone who asks; past depavings have included school playgrounds, businesses’

parking lots, and residents’ driveways, amounting to 100,000 square feet of asphalt that

is no longer contributing to the negative effects of polluted stormwater runoff. Depave

also helps in the process of replacing these spaces with native-plant gardens. [from


A guide to depaving is available online, and it is possible to join the group becoming a

volunteer.

TIME LIFE

SUSTAINABILITY

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NETWORKS

Videos:

http://www.youtube.com/watch?

v=XAsPyT62jZ8&list=PLAE081D41A5656C8D&feature=player_embedded


References:

http://depave.org/

http://www.spontaneousinterventions.org/project/depave

Tags: high diy, high happiness, high politics, high professionist presence, high social network,

high sustainability, medium aesthetic, medium community impact, medium site specific, no cost

effective, no friction, permanent, soil, trees, vegetables

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Home / DUB 002

← Casa Insecto Better Block →


DUB 002

January 17, 2013 · by stefania · in LEISURE, PARASITE

©2013 Google -


PlacePlace: New York (USA)

DateDate: 2010

TimeTime: One week


CostCost: 250$


Private actorsPrivate actors: Department of Urban

Betterment, John Locke

With smart phones near universal, one might wonder why public payphones still occupy

so much sidewalk space. The Department of Urban Betterment’s (DUB) Phone Booth

Book Share is part of a series of urban interventions that explore obsolete street

technology. It might look like a simple repurposing of phone booths into community

book shares, but DUB’s motto – nascetur ridiculus mus, “and a ridiculous mouse will be

brought forth” – hints at a grander objective. Architect John Locke invokes Homer to

argue, “The central office has no brain. The paternalistic top- down strategy of

traditional urban planning has been a waste of heroic labors. We can match modest

labors with exceptional gains by turning even a few of our neighbors into consciously

critical observers.” [From SpontaneousInterventions]

TIME LIFE

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References:

http://gracefulspoon.com

Tags: high professionist presence, low diy, low happiness, medium aesthetic, medium

community impact, medium site specific, medium sustainability, no cost effective, no friction, no

politics, no social network, temporary, wood plank

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Home / (Dis)assembled

← Precare Hortolab →


(DIS)ASSEMBLEDJanuary 12, 2013 · by stefania · in LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Gothenburg (Sweden).

DateDate: 2011.

TimeTime: 3 months.


CostCost: Unknown.


Private actorsPrivate actors: Röda Sten Konsthalle,

Stealth.unlimited, citizens.

From June to August 2011 the desolate space in front of Röda Sten Konsthall became a

testing ground for physical and DIY interventions. Röda Sten and STEALTH collected

materials and tools to be used by the people during an auto-construction performance,

giving the possibility to make the city by their own hands. Through an open call many

proposals and desires for the site have been collected; then the first action was to pull

out all the materials and start to built. The interdisciplinary group was formed by

architects, artists, skaters, kids, carpenters and teachers; in a weekend they tourned

out to make a skate ramp, seats, a graffiti wall, an aqueduct, a tree hut, but they

continued for over two months. If the materials were not enough, then people started to

bring them by their own; 8000 people gathered to participate.

TIME LIFE

SUSTAINABILITY

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POLITICS

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References:

http://www.stealth.ultd.net

Tags: barrel, high diy, high happiness, low aesthetic, low cost effective, low politics, low site

specific, medium community impact, medium professionist presence, medium sustainability, no

friction, no social network, pallet, scaffolding tubes, temporary, trees, wood panel, wood plank

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Home / Dispositivo de la Cebada

← Cow the Udder Way Depave →

DISPOSITIVO DE LA CEBADA


©2013 Google -



DateDate: June 2011.

TimeTime: Ongoing.


CostCost: 8000€.

Public actors: Public actors: Sport Council of Madrid.

Private actorsPrivate actors: Todo por la praxis, FRAVM,

Asociacion de vecinos.

The project has been carried out in Campo de la Cebada, in the central district of

Madrid, on a 5000 square meter vacant site which some local collectives can use for

temporary activity with a cession time of one year. Todo por la Praxis has been involved

in this process, and they started rehabilitate the place from June 2011 with the creation

of a self-managed sport center; some of the previous projects by TXP were about the

temporary activation of vacant lots with sport facilities. The sport center is composed

mainly by a scaffolding structures and a container, all working as office, storage room, a

basketball court and a summer cinema. All these functions create a meeting point,

increasing the possibility to create other activities, like the autoconstruction workshop

set up in 2012 with Basurama and Paisaje Transversal.

TIME LIFE

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Videos:


References:

http://www.todoporlapraxis.es

https://www.facebook.com/todoporlapraxis?fref=ts

Tags: container, high community impact, high diy, high happiness, high professionist presence,

high sustainability, ipe, low friction, low social network, medium aesthetic, medium politics,

medium site specific, medium temporary, no cost effective, scaffolding tubes, todo por la praxis,

wood plank

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Home / Ecobox

← Le 56 Footbal Field →


ECOBOX


©2013 Google -


PlacePlace: Paris (France).


TimeTime: 5 years.


CostCost: 65,000€.

Public actors: Public actors: Municipality of Paris.

Private actorsPrivate actors: Atelier d’Architecture

Autogérée, APIJ-bat, citizens

The project started in 2001 with a temporary garden made of recycled materials in a

vacant lot belonging to the French railway company in Paris. It evolved in an urban

platform hosting discussions, lectures and creative activities managed mainly by AAA

and city residents, with the aim of creating a flexible space in which the presence of

diffent cultures works together to preserve biodiversity. All the devices like kitchens,

libraries and the gardens themselves are mobile through different spaces; the pathways

and the garden floor are made of modular pallets creating holes adoptable by the

community to be cultivated. After 4 years the city authorities threatened the community

with eviction, but the users negotiated for a new location, since the mobile devices

allowed the quick transport of the project. Recently they have moved for the third time.

TIME LIFE

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Video:


References:

http://www.urbantactics.org

Tags: Atelier d'Architecture Autogérée, high happiness, high professionist presence, high

sustainability, low site specific, medium aesthetic, medium community impact, medium cost

effective, medium diy, medium friction, medium politics, medium temporary, no social network,

pallet, vegetables

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Home / Edible Schoolyard

← Food for Free Lazy Stop →


EDIBLE SCHOOLYARD

January 15, 2013 · by stefania · in EDUCATION, NEW BUILT, URBAN AGRICULTURE

©2013 Google -



DateDate: 2010.

TimeTime: Ongoing.

SpaceSpace: Urban void, rooftop, schoolyard.

CostCost: 2,500,000$.

Public actors: Public actors: NY Department of Education,

P.S. 216 School, P.S. 7 School.

Private actorsPrivate actors: Edible Schoolyard NYC,

WorkAC

For WORKac’s Amale Andraos and Dan Wood, “Urban farming became a way of talking

about the sustainable city.” This long-time interest led them to chef Alice Waters and

her Chez Panisse Foundation, and in 2011, the two teamed up with P.S. 216 in Brooklyn

to design the first of Waters’ Edible Schoolyards on the East Coast, an organic garden

that is wholly integrated into the school’s curriculum and food program. The design

includes a Kitchen Classroom where students can prepare and eat meals together, a

greenhouse roof that creates growing space in the winter and retracts in the summer,

water reclamation, and composting. For the project’s design coup de grâce, all of the

components are interlinked to form an off-grid, self-sustaining system. [From


TIME LIFE

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Video:

http://www.youtube.com/watch?v=ExsfUD9rBHI&feature=player_embedded

References:

http://esynyc.org

http://work.ac/

Tags: high community impact, high happiness, high politics, high professionist presence, high

site specific, high sustainability, low diy, medium aesthetic, medium cost effective, medium

social network, no friction, permanent, vegetables

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Home / El Tanque

← ParcCentralPark Ball →

EL TANQUE

January 28, 2013 · by sofia · in LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Quito (Ecuador).

DateDate: 2012.

TimeTime: -.

SpaceSpace: Public Space.

CostCost: Unknown.


Private actorsPrivate actors: Todo por la praxis, people.

El tanque is a mobile prototype, a nomadic module to be inserted in different areas of

the city. The project wants to build different spaces, to adopt different combinations

depending on the needs of the moment. It’s easily deployable and transportable, and

supports multiple funcions, such as mobile bar, a dwelling or transportable office. Todo

por la Praxis wants to create a platform or device that moves trough different

neighborhoods of the city, to generate sustained processes with the actors of the space

in which the tank is inserted, an appropriation of urban public space. This artifact will

host artistic, cultural, social and productive activities. El tanque is designed with the

intenction to be replicated by other groups, inviting to appropriate, implement and

improve the project. In fact will be public an assembly manual, accessible by those who

wants to build a similar one.

TIME LIFE

SUSTAINABILITY

COMMUNITY

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HAPPINESS

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POLITICS

AESTHETIC

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SOCIAL NETWORKS

References:

http://www.todoporlapraxis.es/

http://www.facebook.com/todoporlapraxis

Tags: high happiness, high professionist presence, low social network, medium aesthetic,

medium community impact, medium cost effective, medium diy, medium sustainability, no

friction, no politics, polycarbonate panel, temporary, todo por la praxis, wood panel

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Home / Espais Comuns

← Caban Unnos: It’s Now-or-Never Soundmap →

ESPAIS COMUNS

January 21, 2013 · by sofia · in EDUCATION, FILL-A-VOID, LEISURE

©2013 Google -


PlacePlace: Barcelona (Spain).

DateDate: 2011.

TimeTime: -.

SpaceSpace: Common places, terraces.

CostCost: Unknown.

Public actors: -Public actors: -.

Private actorsPrivate actors: ReCooperar, LaCol, Ramon

LLull La Salle, students, neighbour.

R-Lab strives to add another point of view within the educational model of the architect

schools, motivating students to get involved with projects in the society around them.

The purpose was showing the role that architects should have in society. The students

will gain knowledge through practical exercises, instead of traditional architecture

classes. “ESPAIS COMUNS” shows the current way of living and housing, understanding

that the community we live in has a direct influence on the space we live in. Concepts

like “privacy”, “domestic”, are the main focus because they are directly related to

shared spaces in multi family living complex. The project phases were: investigating the

need of the neighbor’s community, develop the project collaborating between the

teacher, the students and the end-user and finnaly build it.

TIME LIFE

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Videos:


References:

http://recooperar.blogspot.it/

http://espaiscomuns.blogspot.com.es/

http://www.facebook.com/pages/Re-cooperar/169885579722274?fref=ts

Tags: high diy, high happiness, high sustainability, low social network, medium aesthetic,

medium community impact, medium professionist presence, no cost effective, no friction, no

politics, no site specific, pallet, permanent

URBAN AGRICULTURE

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Home / Esto No Es Un Solar

La Casa del Viento →

ESTO NO ES UN SOLAR

November 26, 2012 · by sofia · in FILL-A-VOID, LEISURE, URBAN AGRICULTURE

©2013 Google -

Map data ©2013 Google, basado

PlacePlace: Zaragoza (ES)

DateDate: June 2009

TimeTime: min 12 months


CostCost: 1 million €

Public actors: Public actors: Sociedad Municipal Zaragoza

Vivienda

Private actorsPrivate actors: Gravalosdimonte Arq.,

Neighbourhood associacions, citizens,

After “Los vacios cotidianos”, an art festival in urban voids held in Saragossa in 2006,

the citizens signed a petition for the possibility to continue the use of voids in their city.

Patrizia di Monte proposed “Esto no es un solar” as an initiative that carries on the idea

of the festival. The initiative was held on by a process of participation: a dialogue

between citizens, neighborhood associations and the administrations brought to define

the main uses. In the historical center, five lots were redesigned as playgrounds, public

squares, spaces for urban agriculture and sport. An agreement with the lot’s owner

decides the public, reversible and temporary (not less than 12 months) use of the space.

To realize the project 40 unemployed where hired.

The positive results permitted to repeat the initiative in 2010, expanding the project

outside the historical center.

TIME LIFE

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References:

http://estonoesunsolar.wordpress.com

http://gravalosdimonte.com

Tags: GravalosDimonte, high aesthetic, high community impact, high happiness, high

professionist presence, high sustainability, low diy, medium cost effective, medium politics,

medium site specific, medium social network, medium temporary, no friction, paint, pallet,

playground, sport facility, trees, vegetables

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Home / Favela Painting

← Park Fiction The Greening of Detroit →


FAVELA PAINTING

January 19, 2013 · by stefania · in HIGHLIGHT, LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Rio de Janeiro (Brasil).

DateDate: 2009.

TimeTime: 3 months.

SpaceSpace: Facades.

CostCost: Unknown.


Private actorsPrivate actors: Haas&Hahn, favela residents.

In 2006 the Dutch collective Haas&Hahn started developing the “Favela Painting”

project, which consists of covering with enormous paintings entires zones of favelas.

The square of Santa Marta, a community in Rio de Janeiro situated on a hillside, was

chosen in 2009 as part of the initiative; 34 buildings facing the public space were painted

with expandible coloful rays with the aid of some youth people from the favela. They

were instructed about many painting techniques and various security measures as the

building, built in an informal way, were all different from each others. 7000

squaremeters were covered with this monument for the community, strongly changing

the perception of the deprived area. The future goal is to paint an entire hillside, to make

visible the whole favela: O-Morro is the name of the project which could attract attention

to the favela’s situation.

TIME LIFE

SUSTAINABILITY

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Video:


References:

http://www.favelapainting.com

Tags: high aesthetic, high professionist presence, high site specific, low cost effective, low

friction, low social network, low sustainability, medium community impact, medium diy, medium

happiness, no politics, paint, permanent

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Home / Field Guide to Phytoremediation

← Operation: Ivy League Seedbomb Vending Machine →


FIELD GUIDE TO PHYTOREMEDIATION

January 17, 2013 · by stefania · in EDUCATION, RESEARCH, URBAN AGRICULTURE

Map Sat Ter Earth

Still loading... Slow? Use the troubleshooting guide or


DateDate: 2010.

TimeTime: Ongoing.


CostCost: 4,500$


Private actorsPrivate actors: youarethecity, Kaja Kühl

According to the New York Department of City Planning, more than 6% of the city’s land

is vacant, adding up to approximately 11,700 acres of underutilized land. Many of these

lots are plagued with contaminated soil as a result of previous constructions and

industrial uses. To educate property owners about how they can initiate cost-effective

toxic clean up, architect and planner Kaja Kühl created the Field Guide to

Phytoremediation, a do- you-it-yourself (DIY) handbook that is available online and as a

downloadable pamphlet. She also launched the Field Lab, an experimental garden in the

South Bronx where she tests and demonstrates DIY brownfield remediation techniques

to citizens. [from SpontaneousInterventions]

The guide is updated with the latest phytoremediation researches by soil scientists; this

handbook provides a useful step by step description of a land clean up process.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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AESTHETIC

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Video:

http://kck.st/lxcxRr

References:

http://www.youarethecity.com

Tags: high diy, high professionist presence, high social network, high sustainability, low cost

effective, low happiness, low politics, medium community impact, medium site specific, no

aesthetic, no friction, no time life, paper&pencil, trees

URBAN AGRICULTURE

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NEED

HIGHLIGHT

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Home / Food for Free

← Recycling Tokyo Edible Schoolyard →


FOOD FOR FREE

January 15, 2013 · by sofia · in MAPPING, RESEARCH, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Bristol (UK).

DateDate: 2004.

TimeTime: Ongoing.

SpaceSpace: City.

CostCost:-


Private actorsPrivate actors: Artists Kayle Brandon and

Heath Bunting.

Bristol Food for Free is an online database of edible plants in Bristol. The website

generates a map of any of the 113 species identified by its authors. Plants rooted in

private lots are included if they branch into public space. The website also contains

photo-documentation of potential planting sites selected for suitability. Bristol Food for

Free allows inexperienced foragers to find fresh fruits and vegetables quickly and

safely. Kayle Brandon and Heath Bunting are part of Irational.org, an international

network for information and materials for the displaced and roaming. Irational.org

supports non-corporate art and engineering work. [from CCA-actions]

The places are fed into a map that is a cartographic hybrid of routeguide, recipe-book,

botanical encyclopaedia. In the map there are no street names: the user must follow the

form of the roads and use the land marks to navigate.

TIME LIFE

SUSTAINABILITY

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References:

http://duo.irational.org/food_for_free/

http://cca-actions.org/actions/website-collects-figs

Tags: high site specific, high sustainability, laptop, low community impact, low cost effective, low

professionist presence, map, medium diy, medium happiness, medium social network, no

aesthetic, no friction, no politics, temporary, vegetables

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

MAPPING

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Home / Footbal Field

← Ecobox Forat de la Vergonya →


FOOTBAL FIELD


©2013 Google -


PlacePlace: Sharjah (United Arab Emirates)

DateDate: 2007, 2009.

TimeTime: Two months


CostCost: Unknown.

Public actors: Public actors: Department of Culture and

Information, Government of Sharjah

Private actors:Private actors: Maider Lopez, Sharjah Art

Foundation, footbal fans

As part of the Sharjah Biennial, artist Maider López painted the lines of a soccer field

red in a public square of Sharjah, adding goals on either end. Because pre-existing

features such as benches and streetlamps were not altered, the square became a

strange new site for football matches where spectators relaxed on benches inside the

pitch at all hours. The project suggests a model for easy and relaxed integration of

different activities. Maider López works on interrupting conventional space and

architecture. [from CCA-actions]

This action highlight the possibility to have two simoultaneous use of an everyday space,

transforming the meaning of the original one. López was invited again in 2009 during the

9th Biennale, recreating the Football Field with the addiction of Fountain, a public

temporary drinking fountain.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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DIY

PROFESSIONIST

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POLITICS

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Video:


References:

http://www.maiderlopez.com

Tags: high professionist presence, low community impact, low diy, low sustainability, medium

aesthetic, medium happiness, medium politics, medium site specific, no cost effective, no

friction, no social network, paint, sport facility, temporary

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

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RE-USE

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Home / For Squat

← Safari Basura The Periscope Project →


FOR SQUAT

January 14, 2013 · by sofia · in GUERRILLA, HIGHLIGHT, NEED

©2013 Google -


PlacePlace: Chicago (USA), & everywhere.

DateDate: 2010.

TimeTime: Ongoing.

SpaceSpace: Abandoned buildings.

CostCost: 500 $ sign production.


Private actorsPrivate actors: Reuben Kincaid Realty,

citizens.

Reuben Kincaid Realty invites people to “Be Your Own Agent!” Describing itself as a

“certified Rehousing Consultancy,” the faux real estate website features listings of

abandoned or recently foreclosed-upon properties available for squat. A project of the

nonprofit Public Media Institute (PMI), the listings are often crowdsourced, with entries

mimicking brokers’ enthusiasm (“stunning two-bedroom townhouse, skyline views;

owner recently evicted,” or “Perfect location! Abandoned church ready for occupation or

weekend parties!”). PMI installs “For Squat” signs on available properties, and

encourages people to download the sign and join their campaign to fight for the basic

human right to shelter. A foil to the satire is the website’s links to articles and

organizations that address the homeless crisis. [from SpontaneusInterventions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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SPECIFIC

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NETWORKS

References:

http://reubenkincaidrealty.com

http://www.spontaneousinterventions.org/project/for-squat-reuben-kincaid-realty

Tags: laptop, low diy, low happiness, low politics, low site specific, medium community impact,

medium cost effective, medium professionist presence, medium social network, no aesthetic, no

friction, no sustainability, temporary

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

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Home / Forat de la Vergonya

← Footbal Field ParaSITE →


FORAT DE LA VERGONYA

January 17, 2013 · by sofia · in FILL-A-VOID, NEED, URBAN AGRICULTURE

©2013 Google -



DateDate: 2004.

TimeTime: Ongoing.


CostCost: -.

Public actors: Public actors: Barcelona City Council.

Private actorsPrivate actors: citizens.

Due to an urban renewal, various blocks in Ribera neighbourhood were demolished,

leaving a big hole. In 2004, after years of decay, City Council decided to build a parking

lot. The people living in the neighbourhood, who had not been consulted, did not agree

with this project, and mobilitate to express their opinion about it, also with violent

demonstrations, calling the place “el Forat de la Vergonya” – the Hole of Shame. The

inhabitants claimed their right to the city, creating a self-managed urban park with

community gardens, benches, playgrounds, sports facilities. All elements were

designed, built and managed collectively, and it is the only green space in the

neighbourhood . The site has persisted despite the attempts of take over by the city

through a citizen participation plan in 2005, criticised by many residents as an action

driven by electoral rhythms.

TIME LIFE

SUSTAINABILITY

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IMPACT

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Video:



http://www.youtube.com/watch?v=_vrfSn0dLKQ

http://www.youtube.com/watch?feature=player_embedded&v=9j8AC3tY6cg

References:

http://deuanyssensevergonyes.org/

Tags: high community impact, high diy, high friction, high politics, high site specific, high

sustainability, low social network, medium aesthetic, medium cost effective, medium happiness,

medium temporary, no professionist presence, playground, sport facility, trees, vegetables

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Home / Garden Registry

← Place it! Luz na Viela →

GARDEN REGISTRY

January 23, 2013 · by sofia · in MAPPING, RESEARCH, URBAN AGRICULTURE

©2013 Google -


PlacePlace: San Francisco (USA).

DateDate: 2008.

TimeTime: ongoing.

SpaceSpace: City.

CostCost: 10,000$.


Private actorsPrivate actors: Futurefarmers, citizens.

The San Francisco Garden Registry is an online map and social networking tool created

to connect urban gardeners and to locate current or potential open spaces in the city

that are suitable for growing food. By registering these “food production zones” online, a

comprehensive land use portrait begins to emerge. Set up by San Francisco art and

design collective Futurefarmers, the Garden Registry seeks to quantify the total

farmable acreage within the city in order to better support, connect, and cultivate these

spaces. To date, some 1,500 acres have been identified. [from SpontaneusInterventions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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COST EFFECTIVE

DIY

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AESTHETIC

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SOCIAL NETWORKS

References:

http://gardenregistry.org/

http://www.spontaneousinterventions.org/project/san-francisco-garden-registry

Tags: high site specific, high social network, high sustainability, laptop, low politics, medium

community impact, medium cost effective, medium happiness, medium professionist presence,

no aesthetic, no diy, no friction, no time life

URBAN AGRICULTURE

LEISURE

NEED

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MAPPING

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GUERRILLA

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Home / Getxoberpiztu!

← AFTER [Andes-DoñaBitalia] Noorderparkbar →


GETXOBERPIZTU!

January 10, 2013 · by stefania · in FILL-A-VOID, NEED, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Getxo (ES)

DateDate: October 2011

TimeTime: Suspended


CostCost: Unknown

Public actors: Public actors: City of Gexto, Basque Youth

Council

Private actorsPrivate actors: Getxoberpiztu team, citizens,

Pez Estudio

Getxoberpiztu! is a project of requalification of an abandoned lot in Getxo through a

participatory process of proposals and construction. The sense of lack of public spaces

is strongly felt by the youngers and the community, so the experiment seeks to create in

the citizenship the consciousness of the potential of empty spaces through an active use

of them. On October 2011 the project starts, with a team of 150 people suggesting

various proposals to built a final one. On March 2012 there is a call for ideas among

schools, neighbourhoods and people from different social groups and ages discussing

together for the final output. This is the transformation of the empty lot in a pedagogical

urban garden, increasing the accessibility of the site. From July 2012 the project is

suspended due to practical problems with the Administration in the accessibility works

of the lot.

TIME LIFE

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SPECIFIC

SOCIAL

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Video:


References:

http://getxoberpiztu.com

http://pezestudio.org

http://www.flickr.com/photos/getxoberpiztu

Tags: high sustainability, low community impact, low happiness, medium diy, medium friction,

medium politics, medium professionist presence, medium site specific, medium social network,

medium temporary, no aesthetic, no cost effective, paint, pallet, paper&pencil, vegetables

URBAN AGRICULTURE

LEISURE

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Home / Guerrilla Bike Lanes

← CoCook City Farm →


GUERRILLA BIKE LANES

January 18, 2013 · by sofia · in GUERRILLA, NEED

©2013 Google -

PlacePlace: Everywhere.



SpaceSpace: Streets.

CostCost: 200$ in tools


Private actorsPrivate actors: Cyclists.

Bicycling has only recently become a serious planning consideration, and the vast

majority of American city streets remain intimidating places for cyclists, despite their

growing numbers. With city planners moving slowly to adapt, cycling advocates are

taking matters into their own hands, painting bike lanes, share-the-lane “sharrows,”

and other signage, often under cover of night. Many guerrilla bike lane painters point to

Toronto’s Urban Repair Squad as the pioneers of the practice, but some of the most

voracious adherents can be found in Los Angeles, including an anonymous group of

activists working under the aegis of the Department of D.I.Y. Do-it-yourselfers have also

installed bike route signs, “pass with care” posters, and even “softened” unfriendly

square curbs with blobs of concrete. [From SpontaneousInterventions]

TIME LIFE

SUSTAINABILITY

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References:

http://urbanrepairs.blogspot.it/

http://www.spontaneousinterventions.org/project/guerrilla-bike-lanes

Tags: high diy, high happiness, high sustainability, low aesthetic, medium community impact,

medium friction, medium politics, no cost effective, no professionist presence, no site specific,

no social network, paint, temporary

URBAN AGRICULTURE

LEISURE

NEED

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MAPPING

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Home / Guerrilla Drive-In

← Ball Place au changement! →

GUERRILLA DRIVE-IN

January 28, 2013 · by sofia · in GUERRILLA, LEISURE

©2013 Google -


PlacePlace: Santa Cruz, West Chester (USA).


TimeTime: One night.

SpaceSpace: Public Space.

CostCost: 1,500$.


Private actorsPrivate actors: people.

The drive-in theater has largely faded from our cultural landscape, with only hundreds

remaining in the U.S., after a peak of 4,000 during the late 1950s and early ‘60s. Today

independent groups across the country, such as Santa Cruz Guerrilla Drive-in in

California and West Chester Guerrilla Drive-in in Pennsylvania, are reviving this classic

pastime, motivated not only by nostalgia but by the urge to bring some life to dull

outdoor spaces, such as deserted parking lots and non-descript warehouse districts.

(New York’s Rooftop Film Festival similarly originated from a spontaneous act of

neighbors craving outdoor entertainment.) The films are almost always free, with

schedules and locations posted on websites, bringing neighbors together in a way that

Netflix and iTunes cannot. [From SpontaneusInterventions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

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DIY

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POLITICS

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SOCIAL NETWORKS

References:

http://www.guerilladrivein.org/

http://www.flickr.com/groups/guerilladrivein/

http://www.spontaneousinterventions.org/project/guerrilla-drive-ins

Tags: high diy, high happiness, low cost effective, low site specific, low sustainability, medium

community impact, no aesthetic, no friction, no politics, no professionist presence, temporary,

video projection

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

MAPPING

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Home / Hortolab

← (Dis)assembled Play the city →


HORTOLAB

January 12, 2013 · by stefania · in EDUCATION, NEW BUILT, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Cáceres (Spain).

DateDate: 2011.

TimeTime: Ongoing.


CostCost: Unknown.

Public actors:Public actors: Ayuntamento de Cáceres.

Private actorsPrivate actors: Straddle3, CTRL+Z, Todo por

la Praxis, Ribera del Marco, citizens

Chacharro2.0 was a “Mobile architecture prototype for collective activities” designed

and built by Straddle3 in 2009. After 2 years they decided to reuse it as Hortolab, a new

infrastructure which supports environment and makes aware of alternative consume

habits. The facility (a reused container) consists of a seedbed, a kitchen to handle

products from the kitchengarden, and an office; the central space can be extended by

opening out into the garden, and can hosts activities that need the presence of both open

and closed space. The exterior walls are made of recycled pallets used as ventilated

facade that together with a system of insulation provides protection to the vegetables

growth. Hortolab seeks to have an educational function making the children experience

the growth cycle and build mobile gardens, and furtermore it gives opportunity to the

citizens to self-manage this social space.

TIME LIFE

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SOCIAL NETWORKS

References:

http://hortolab.wordpress.com

http://www.todoporlapraxis.es http://straddle3.net http://control-zeta.org

https://picasaweb.google.com/105368649492191363646/Cacharro21HortoLab

Tags: cloth, container, ctrl+z, high community impact, high diy, high happiness, high

professionist presence, high sustainability, low site specific, medium aesthetic, medium cost

effective, medium politics, medium social network, medium temporary, no friction, pallet,

straddle3, todo por la praxis, vegetables, wood panel

URBAN AGRICULTURE

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Home / Hypothèses d’amarrages

← Pagina Bianca 596 Acres →

HYPOTHÈSES D’AMARRAGESJanuary 25, 2013 · by sofia · in LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Montreàl (Canada), Paris (France).

DateDate: 2001 to present.

TimeTime: Ongoing.


CostCost: -.


Private actorsPrivate actors: SYN-atelier d’exploration

urbaine, residents.

A series of related spatial “moorings” and “insertions” composed of mobile pool,

foosball, and picnic tables designed to offer residents opportunities for easy interaction

with trivialized urban spaces. Simple interventions, like placing a picnic table between

two highway columns, function as invitations to engage with the site. Another project

attached wheels to pool and foosball tables, which were rolled around Montréal and

Paris, inviting neighbours to interact with each other and cross barriers of class and

wealth. SYN- atelier d’exploration urbaine, or “urban exploration workshop,” engages in

urban exploration from the perspective of intervention and research. [From CCA-

actions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

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SOCIAL NETWORKS

References:

http://www.amarrages.com/

http://cca-actions.org/actions/table-attracts-neighbours

Tags: chair, low aesthetic, low diy, low social network, medium community impact, medium

happiness, medium professionist presence, medium sustainability, medium temporary, no cost

effective, no friction, no politics, no site specific, wheel

URBAN AGRICULTURE

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Home / IOT

← New Public Sites Demolition. Detroit. Disneyland. →


IOT

December 28, 2012 · by stefania · in NEED, URBAN ACTION

©2013 Google -


PlacePlace: Bogotà (Colombia)

DateDate: 2010

TimeTime: Ongoing


CostCost: Unknown


Private actorsPrivate actors: IOT, citizens

IOT (Iniciativa de Ordenamento Territorial – Territorial Shaping Initiatives) is a research

about building citizenship through small urban infrastructures in order to solve common

everyday problems at the small scale, which often are impossible to be recognized by

the municipality. IOT creates a platform where it is possible to report something that

can be improved in the public space and to share strategies to find concrete solutions.

Since this platform is opened to everyone, each initiative comes from the citizens

organizing themselves around the neighborhood and working together; an active sense

of community generates a good IOT improving the physical space without waiting for the

government to solve small infrastructural problems. On the website everyone can watch

examples by other people or can be guided with toolkits of tips and information about

public regulation to take on a IOT.

TIME LIFE

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Video:


References:

http://iot.com.cohttp://iot.com.co

Tags: high community impact, high diy, high happiness, high social network, high sustainability,

low aesthetic, low site specific, medium professionist presence, medium temporary, no cost

effective, no friction, no politics, paint, pallet, stones, tire, trees, wood panel

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

MAPPING

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Home / Illuminaccion

← Lazy Stop The Continuous Picnic →


ILLUMINACCION

January 16, 2013 · by stefania · in HIGHLIGHT, LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: San Juan (Puerto Rico).

DateDate: 17th November 2011.

TimeTime: Few hours.


CostCost: 250$.


Private actorsPrivate actors: UrbanoActivo, LEP

(Laboratorio de Espacio Publico), citizens

A once bustling street in the center of San Juan, Puerto Rico, fell into disuse when the

city failed to repair broken streetlamps. The dark street was perceived as unsafe by

many, and became devoid of pedestrians, garbage-strewn, and generally avoided.

Urbano Activo, a research and design collective that promotes the creative use of public

space, conducted a multidisciplinary workshop that included local residents, and

devised Iluminacción, a one-night event that called on neighbors to converge on the

street with handcrafted lanterns and whatever other means of illumination they could

find. With music and a festive atmosphere, the street shone bright once again. A petition

was circulated at the event, leading the city to repair the broken streetlamps. [From


Illuminaccion comes after many workshops led by LEP (Laboratorio de Espacio Publico).

TIME LIFE

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Video:


References:

http://www.urbanoactivo.com

http://labespaciopublico.tumblr.com

Tags: high diy, light, medium aesthetic, medium community impact, medium happiness,

medium professionist presence, medium site specific, medium sustainability, no cost effective,

no friction, no politics, no social network, temporary, UrbanoActivo

URBAN AGRICULTURE

LEISURE

NEED

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Home / Islands of LA

← The Periscope Project Kingshighway Skatepark →


ISLANDS OF LA

January 14, 2013 · by sofia · in FILL-A-VOID, HIGHLIGHT, LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Los Angeles (USA).

DateDate: 2007.



CostCost:-


Private actorsPrivate actors: Ari Kletzky, citizens

Although you may not notice them, artist Ari Kletzky sees traffic islands everywhere in

his city. Surmising that these miscellaneous bits of public land add up to a sizable

territory, he started an art project in which he installs official-looking signs declaring

these undistinguished plots a part of the Islands of LA National Park. An ongoing project

to activate underutilized public space, Islands of LA includes an online map of traffic

islands that Kletzky considers suitable for public gatherings. He describes them as

“highly visible places of public intimacy,” and possible places for “unrestricted

peaceable gatherings,” from protests to picnics to art exhibits. [from

SpontaneusInterventions]

TIME LIFE

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References:

http://islandsofla.org/wp/

http://www.flickr.com/photos/islandsofla/

http://www.spontaneousinterventions.org/project/islands-of-la

Tags: chair, low aesthetic, low community impact, low happiness, low professionist presence,

medium diy, medium site specific, medium social network, no cost effective, no friction, no

sustainability, paper&pencil, temporary, trees

URBAN AGRICULTURE

LEISURE

NEED

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MAPPING

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Home / Kingshighway Skatepark

← Islands of LA Astoria Scum River Bridge →


KINGSHIGHWAY SKATEPARK


©2013 Google -


PlacePlace: St. Louis (USA).

DateDate: 2009.

TimeTime: Ongoing.


CostCost: -.


Private actorsPrivate actors: Kingshighway Vigilante

Transitions

Jonathan Ware wasn’t sure whether to bring a bag of concrete along with a skateboard

and pads on his first visit to Kingshighway Skatepark. “Word on the street was if you

showed up and you did not contribute in some way, you would not be permitted to skate

there,” says Ware, a local architect and skater. Situated below an overpass in south St.

Louis, the highly popular skate park was built by an all-volunteer network of skaters in

an urban dead zone. Plans to overhaul the road above now jeopardize the park’s future,

but its success has galvanized larger efforts between the volunteer group now known as

Kingshighway Vigilante Transitions, city officials, and the community to build sanctioned

skate parks in other locations throughout the city. [from SpontaneousInterventions]

TIME LIFE

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Video:

http://www.youtube.com/watch?v=S5YR-BySLSs&list=PLDFECAA22FCF172FB&index=1

References:

http://kingshighwayskateboarding.blogspot.it

Tags: brick, concrete, high diy, high happiness, low aesthetic, low cost effective, low politics, low

sustainability, medium community impact, medium friction, medium site specific, medium social

network, no professionist presence, permanent, wood plank

URBAN AGRICULTURE

LEISURE

NEED

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Home / La Casa del Viento

← Esto No Es Un Solar Viv[id]ero →


LA CASA DEL VIENTO

December 17, 2012 · by sofia · in EDUCATION, LEISURE, PARASITE

©2013 Google -



DateDate: December 2011

TimeTime: undetermined

SpaceSpace: Rooftop

CostCost: -

Public actors: Public actors: Consejería Cultural de la

Embajada de España en Colombia-AECID

Private actorsPrivate actors: Arquitectura Expandida,

Zuroriente Cultural Assosiation, local

associations, citizens

The intervention is a self-construction process for the expansion of the Community

Library Simon el Bolivar in Bogotà. This small structure was built 16 years ago by

Zuroriente Cultural Assosiation, joined by several other collectives and local

movements, because of the lack of social equipment in such a conflictive context. Casa

del Viento is a parasitic architecture, that lies above the existing structure. It’s made

mostly of Colombian Bamboo, covered with alveolar polycarbonate, and the floor is

assembled with wood boards, suitable for activities like dance and theatre. The policy

during the process was participatory: debates and cultural activities were organised,

suitable for a wide range of public, to include the community into the project decisions.

These strategies are relevant in urban settings like Bogotá: with a strong network of

associations, and a lot of self-builded realities, they creates an urban environment

qualitatively different.

TIME LIFE

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Videos:


References:


Tags: Arquitectura Expandida, bamboo, high community impact, high diy, high happiness, high

sustainability, low cost effective, low politics, low social network, medium aesthetic, medium

professionist presence, medium site specific, no friction, polycarbonate panel, wood panel

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

MAPPING

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Home / Lazy Stop

← Edible Schoolyard Illuminaccion →


LAZY STOP

January 15, 2013 · by sofia · in NEED, RE-USE

©2013 Google -

Imagery ©2013 NASA,

PlacePlace: Durban (South Africa).

DateDate: Februar 2008.

TimeTime: Ongoing.


CostCost: -.


Private actorsPrivate actors: Millegomme

Thirty “Lazy” chairs and fifteen “Four-Meal Drive” picnic tables made out of tires were

put in a public park, allowing people to rest. A public market grew up around the site in

Durban. Twelve more “Lazy” chairs were placed in bus shelters where the city of

Durban had supplied only metal railings to lean on. The chairs and the picnic tables

were made of defective tires diverted from the landfill and simply joined with screws.

Assembly was rapid, and the furniture was installed in one afternoon. Millegomme is an

international collective who work with tires. [from CCA-actions]

TIME LIFE

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References:

http://www.millegomme.com/

http://cca-actions.org/actions/truck-tires-relax-pedestrians

Tags: high professionist presence, high sustainability, low aesthetic, low site specific, medium

community impact, medium diy, medium happiness, no cost effective, no friction, no politics, no

social network, temporary, tire

URBAN AGRICULTURE

LEISURE

NEED

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MAPPING

EDUCATION

GUERRILLA

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URBAN ACTION

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Home / Le 56

← Seedbomb Vending Machine Ecobox →


LE 56


©2013 Google -


PlacePlace: Paris (France).

DateDate: 2005.

TimeTime: Ongoing.


CostCost: Unknown.

Public actors: Public actors: Municipality of Paris.


Autogérée, APIJ-bat, citizens

An energy-independent recycled construction garden and building inserted in a paved

alley between two buildings in the Sainte-Blaise neighbourhood of Paris 20e, this

“participatory garden” includes mini-plots for local residents and is designed as a

continuous construction site programmed by the community. [from CCA-actions]

In 2005 the City of Paris invite Atelier d’Architecture Autogérée to explore the

possibilities of a 200 square meters tight vacant lot. After collecting desires, ideas and

suggestions from the neighbourhood, AAA presents a project strategy based on

spontaneous activities with an ecological approach: wood structures (built in

partnership with specialists in eco-contructions), use of recycled materials, a compost

laboratory, vegetable gardens. The place is now self-managed by around 40 people

taking care of the gardens, setting up events and debates, and carring out the

laboratories.

TIME LIFE

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References:

http://56stblaise.wordpress.com

http://www.flickr.com/photos/56stblaise/


Tags: Atelier d'Architecture Autogérée, high community impact, high cost effective, high

happiness, high politics, high professionist presence, high site specific, high sustainability,

medium aesthetic, medium diy, medium social network, no friction, permanent, polycarbonate

panel, vegetables, wood panel, wood plank

URBAN AGRICULTURE

LEISURE

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mediumaestheticmediumcommunityimpact mediumcost effectivemedium diymedium frictionmediumhappinessmedium politicsmediumprofessionistpresencemedium sitespecific mediumsocial networkmediumsustainabilitymediumtemporary metal sheet

no aesthetic no




no site specific nosocial network nosustainability no time

life object orange paintpallet paper&pencilpermanent plastic bag

playground

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Home / Le grand detournement

← Concurso de las rutas inciertas Precare →


LE GRAND DETOURNEMENT


©2013 Google -


PlacePlace: l’Île-Saint-Denis (France)

DateDate: May 2012

TimeTime: 5 days

SpaceSpace: Abandoned place

CostCost: Unknown

Public actors: Public actors: Plaine Commune, l’Île-Saint-

Denis city

Private actorsPrivate actors: Bellastock, architecture

students

Founded in 2006, Bellastock is an interdisciplinary association of young architects about

sustainable development in relationship with cultures, arts and territories. The 7th

edition of the Bellastock Festival takes place in l’Île-Saint-Denis, in the northern

suburbs of Paris. “Le grand détournement” hosted 1000 architecture students in a 5 day

event, in which they had to design, auto-construct and inhabit an eco-ephemeral city

made of recycled waste materials. About 10 groups of 10 people built their own shelters

and shared places from different material founded in the area, the dismissed

warehouse of Lafayette. A different approach to architecture is proposed, thinking to the

act of built in a new way and giving the waste the opportunity of a second life. The cycle

of the reused materials finishes where it has taken place: they have been dismantled

and sorted.

TIME LIFE

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Video:


References:

http://www.bellastock.com/

Tags: bellastock, cloth, high diy, high happiness, high sustainability, low aesthetic, low cost

effective, low politics, low site specific, low social network, medium community impact, medium

professionist presence, no friction, recycled bottles, temporary

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

MAPPING

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Home / Local Previews

← Zebra Crossing Al di qua del giorno →

LOCAL PREVIEWS

January 27, 2013 · by sofia · in HIGHLIGHT, URBAN ACTION

©2013 Google -



DateDate: 2000.

TimeTime: Ongoing.


CostCost: -.



New York neighborhoods rarely stand still. This flux contributes to the city’s vitality but

is largely driven by developers with little consideration for the overall vigor of public

space. We can change this dynamic by generating programs responding to social and

physical neighborhood character. Local Previews, a form of architectural graffiti,

captures the imagination of residents and passersby. It challenge everyone to question

the impending changes. An empty construction site begs us to imagine the potential of

what could be. Through posters adhered to these construction fences, Local Previews, a

form of architectural graffiti, suggests big buildings in small shells, with unlikely

pairings that take advantage of limited spaces and serve particular needs.

TIME LIFE

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PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

References:

http://localpreviews.tumblr.com/

http://www.localpreviews.org/

Tags: low diy, low happiness, low site specific, low social network, medium community impact,

medium professionist presence, medium sustainability, no aesthetic, no cost effective, no

friction, no politics, paper&pencil, temporary

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Home / Luz na Viela

← Garden Registry Park-urka →

LUZ NA VIELA


©2013 Google -


PlacePlace: Sao Paulo (Brazil).

DateDate: January 2012.

TimeTime: Few weeks.


CostCost: Unknown.

Public actors:Public actors: Spanish Embassy in Brazil.

Private actorsPrivate actors: Boa Mistura, residents.

The intervention is located in Vila Brasilandia, one of the favelas in Sao Paulo; the

participated art process has been settled in the second order of roads, the favela

transversal infrastructure made of stair and and paths. The perception of this system is

a chaotical net of textures, materials, stairs and multiple perspectives; the project,

closely linked to this spatial complexity, consists of covering with brilliant coloured paint

some parts of the pathways, smoothing the perspective with inspiring words that float

thanks to a visual 3D trick. Favela residents have been involved in the making of the five

works, directly contributing to the transformation of their everyday places like walls,

eletric poles and drainpipes. The words chosen express themes of hope: Beleza

(beauty), Firmeza (tenacity), Doçura (sweetness), Amor (love) and Orgulho (pride).

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

Videos:

http://vimeo.com/boamistura/lightinthealleyways

References:

http://www.boamistura.com

Tags: high aesthetic, high professionist presence, high site specific, low social network, low

sustainability, medium community impact, medium diy, medium happiness, medium politics, no

cost effective, no friction, paint, permanent

URBAN AGRICULTURE

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Home / Making the Edible Landscape

← City Island Ordenacion y ocupacion temporal de

solares →

MAKING THE EDIBLE LANDSCAPE

January 20, 2013 · by sofia · in EDUCATION, RESEARCH, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Colombo (Sri Lanka).

DateDate: 2004.

TimeTime: Ongoing.

SpaceSpace: City.

CostCost: -

Public actors: Public actors: Colombo Municipal

Council, Minimum Cost Housing Group of

McGill University, Sevanatha-Urban Resource

Centre.


A participatory project to preserve and upgrade a five-hundred-family shantytown on the

edge of Columbo while improving residents’ access to water and integrating agricultural

spaces for the production of food and medicinal plants. Making the Edible Landscape

sought to support the food security of the neighbourhood and integrate an organic

waste-recycling system. The pilot project was a DIY garden made of recycled materials

and constructed with residents; the program was expanded to include three hundred

families.

The Local Project Working Group for Making the Edible Landscape was formed in 2004.

UN-SCAP and the Dutch government are funding a Sevanatha-led upgrading of Halgaha

Kumbura. [From CCA-actions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

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NETWORKS

Videos:

http://www.youtube.com/watch?v=f_pGBCuweZU

References:

http://www.mcgill.ca/mchg/pastproject/edible-landscape/colombo

http://cca-actions.org/actions/recycled-materials-cultivate-slum

Tags: high sustainability, low aesthetic, medium community impact, medium cost effective,

medium diy, medium happiness, medium politics, medium professionist presence, medium site

specific, no friction, no social network, permanent, vegetables

URBAN AGRICULTURE

LEISURE

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Home / Molo Torre

← UN:UN salle New Public Sites →


MOLO TORRE

December 26, 2012 · by stefania · in LEISURE, RE-USE

©2013 Google -


PlacePlace: Genoa (Italy)

DateDate: 2011

TimeTime: Ongoing


CostCost: 260 €

Public actors: Public actors: City of Genoa, University of

Genoa

Private actorsPrivate actors: Gruppo Informale, citizens

Molo Torre is a project of requalification in Pegli, Genoa, Italy, that gives new urban

furniture, a shelter and new paving to a small square on the sea. The place is a meeting

point for Pegli’s old people who care about it and its maintenance. Gruppo Informale

works with these people from the beginning, talking with them, collecting their needs

and desires and designing together.

A shelter has been built in order to give comfort to the seats providing shadow during

the summer and repair in the winter; a sea bank made of stones has been risen to

protect the square from sea storm; a more regular paving replaced the old concrete

one. All the materials are reused or founded nearby; the construction has taken 4 weeks

to be built by a team of 20 volunteers from all ages.

TIME LIFE

SUSTAINABILITY

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POLITICS

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SOCIAL

NETWORKS

References:

http://www.archilovers.com/p45869/molo-torre

Tags: bamboo, Gruppo Informale, high aesthetic, high community impact, high diy, high

happiness, high professionist presence, high sustainability, medium politics, medium site

specific, no cost effective, no friction, no social network, pallet, permanent, scaffolding tubes,

stones

URBAN AGRICULTURE

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Home / New Public Sites

← Molo Torre IOT →


NEW PUBLIC SITES

December 27, 2012 · by sofia · in HIGHLIGHT, MAPPING, URBAN ACTION

©2013 Google -


PlacePlace: Baltimora (& elsewhere) (USA)

DateDate: -

TimeTime: Ongoing


CostCost: 100-1200 $ per event

Public actors: -Public actors: -

Private actorsPrivate actors:Graham Coreil-Allen, citizens

“Reclaiming Public Space through Radical Pedestrianism and Creative Cartography”.

This is how the artist Graham Coreil-Allen explain his work: he applies psychogeography

and Situationist principles to walking tours, through zones of contradiction, ambiguity,

emptyness whitin city’s public spaces. Its aim is to investigate the way invisible sites

exist within our everyday enviroment. By this participated processes, the citizens are

activated and informed about the possibilities of underutilized spaces. This is done

travelling by foot, and doing urban analysis through mapping, videos, photos…

TIME LIFE

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NETWORKS

References:

http://newpublicsites.org/

http://newpublicsites.tumblr.com/

Tags: camera, Graham Coreil-Allen, high professionist presence, low site specific, map, medium

community impact, medium happiness, medium social network, no aesthetic, no cost effective,

no diy, no friction, no politics, no sustainability, shoes, temporary

URBAN AGRICULTURE

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Home / No Longer Empty

← City Farm Park Fiction →


NO LONGER EMPTY

January 19, 2013 · by stefania · in FILL-A-VOID, HIGHLIGHT, LEISURE

©2013 Google -



DateDate: 2009 to present

TimeTime: 1 – 6 months.

SpaceSpace: Vacant storefronts.

CostCost: 15,000$ – 120,000$.

Public actors: Public actors: New York Council for the

Humanities, NY Culture, Lower Manhattan

Cultural Council.

Private actorsPrivate actors: No Longer Empty, landlords,

artists.

Founded in the dark months following the 2008 financial bust, No Longer Empty brings

temporary art exhibitions and programming to vacant storefronts. Seeking partnerships

with landlords (who recognize that bringing traffic into their spaces might help them

find tenants), No Longer Empty creates temporary cultural and educational hubs.

Artists, community members, educators, curators, and academics all come together at

No Longer Empty events. The diversity of participants drives the program’s vibrancy.

Each exhibition draws curatorial inspiration from active site research and response.

Executive director Naomi Hersson-Ringskog has a background in urban planning and

real estate, and hopes to use nomadic occupation to foster longer-term change by

highlighting the potential for businesses in an area and supporting community

development. [from SpontaneousInterventions]

TIME LIFE

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Video:


References:

http://www.nolongerempty.org

Tags: high aesthetic, high cost effective, high professionist presence, low diy, medium

community impact, medium happiness, medium politics, medium site specific, medium social

network, medium sustainability, no friction, temporary

URBAN AGRICULTURE

LEISURE

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Home / Noorderparkbar

← Getxoberpiztu! Noupaticastellum →


NOORDERPARKBAR

January 10, 2013 · by stefania · in LEISURE, NEW BUILT

©2013 Google -


PlacePlace: Amsterdam (NL)

DateDate: 2011

TimeTime: Ongoing


CostCost: 30,000€


Private actorsPrivate actors: Bureau SLA, Overtreders W,

marktplaats.nl

Noorderparkbar is the first market place 100% made of reused materials in the

Netherlands. All the materials have been bought second hand on marktplaats.nl.

Bureau SLA and Overtreders W are the initiators, fund-raisers, designers and builders

of the project; since they found materials on the web, the processes of designing and

building took place at the same time. The construction is made by three units once

intended for hospital use; a new facade made by reused windows have been placed on

one of these units (the one that hosts the coffeebar and two toilets), and a new rooftop

has been built from skylights. The whole building is covered by wooden shutters that can

be closed at night. 42 windows were used for the facades, 55 liters of paint and more

than a thousand meters of wood.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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POLITICS

AESTHETIC

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SOCIAL

NETWORKS

Video:

http://hetkomtaltijdgoed.nl/?page_id=905

References:

www.overtreders-w.nl

www.bureausla.nl

Tags: container, high aesthetic, high cost effective, high happiness, high professionist presence,

low politics, low site specific, low social network, medium community impact, medium

sustainability, no friction, paint, permanent, recycled windows, wood plank

URBAN AGRICULTURE

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Home / Noupaticastellum

← Noorderparkbar Concurso de las rutas inciertas →


NOUPATICASTELLUM

January 11, 2013 · by stefania · in EDUCATION, FILL-A-VOID, LEISURE

©2013 Google -


PlacePlace: Sant Julia de Ramis (ES)

DateDate: 2011

TimeTime: One year


CostCost: Unknown

Public actors: Public actors: Generalitat de Catalunya,

CoNCA

Private actorsPrivate actors: Lluis Sabadell Artiga,

teachers, students

Noupaticastellum is a project of the Castellum school playground in Sant Julia de

Ramis, Girona. Students, teachers and parents are involved in the participated process

making the school an active place taken care by its community. Once collected from kids

and adults the guide lines for an ideal playground, the main issues to work with such as

shadow, vegetation, hiding etc have been identified. Working together many proposals

have been designed and built in a 1:1 scale prototypes during a two days workshop with

students and parents, so that children can try them physically. The main structures

were two vegetation igloos where to hide, a concrete wall transformed into a living wall,

a wooden house and a small urban garden in boxes. As a result of this experience, a

school co-creation guide has been created to give an example of cohesion of people,

kids, insitutions.

TIME LIFE

SUSTAINABILITY

COMMUNITY

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PROFESSIONIST

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Video:


References:

http://www.sabadellartiga.com

Tags: high diy, high happiness, high sustainability, low aesthetic, low social network, medium

community impact, medium politics, medium professionist presence, medium site specific,

medium temporary, no cost effective, no friction, paper&pencil, tire, wood plank, wood trunk

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

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Home / Operation: Ivy League

← The Continuous Picnic Field Guide to Phytoremediation →


OPERATION: IVY LEAGUE

January 16, 2013 · by sofia · in GUERRILLA, URBAN AGRICULTURE

©2013 Google -



DateDate: 2007.

TimeTime: -.

SpaceSpace: City.

CostCost: -


Private actorsPrivate actors: Helen Nodding, Space

Hijackers.

Operation: Ivy League is a project to plant ivy on corporate London architecture. It is a

natural appropriation organized by residents and commuters as an attack on dull and

homogeneous buildings. Thirty-five ivy plants were installed in the city centre on

structures identified as boring and targeted for cover-up. Helen Nodding is inspired by

the hardiness of urban plants to draw attention to their activities in the city. She is based

in London. The Space Hijackers are a group of “anarchitects” formed in 1999 to combat

the erosion of public space by corporations and the imposition of top-down planning.

[from CCA-actions]

TIME LIFE

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References:

http://www.spacehijackers.org/

http://cca-actions.org/actions/ivy-invades-london/

Tags: low community impact, low friction, low social network, low sustainability, medium

aesthetic, medium diy, medium happiness, medium professionist presence, no cost effective, no

politics, no site specific, temporary, vegetables

URBAN AGRICULTURE

LEISURE

NEED

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Home / Ordenacion y ocupacion temporal de solares

← Making the Edible Landscape Playgrounds →

ORDENACION Y OCUPACION TEMPORAL DE

SOLARES

January 20, 2013 · by stefania · in FILL-A-VOID, HIGHLIGHT, LEISURE

©2013 Google -



DateDate: 2004.

TimeTime: Minimum 6 months.


CostCost: Unknown.

Public actors: Public actors: City of Seville.

Private actorsPrivate actors: City residents, Recetas

Urbanas.

A proposal made to the city of Seville for legislation to assist in the temporary

transformation of public and private solares – vacant lots walled off for security – into

public spaces for at least six months. Wall rubble is incorporated into the design, and

elements of car and pedestrian barriers are used to construct benches, see-saws,

swings, and bike racks with readily available plastic materials like concrete. Instruction

sheets were produced to allow residents to construct their own furniture. The project is

designed to minimize material movement, cost, and other barriers to change. [from

CCA-actions]

The proposal about the temporary occupation of vacant lots was advanced by a citizen,

suggesting ten possible spaces about a hundred in the city. The city of Seville started

recognizing two lots as pilot projects; from 2006 the City Urban Plan allows the

temporary use of vacant spaces.

TIME LIFE

SUSTAINABILITY

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References:

http://cca-actions.org/actions/reclaim-vacant-lot-what-city’s-got

http://www.recetasurbanas.net

Tags: high community impact, high diy, high happiness, high sustainability, low aesthetic, low

cost effective, low friction, low professionist presence, medium politics, medium site specific,

medium temporary, no social network, playground, recetas urbanas, wood panel, wood trunk

URBAN AGRICULTURE

LEISURE

NEED

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Home / Pagina Bianca

← Park-urka Hypothèses d’amarrages →

PAGINA BIANCA


©2013 Google -


PlacePlace: Italy.

DateDate: April 2009 – to present.

TimeTime: One day.


CostCost: Unknown.

Public actors:Public actors: City Municipalities.

Private actorsPrivate actors: Ivan, Art Kitchen, people.

“A blank page is an hidden poetry” says Ivan, the italian street-artist and poet; the idea

of giving a city a free urban space in which citizens can express themselves in

participated actions of self poetry, has been realized for the first time in April 2009 in

Florence. Many city have been visited by Ivan and his team Art Kitchen after this first

experience, such as Milan, Naples and Verona: the tour is still ongoing. The

performance consists of placing a big sheet on a square, and let the people write on it

during a whole day. The concept is the one day appropriation of public squares with a

self-managed space without owners and rules, and the artist is one with the

participants. In this performance, spectators are not standing in front of the art work,

but the active actors of it.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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HAPPINESS

COST EFFECTIVE

DIY

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PRESENCE

POLITICS

AESTHETIC

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Videos:


References:

http://paginabianca.artkitchen.org/

Tags: high diy, high happiness, low community impact, low politics, low site specific, low

sustainability, medium aesthetic, medium professionist presence, medium social network, no

cost effective, no friction, paint, paper&pencil, temporary

URBAN AGRICULTURE

LEISURE

NEED

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MAPPING

EDUCATION

GUERRILLA

PARASITE

RE-USE

FILL-A-VOID

URBAN ACTION

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Home / ParaSITE

← Forat de la Vergonya PARK(ing) →


PARASITE

January 17, 2013 · by stefania · in HIGHLIGHT, NEED, PARASITE

©2013 Google -


PlacePlace: Cambridge (UK), New York (USA).

DateDate: 1999.

TimeTime: Ongoing.


CostCost: Around 5$.


Private actorsPrivate actors: Michael Rakowitz, homelesse

people.

ParaSITE is a construction system for DIY urban shelters heated and inflated by exhaust

from building ventilation and heating systems. Warm air from buildings is vented into

the atmosphere year round; this resource is abundant only in the city. The temperature

inside a ParaSITE is always the same as the environment in the building it is attached to,

providing comfortable shelter even in winter. The shelters are designed to be

constructed as needed from plastic and tape, readily available materials in the city.

Michael Rakowitz frequently works with concepts of nomadism and urban appropriation.

He teaches at Northwestern University in Chicago. [CCA-actions]

The shelters are different for each homeless man, based on their personal requests:

different windows, pockets, dimensions, “rooms”.

TIME LIFE

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COST

EFFECTIVE

DIY

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POLITICS

AESTHETIC

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SPECIFIC

SOCIAL

NETWORKS

References:

http://michaelrakowitz.com

Tags: high happiness, high professionist presence, low community impact, low sustainability,

medium aesthetic, medium diy, medium friction, no cost effective, no politics, no site specific, no

social network, plastic bag, temporary

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Home / PARK(ing)

← ParaSITE Casa Insecto →


PARK(ING)January 17, 2013 · by stefania · in HIGHLIGHT, LEISURE, URBAN ACTION

©2013 Google -



DateDate: 2005

TimeTime: Ongoing.


CostCost: Around 5$.


Private actorsPrivate actors: Rebar, people

A very short-term lease of a downtown parking space allows the autonomous creation of

public space. PARK(ing) involved feeding a meter on San Francisco’s Mission Street to

rent precious urban real estate for installation of an aquarium, a public bed, a brothel,

or nothing at all, to increase available space on a car-dominated street. An Astroturf

park was chosen and installed for two hours, providing an additional 2,230 square-

metre-minutes of recreation space-time on a Wednesday afternoon. is a collective

based in San Francisco who works within the domains of environmental installation,

urbanism, and absurdity. PARK(ing) Day now occurs once a year around the world,

usually on 19 September. [from CCA-actions]

Now PARK(ing) spreads all over the world with different features like temporary urban

farms, free health clinics, art installations, free bike-repair stations.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST

EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE

SPECIFIC

SOCIAL

NETWORKS

References:

http://parkingday.org

http://rebargroup.org

http://www.flickr.com/groups/worldparkingday/pool/

Tags: chair, high aesthetic, high diy, high happiness, high social network, high sustainability,

medium community impact, medium site specific, no cost effective, no friction, no politics,

temporary, trees

URBAN AGRICULTURE

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Home / ParcCentralPark

← All Aboard El Tanque →

PARCCENTRALPARK

January 28, 2013 · by stefania · in FILL-A-VOID, LEISURE, NEED

©2013 Google -




TimeTime: One year.

SpaceSpace: Urban Void.

CostCost: 0€.


Private actorsPrivate actors: Citymine(d), Rotorr,

Straddle3, citizens

Parc Central Park is the appropriation of a urban void in Poblenou, Barcelona, by the

neighbourhood, artists and other people to highlight the need of public spaces. The

action had place in 2004, cleaning and starting to build some facilities for the public park

since the government lacked in making the space accessible. The concept of PCP is the

self-construction of a park for the neighbourhoods; so they started setting up meeting

and debates, expositions about local cultural heritage, an open air cinema, a garden. A

commission made by artists, neighbours, planners and designers was created seeking

to make alternative proposals for the future of the park against the speculation plans in

those years. The Poblenou Central Park has been finally designed by French architect

Jean Nouvel, and its building started in 2005.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

References:

http://www.rotorrr.org/parcentralpark/

http://www.citymined.org/projects/parccentralpark.php

http://nualart.cat/wp-content/uploads/2010/02/2004-ParcCentralPark.pdf

Tags: citymine(d), cloth, high community impact, high diy, high site specific, high sustainability,

low aesthetic, low professionist presence, low social network, medium friction, medium

happiness, medium temporary, no cost effective, no politics, pallet, straddle3

URBAN AGRICULTURE

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Home / Park Fiction

← No Longer Empty Favela Painting →


PARK FICTION

January 19, 2013 · by sofia · in LEISURE, NEED, RE-USE

©2013 Google -

Imagery ©2013 AeroWest,

PlacePlace: Hamburg (Germany).

DateDate: 1995.

TimeTime: Ongoing.


CostCost: -


Private actorsPrivate actors: Christoph Schäfer, Margit

Czenki, citizens.

Residents in the Hafenrandverein (Harbour Edge Association) organised the Park Fiction

initiative to prevent the development of the slope along the Elbe River in St. Pauli though

a campaign that brought together art and music subcultures with community residents.

Park Fiction hosted events and invented tools to design an alternative project.

Artists Christoph Schäfer and Cathy Skene developed a wish archive, a portable library,

a clay-modeling office, a wish hotline, a planning container, and an action kit (mobile

planning briefcase). The artists also distributed questionnaires for the public to fill out.

This open planning process allowed participants to articulate the diverse possibilities of

the park in an informal social environment. After eight years of radical democratic

urban planning and negotiations, Park Fiction is now being realized. Park Fiction is a

citizen driven planning initiative involving artists and musicians, founded 1994 in

Hamburg, Germany. [From CCA-actions]

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST

EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE

SPECIFIC

SOCIAL

NETWORKS

References:

http://www.parkfiction.org/

http://cca-actions.org/actions/strawberry-treehouse-replaces-city-construction-plans

http://www.facebook.com/parkfiction/

http://www.ipernity.com/home/203506

Tags: container, high community impact, high diy, high happiness, high site specific, low cost

effective, low professionist presence, low sustainability, medium aesthetic, medium friction,

medium social network, paper&pencil, permanent

URBAN AGRICULTURE

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Home / Park-urka

← Luz na Viela Pagina Bianca →

PARK-URKA

January 24, 2013 · by sofia · in FILL-A-VOID, LEISURE

©2013 Google -


PlacePlace: Taranto (Italy).

DateDate: September 2009.

TimeTime: Ten days.


CostCost: 6,700 €.

Public actors:Public actors: Municipality of Taranto.

Private actorsPrivate actors: Controprogetto, LABuat,

residents, childern.

Park-urka is a project born from the collaboration between controprogetto and LABuat,

supported by the Municipality of Taranto. It was a moment of transformation in the city,

with a regional program promoting creativity. Through a workshop of participated

planning and construction with inhabitants of the quarter, children, volunteers and

artists that want to re-invent the public space, making a playground. This project has

been realized in four days, made up of a main structure that looks like a octopus with

slide and scrambled up, swinging chairs, a small theatre box. The realization of Park-

urka has been possible thanks to the collaboration with the inhabitants of Isola Borgo

Antico, through the realization of the paving, the logistic organization, the organization

of suppers en plein air and above all great dialogue.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

Videos:

http://www.youtube.com/watch?v=V_dJp8fGViw

http://www.youtube.com/watch?v=QDiK7rdFCsw&feature=related

References:

http://www.controprogetto.it/

http://labuat.wordpress.com/

Tags: high aesthetic, high community impact, high happiness, high professionist presence, low

politics, low social network, medium diy, medium site specific, medium sustainability, no cost

effective, no friction, paint, permanent, playground, wood panel

URBAN AGRICULTURE

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Home / Place au changement!

← Guerrilla Drive-In

PLACE AU CHANGEMENT!


©2013 Google -


PlacePlace: Saint Etienne (France).

DateDate: 2011.

TimeTime: 2 Years.

SpaceSpace: Vacant lot.

CostCost: Unknown.

Public actors:Public actors: Public Urban Planning

Agency.

Private actorsPrivate actors: Collectif ETC, people.

Collectif ETC won a competition commissioned by the Public Urban Planning Agency of

Saint-Etienne, and set up a participative process with the residents designing a public

temporary square on a 670 square meter wasteland. The neighbourhood was living a

period of dynamic spatial changes, so the French collective decided to simulating a

living construction site in prevision of what would be built in a couple of year; building

plans and sections were painted on the boundary walls. In a months three workshops

have been set up, opened to everyone: carpentry, graphic design and garden design.

Tools and advices have been provided by Collectif ETC, various activities like live

painting, concerts and meals have been organized by local groups. A residential building

would be built in two years: this action let think about using urban voids to fulfill

temporary needs.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

Videos:


References:

http://placeauchangement.site40.net/index.php

www.collectifetc.com

Tags: Collectif ETC, high aesthetic, high community impact, high diy, high happiness, high

politics, high professionist presence, high site specific, low cost effective, medium social

network, medium sustainability, medium temporary, no friction, paint, stones, vegetables, wood

panel

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Home / Place it!

← Soil Kitchen Garden Registry →

PLACE IT!

January 23, 2013 · by stefania · in EDUCATION, LEISURE, RESEARCH

©2013 Google -


PlacePlace: USA.

DateDate: 2009.

TimeTime: Ongoing.

SpaceSpace: City.

CostCost: 2,000$ per workshop.


Private actorsPrivate actors: James Rojas, citizens.

Place It! is a series of community workshops that invites the public to reflect upon,

explore, participate in, and better comprehend the look and feel of the city through

interactive models. Over the past three years, Los Angeles architect and planner James

Rojas has led over 200 workshops in diverse communities across the country, involving

schools, museums, community groups, city agencies, and more. He starts the

workshops with a basic model of the local city, crafted from Legos, buttons, other toys

and raw materials, and then invites workshop participants to add, subtract, and

rearrange elements to envision their ideal city. Participants in a recent workshop in

Raleigh, North Carolina, came up with proposed improvements including new grocery

stores and farmers markets, outdoor movies, and improved biking conditions. [from


TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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HAPPINESS

COST

EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

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SPECIFIC

SOCIAL

NETWORKS

References:

http://www.placeit.org

http://www.spontaneousinterventions.org/project/place-it

Tags: low community impact, low diy, map, medium happiness, medium professionist presence,

no aesthetic, no cost effective, no friction, no politics, no site specific, no social network, no

sustainability, no time life

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Home / Play the city

← Hortolab Temazcal →


PLAY THE CITY

January 12, 2013 · by sofia · in EDUCATION, LEISURE, RESEARCH

©2013 Google -

Imagery ©2013 NASA -

PlacePlace: Amsterdam, Almere, the

Hague (Netherlands), Istanbul (Turkey).


TimeTime: few days.

SpaceSpace: City.

CostCost: -

Public actorsPublic actors:politicians.

Private actorsPrivate actors: The responsive city, citizens

Play the City, a foundation created by “The responsive city”, introduces few-days games

into city-making processes, to simulate into players complex questions about planning.

Today planning rules and conditions should be designed to let the people design and

produce their environments. Play the City started a research to evaluate digital tools

and social media to introduce new forms of society making and democracy. Play the city

games acts like a vehicle for communication between the different actors: complex

urban and regional questions are stimulated by the interaction of real and active influent

actors. Play the City has been designing city games internationally: a failed urban

masterplan in Binckhorst (the Hague), transformation of self-made residential

neighborhoods in Istanbul, the former Shell campus with an unclear future in the center

of Amsterdam and the experimental new town expansion in Almere Oosterwold, and

Tirana.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

Video:

http://vimeo.com/playthecity

References:

http://www.playthecity.nl

http://www.theresponsivecity.org

http://www.facebook.com/theresponsivecity.org

Tags: high politics, high social network, low cost effective, map, medium aesthetic, medium

community impact, medium happiness, medium professionist presence, no friction, no site

specific, no sustainability, temporary

URBAN AGRICULTURE

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Home / Playgrounds

← Ordenacion y ocupacion temporal

de solares

Tempelhofer Freihet →

PLAYGROUNDS


©2013 Google -


PlacePlace: Amsterdam (Netherlands).


TimeTime: -.

SpaceSpace: Urban voids.

CostCost: Unknown.

Public actors: Public actors: Department of Urban Design,

Amsterdam Municipality.

Private actorsPrivate actors: Van Eyck, citizens.

Between 1947 and 1978 Van Eyck designed hundreds of playgrounds, first as part of the

Department of Urban Design and later for the municipality and from his own office. In

collaboration with the neighbourhoods he drew up the programme and decided where

they would be built. Were often used war voids, vacant lots in the city centre turned into

temporary play areas. In fact, after the war, Dutch cities were in a state of dereliction,

and no space for children was available: just few playgrounds existed in the city, but they

were of private nature. Van Eyck’s playgrounds can be seen as an emergency measure,

with a spatial experiment that has marked the childhood of an entire generation in

Amsterdam. Van Eyck also designed the playground equipment himself- sandpits,

tumbling bars, stepping stones-: its purpose was to stimulate the minds of children.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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SPECIFIC

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NETWORKS

Tags: high aesthetic, high community impact, high happiness, high politics, high professionist

presence, low cost effective, low sustainability, medium site specific, no diy, no friction, no social

network, permanent, playground

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Home / Precare

← Le grand detournement (Dis)assembled →


PRECARE

January 12, 2013 · by sofia · in LEISURE, RE-USE

©2013 Google -


PlacePlace: Brussels (Belgium).


TimeTime: from 5 months up to 5 years.

SpaceSpace: Abandoned Building.

CostCost: -


Private actorsPrivate actors: Citymine(d), artists,

associations, landlords.

Precare is a project that supports emerging networks of urban projects in negotiation

with temporary use of buildings. It’s a mediation project between landlords who cannot

begin construction work on their properties, and artists or sociali initiatives looking for a

place to work. They looks for abandoned buildings in the cities, then contacts the

landlord asking for free use of the spaces, in return for paying utilitiey costs, but not

rent. They agree for the occupation for a fixed period of time, between a few months to a

few years, and convert it into temporary offices, donated to local non-profit

organizations. The aim of Precare is to push public or private’s buildings’ landlords to

allow the temporary use of their unused buildings, to increase creativity into the city by

creating temporary workspaces, and to fight against urban decay and abandoned

buildings.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST

EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE

SPECIFIC

SOCIAL

NETWORKS

References:

http://www.precare.org

http://www.citymined.org/

Tags: citymine(d), high community impact, high happiness, medium cost effective, medium diy,

medium politics, medium professionist presence, medium site specific, medium social network,

medium sustainability, medium temporary, no aesthetic, no friction

URBAN AGRICULTURE

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GUERRILLA

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Home / Prinzessinnengärten

← Chair Bombing Zappata Romana →

PRINZESSINNENGÄRTENJanuary 26, 2013 · by sofia · in FILL-A-VOID, LEISURE, URBAN AGRICULTURE

©2013 Google -


PlacePlace:Berlin (Germany).

DateDate: 2009.

TimeTime: Ongoing.

SpaceSpace: Vacant lot.

CostCost: Unknown.


Private actorsPrivate actors: Marco Clausen, Robert Shaw,

residents, volunteers.

Prinzessinnengärten was created in 2009 by Marco Clausen and Robert Shaw, wanted to

share the experience of urban agriculture as a sort of social ritual of creation of urban

spaces in which to work and meet. It’s set up in an area of the district of Kreuzberg that

had been abandoned for 65 years. Destroyed by bombs in the war, it’s a vast open space

that was covered with brushwood for decades. The site has been put up for sale by the

municipality but the garden currently holds around 400 plants and a mobile restaurant

and cafeteria. About twenty fixed collaborators are involved in the project along with a

large group of volunteers, many of them immigrants from rural areas who play an active

part, sharing their skills in a variety of fields, from organic farming to the preservation

of food and biodiversity.

TIME LIFE

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References:

http://prinzessinnengarten.net/

http://www.facebook.com/pages/Prinzessinnengarten/472584390102

http://www.flickr.com/photos/39367406@N04/

Tags: high community impact, high cost effective, high diy, high happiness, high sustainability,

low friction, low politics, low site specific, medium aesthetic, medium professionist presence,

medium social network, medium temporary, vegetables

URBAN AGRICULTURE

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Home / R-Urban

← Viv[id]ero Roaming Forest →


R-URBAN

December 20, 2012 · by stefania · in EDUCATION, FILL-A-VOID, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Colombes, Paris (France)

DateDate: 2011

TimeTime: Work in progress


CostCost: Unknown

Public actors: Public actors: City of Colombes, Ile de

France Region


Autogérée, citizens

R-Urban is a locally ecological closed cycle strategy of production-consumption,

involving the neighborhood in a network of alternative ways of living in a logic of urban

resilience between the city and the rural. The project starts with three Pilot Units:

Agrocitè, Recyclab and Ecohab. Their architecture denote the issue they are concerning:

recycled materials, auto-construction’s techniques, processes of local food production,

low impact living.

Agrocitè consists of areas for different activities: community and educational garden, an

experiments’ lab, a seed library, a vegetable market and other green facilities. Recyclab

is a recycling and eco-construction platform of waste and objects reuse that hosts

wokshops about DIY, construction and educational practices. Ecohab is a complex of

seven houses mixing social housing and students’, artists’ and researchers’ residences

built in self-sufficiency managing ecological know-how to reduce home-consumptions.

The project is currently work in progress.

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References:

http://r-urban.net


Tags: Atelier d'Architecture Autogérée, greenhouse, high community impact, high cost effective,

high diy, high happiness, high professionist presence, high sustainability, low site specific,

medium aesthetic, medium politics, medium social network, no friction, pallet, permanent, tire,

vegetables

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Home / Raval generator

← Casa Rompecabeza Something is going on in Matsaria →


RAVAL GENERATOR


©2013 Google -



DateDate: 2012.

TimeTime: Two weeks.


CostCost: Unknown

Public actors: Public actors: Ajuntament de Barcelona,

Departement de Cultura Catalunya

Private actorsPrivate actors: Raumlabor, Eme3 Festival,

architecture students, citizens

Raval is a neighbourhood of Barcelona next to the old city center, having the highest

percentage of immigrant (45%) in the city. The site (Jardìn de Torres i Clavè) has been

recently transformed into an asphalt platform splitted two level, and height among them

is given by a four meter concrete wall. The place is highly frequented as playground by

kids and youngs. Raumlabor Berlin set up a 10 day workshop as a start of a long term

development of the area using the strategy of participation with the neighbourhood.

They organized a mobile device hosting tools and materials (the hardware) and a

collection (software) of manuals, instructions and plans (all developed on this specific

site) so that non-professionists can understand take the initiative. The experiment

became in instant laboratory of participation and construction practice with the

residents.

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References:

http://www.raumlabor.net/

http://www.flickr.com/photos/81824390@N07/sets/72157630409341096/

Tags: high diy, low community impact, low site specific, medium aesthetic, medium happiness,

medium politics, medium professionist presence, medium sustainability, no cost effective, no

friction, no social network, paper&pencil, Raumlabor, temporary, textile, wood plank

URBAN AGRICULTURE

LEISURE

NEED

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Home / Recycling Tokyo

← Astoria Scum River Bridge Food for Free →


RECYCLING TOKYO

January 14, 2013 · by sofia · in EDUCATION, MAPPING, RESEARCH

©2013 Google -


PlacePlace: Tokyo (Japan).

DateDate: 2002.

TimeTime: -

SpaceSpace: City.

CostCost:-


Private actorsPrivate actors: Atelier Bow-

Wow, Architecture Institute of Japan students.

Forty-three proposals for the recycling of an entire city critical of helplessness in the

face of a environment exhausted of possibility. Atelier Bow-Wow show how Tokyo can be

disassembled into pieces of various sizes, from parking spaces to alleyways and whole

buildings; the proposed re-uses range from turning buildings into sundials, to planting

tomatoes on fences, and cutting footbridges in half to make observation points. Critically

fanciful, Recycling Tokyo reveals possibilities inherent to the city that would be

otherwise obscured by habit and convention.

Atelier Bow-Wow, founded in Tokyo in 1992, is known for innovative urban research on

multi-purpose, hybrid architecture, as well as very small-scale projects they call “Pet

Architecture.” [from CCA-actions]

TIME LIFE

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References:

http://www.bow-wow.jp/

http://cca-actions.org/actions/tokyo-disassembles-easy-recycling

Tags: high professionist presence, high site specific, high sustainability, low happiness, no

aesthetic, no community impact, no cost effective, no diy, no friction, no politics, no social

network, no time life, paper&pencil

URBAN AGRICULTURE

LEISURE

NEED

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Home / Roaming Forest

← R-Urban Canillejas imagina un parque →


ROAMING FOREST

December 21, 2012 · by stefania · in LEISURE, URBAN ACTION

©2013 Google -


PlacePlace: Bat-Yam (Isreael)

DateDate: 2010

TimeTime: 0-5 years

SpaceSpace: Public Space

CostCost: 11.000 $

Public actors: Public actors: Landscape Urbanism

Biennale, Bat-Yam municipality

Private actorsPrivate actors: Ed Wall (Project Studio), Yael

Bar Maor, Mike Dring, citizens

The Roaming Forest was developed by Ed Wall (Project Studio) during “Timing2010: The

Biennale of Landscape Urbanism”, initially placed as a visitors resting area then

randomly moved to different sites around the city of Bat-Yam.

The Roaming Forest is an itinerant landscape controlled by people’s desires and suited

for the municipal needs creating changeable urban scapes. Infact the concept of the

project is a mediation between the planned structures given by the municipality and the

unplanned action of the self-organization played by the citizens. Trees are transplanted

into wooden containers with wheels, moved in the public space, and when they outgrow

the box, the trees will be planted in their lastest position. Each tree is provided by local

authorities in a spefic site in roder to create public space; it is a movable device that

creates dynamic landmarks or seats depending on people’s needs.

TIME LIFE

SUSTAINABILITY

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References:

www.projectstudio.co.uk

Tags: ed wall, high politics, high professionist presence, high sustainability, low community

impact, low diy, low happiness, medium aesthetic, no cost effective, no friction, no site specific,

no social network, temporary, trees, wheel, wood panel

URBAN AGRICULTURE

LEISURE

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Home / Safari Basura

← The Institute of Placemaking For Squat →


SAFARI BASURA

January 13, 2013 · by sofia · in NEED, RE-USE, URBAN ACTION

©2013 Google -



DateDate: 2002.

TimeTime: Night-time.


CostCost: -.

Public actors: Public actors: City of Madrid

Private actorsPrivate actors: Basurama, citizens

Most cities have scheduled days each month when oversized garbage, like furniture, is

picked up in each neighbourhood. Basurama, a collective interested in urban waste,

helps residents looking for furniture or appliances to travel to a particular

neighbourhood on the correct date and at the right time. Basurama relays the

scheduling information and organizes transportation for street shoppers interested in

saving money and avoiding waste. Basurama was formed in 2002 at the Madrid School of

Architecture. The collective works in Europe, the United States, and South America.

[from CCA-actions]

Now in Madrid garbage is not anymore taken by neighbourhood, so the search is now

again dislocated.

TIME LIFE

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Videos:

http://vimeo.com/user967803

References:

http://www.basurama.org/safaribasura.htm

http://www.facebook.com/basurama/

http://cca-actions.org/actions/timing-next-trash-dash

Tags: basurama, high diy, high sustainability, low politics, low professionist presence, low site

specific, low social network, map, medium community impact, medium cost effective, medium

happiness, no aesthetic, no friction, temporary

URBAN AGRICULTURE

LEISURE

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Home / re-Morion

← Sharing Networks Walk Raleigh →

RE-MORION

January 20, 2013 · by stefania · in NEED, RE-USE

©2013 Google -


PlacePlace: Venice (Italy).

DateDate: 2009.

TimeTime: 5 days.

SpaceSpace: Squat.

CostCost: Unknown.


Private actorsPrivate actors: ReBiennale, Exyzt Collectif,

Commons Beyond Buildings

Venice Biennale is one of the most important cultural event in Italy; at the end of the

exhibition, the quantity of materials ready to be thrown away is huge. Commons Beyond

Buildings (a collaborative platform among associations) started ReBiennale, a project

about reuse; they dismantled and collected materials from different installations of the

Biennale Architettura 2008, making a catalogue of what is possible to reuse and what is

not enough sustainable even to be disposed of. Big part of the materials were left in

stock at Morion squat which had to be recovered. One of the projects in which that

materials were used was “re-Morion” by Asc Venice and Collectif Exyzt, who took part to

this process during a five day workshop. The creative reuse set up the urban

regeneration of the Morion center and its interior spaces.

TIME LIFE

SUSTAINABILITY

COMMUNITY

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DIY

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References:

http://www.rebiennale.org

http://www.exyzt.org

http://www.rebiennale.org/workshop/docs/Rebiennale_catalogo.pdf

http://www.flickr.com/photos/rebiennale/

http://www.flickr.com/photos/exyzt/sets/72157619177342502/with/3603415357/

Tags: exyzt, high happiness, high professionist presence, high site specific, high sustainability,

low friction, low social network, medium aesthetic, medium community impact, medium cost

effective, medium diy, no politics, permanent

URBAN AGRICULTURE

LEISURE

NEED

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Home / Seedbomb Vending Machine

← Field Guide to Phytoremediation Le 56 →


SEEDBOMB VENDING MACHINE

January 17, 2013 · by sofia · in GUERRILLA, LEISURE, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Los Angeles (USA) &everywhere.

DateDate: 2010.

TimeTime: Ongoing.


CostCost: seedbomb 25¢ each


Private actorsPrivate actors: COMMONstudio, people.

Made from a mixture of clay, compost, and seeds, seed bombs can be tossed

anonymously into derelict urban sites to green the city. Los Angeles design firm

COMMONstudio created the coin- operated Greenaid dispensary to make guerrilla

gardening more accessible. Marketing the machines to businesses to rent or to own, the

designers have installed more than 150 since 2010, each equipped with a mix of native

seeds. The seed bombs are hand-rolled by workers contracted through Chrysalis, an LA

nonprofit that helps homeless and low-income residents earn a living wage and work

towards self-sufficiency. The vending machines invite people to become casual activists,

taking part in the incremental beautification of their environments – using only the loose

coins in their pocket. [from SpontaneousInterventions]

TIME LIFE

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Video:


References:

http://greenaid.co/

http://www.facebook.com/greenaidvending

http://www.spontaneousinterventions.org/project/greenaid-seedbomb-vending-

machine

Tags: high diy, high sustainability, low aesthetic, low community impact, low professionist

presence, medium cost effective, medium happiness, medium social network, no friction, no

politics, no site specific, seeds, temporary

URBAN AGRICULTURE

LEISURE

NEED

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Home / Serendipitor

← TreeKIT Chair Bombing →

SERENDIPITOR

January 26, 2013 · by sofia · in LEISURE, MAPPING, URBAN ACTION

©2013 Google -

PlacePlace:Online.

DateDate: 2010.

TimeTime: Ongoing.

SpaceSpace: City.

CostCost: 10,000$.


Private actorsPrivate actors: Mark Shepard, people.

With smart phones, smart cities, and endless tools to maximize efficiency and minimize

travel time, the possibility for serendipitous encounters or discoveries is diminishing.

Artist and architect Mark Shepard created Serendipitor, an iPhone app that brings out

the playful explorer in all of us. Users input their selected destination, and Serendipitor

provides inventive directional routes and suggested actions inspired by Fluxus, Vito

Acconci, Yoko Ono, among others, helping users find something surprising and new

along their way. Users can increase or decrease the complexity of the route, depending

on how much time they have. Serendipitor is part of Shepard’s larger project, the

Sentient City Survival Kit (supported by Creative Capital), which “probes the social,

cultural and political implications of ubiquitous computing for urban

environments. [From SpontaneusInterventions]

TIME LIFE

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Videos


References:

http://serendipitor.net/

http://www.spontaneousinterventions.org/project/serendipitor

Tags: camera, high professionist presence, laptop, low social network, map, medium happiness,

no aesthetic, no community impact, no cost effective, no diy, no friction, no politics, no site

specific, no sustainability, shoes, temporary

URBAN AGRICULTURE

LEISURE

NEED

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Home / Sharing Networks

← 1415 Mallinckrodt re-Morion →

SHARING NETWORKS

January 20, 2013 · by sofia · in NEED, RESEARCH

©2013 Google -


DateDate: 2010.

TimeTime: Ongoing.

SpaceSpace: Online.

CostCost: -.


Private actorsPrivate actors: OhSoWe, OurGoods, Trade

School etc.. people.

Sharing cars and bikes has become commonplace, but what about sharing tools, skills,

and just about everything else? In recent years there has been an explosion of sharing

and bartering networks, allowing people to swap, for example, their power tools for

knitting classes or surplus garden vegetables. While primitive economies have

historically depended on the smallness and familiarity of one’s village or tribe, the

resurgence of interest in capital-free exchange is fueled by websites that help people

take advantage of urban density by facilitating their trade with others who might live on

the same block (or same building!). OhSoWe, OurGoods, Trade School, and e-flux’s

Time/Bank are just a few recent endeavors that help expand people’s access to

resources while avoiding more consumption. [From SpontaneousInterventions]

TIME LIFE

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References:

https://ourgoods.org/ http://www.flickr.com/photos/ourgoods/

http://tradeschool.coop/ http://milano.tradeschool.it/

http://www.spontaneousinterventions.org/project/bartering-and-sharing-networks

Tags: high happiness, high social network, laptop, low professionist presence, medium

community impact, medium cost effective, no aesthetic, no diy, no friction, no politics, no site

specific, no sustainability, no time life

URBAN AGRICULTURE

LEISURE

NEED

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Home / Soil Kitchen

← Depave Place it! →

SOIL KITCHEN

January 23, 2013 · by sofia · in EDUCATION, RE-USE, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Philadelphia (USA).

DateDate: 2011.

TimeTime: 4 months.


CostCost: 40,000$.

Public actors: Public actors: Office of Arts, Culture and the

Creative Economy.

Private actorsPrivate actors: Futurefarmers, citizens.

Soil Kitchen was a temporary windmill-powered architectural intervention that breathed

new life into a formerly abandoned building within the postindustrial landscape of

Philadelphia. For one week, the multi-use space offered visitors free soup while they

waited for soil samples from their yards to be tested for contaminants. Located across

the street from the Don Quixote monument in Philadelphia, the project paid homage to

Cervantes with its rooftop windmill, but rather than an “adversarial giant” as in the

novel, the windmill was a symbol of self-reliance. Soil Kitchen tested over 350 soil

samples, gave out 300 bowls of soup daily, distributed a Philadelphia Brownfields Map,

and conducted workshops on soil remediation, urban agriculture, composting, wind

turbine construction, and offered cooking lessons. [from SpontaneusInterventions]

TIME LIFE

SUSTAINABILITY

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DIY

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Videos:

http://vimeo.com/22022623#

http://www.youtube.com/watch?feature=player_embedded&v=2zZfQrGJfoQ

References:

http://soilkitchen.org/ http://www.futurefarmers.com/soilkitchen/index.html

http://www.spontaneousinterventions.org/project/soil-kitchen

Tags: futurefarmers, high community impact, high cost effective, high happiness, high politics,

high professionist presence, high site specific, high sustainability, low diy, low social network,

medium aesthetic, medium temporary, no friction, soil

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Home / Something is going on in Matsaria

← Raval generator The Institute of Placemaking →


SOMETHING IS GOING ON IN MATSARIA

January 13, 2013 · by stefania · in HIGHLIGHT, MAPPING, RESEARCH

©2013 Google -


PlacePlace: Eibar (Spain).

DateDate: 2012.

TimeTime: Two weeks.


CostCost: Unknown.

Public actors: Public actors: University of Basque Country,

Ayuntamento de Eibar.

Private actorsPrivate actors: Reakt Kolektiboa, students,

citizens

Matsaria is one of the neighbourhoods of Eibar; it is an ex industrial area with

abandoned buildings, lack of public spaces and many parking lots. The zone was the

study object of the Master degree course of Sustainable Construction and Energy

Efficiency at the Basque Country University. Reakt collective took the initiative of making

an exhibition of the proposals in Matsaria, an interactive event designed like a pathway

through past, present and future of the neighbourhood with sensorial activities that let

people live a captivating experience of their history. The virtual promenade through the

neighbourhood is fitted out with possibility of change, shows desires and ideas for

improving the area, and everyone can express his own opinion. The main proposals

collected from the people were about preserve, restore and recuperate the existing. An

open workshop had been programmed, but actually it have not been carried out yet.

TIME LIFE

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References:

http://reaktkolektiboa.com

Tags: high professionist presence, high site specific, high sustainability, low happiness, map,

medium aesthetic, medium community impact, medium politics, no cost effective, no diy, no

friction, no social network, paper&pencil, temporary

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

MAPPING

EDUCATION

GUERRILLA

PARASITE

RE-USE

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Home / Soundmap

← Espais Comuns A di città →

SOUNDMAP

January 21, 2013 · by sofia · in MAPPING, URBAN ACTION

©2013 Google -


PlacePlace: Montrèal (Canada).

DateDate: 2008.

TimeTime: -.

SpaceSpace: City.

CostCost: -.


Private actorsPrivate actors: people.

Sound maps are in many ways the most effective auditory archive of an environment,

touching on aspects political, artistic, cultural, historical, and technological.

We are aiming to create an archival database of sound recordings from all over

Montréal. The Montréal Sound Map is an ongoing and continually evolving project with

the goal of a constant addition of new recordings being placed onto a Google Map and

categorized into a browsable tagging system. Anyone can upload recordings onto the

map straight through the website.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

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SOCIAL NETWORKS

References:

http://www.montrealsoundmap.com/

http://cca-actions.org/actions/montreal-sound-map

Tags: high diy, high social network, laptop, low community impact, low happiness, low

professionist presence, no aesthetic, no cost effective, no friction, no politics, no site specific, no

sustainability, no time life

URBAN AGRICULTURE

LEISURE

NEED

HIGHLIGHT

MAPPING

EDUCATION

GUERRILLA

PARASITE

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Home / Subjective map of Valadares

← A di città Cow the Udder Way →

SUBJECTIVE MAP OF VALADARES

January 21, 2013 · by stefania · in MAPPING, RESEARCH

©2013 Google -


PlacePlace: Valadares (Spain).

DateDate: 2011.

TimeTime: Few days.

SpaceSpace: City.

CostCost: Unknown.

Public actors: Public actors: City of Valadares.

Private actorsPrivate actors: Agata Ruchlewicz Dzianach,

citizens.

The artist was invited by alg-a lab (indipendent cultural place) in Valadares, Galicia, to

set up a participated project about collecting and sharing memories in order to better

undestand this place. Creating multiple subjective layers on the city and reconstructing

the collective memory of the residents, it is possible to rethink the future and fill the

fragments of the city. People were asked impressions and ways of perception of their

surrounding. After days of conversations and collective walks, some thematic groups of

memories were suggested by the citizens and were collected in an interactive map with

78 cards displaying photos, videos and sounds recorded during the tours. It serves as an

online living archives of memories.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

PRESENCE

POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

References:

http://www.ruchlewicz-dzianach.eu

http://www.subjectivemap.com

Tags: camera, high professionist presence, high site specific, low community impact, low

happiness, low politics, map, medium social network, no aesthetic, no cost effective, no diy, no

friction, no sustainability, no time life, paper&pencil

URBAN AGRICULTURE

LEISURE

NEED

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Home / Temazcal

← Play the city Casa Rompecabeza →


TEMAZCAL

January 13, 2013 · by stefania · in LEISURE, NEW BUILT

©2013 Google -


PlacePlace: San Miguel de Bustamante (Mexico).

DateDate: 2011.

TimeTime: Ongoing.


CostCost: Unknown.

Public actors: Public actors: Mayor of Bustamante

Private actorsPrivate actors: Fundación Mundo

Sustentable, CTRL+Z, No solo paja

Mundo Sustentable Foundation (promoter of culture and education for sustainability and

green economy, developing native populations) invited CTRL+Z in San Miguel de

Bustamante to built a lunar Temazcal (an indigenous herbal sauna of steam) for the

holistic center with the support of the village Mayor. A two week workshop have been

organized with the residents, who was familiar with the local tecnhiques of mud and

adobe wall. The foundations are made of filled tires protected with plastic cloths, on

which a geodesic structure is erected and covered by straw and clay. The “coyote

window” is obtained by a tire, letting the light enter in the building. Kids from local

schools were involved in the decoration of the Temazcal with traditional ornaments.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

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EFFECTIVE

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References:

http://control-zeta.org

http://nosolopaja.wordpress.com/sauna-temezcal/

Tags: cloth, ctrl+z, high diy, high site specific, high sustainability, low aesthetic, medium

community impact, medium happiness, medium politics, medium professionist presence, no

cost effective, no friction, no social network, permanent, soil, straw, tire

URBAN AGRICULTURE

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Home / Tempelhofer Freihet

← Playgrounds 1415 Mallinckrodt →

TEMPELHOFER FREIHET

January 20, 2013 · by stefania · in LEISURE, NEED, RE-USE

©2013 Google -


PlacePlace: Berlin (Germany).

DateDate: 2009.

TimeTime: Ongoing.


CostCost: Unknown.

Public actors: Public actors: Grün Berlin GmbH.

Private actorsPrivate actors: Citizens.

The Tempelhof Airport was officially closed on October 2008. 400 hectars in the middle

of the city were left vacant, and Berliners laid claim to this unique huge space until the

squat on 30th June 2009. From that day the Tempelhof Airport is an open public park, an

uncommon empty space ready to be filled with whatever kind of activity usually people

can not carry out in the urban context. From 2010 Grün Berlin GmbH grants the

temporary use of three pioneer fields, 78,700 square meters in which it is possible to

create attactive opportunities fitting with the guiding themes of each field.

Columbiadamm field combines sport and cultural uses, Oderstraße area focuses on

Neukölln Neighbourhood and Tempelhofer Damm space is available for cultural and

knowledge activities. Temporary gardens, art installations, neighbourhood services and

equipped meeting places are the main projects.

TIME LIFE

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References:

http://www.tempelhoferfreiheit.de

http://www.gruen-berlin.de

Tags: high community impact, high cost effective, high diy, high happiness, high politics, high

sustainability, medium aesthetic, medium friction, medium site specific, medium social network,

medium temporary, no professionist presence, pallet, sport facility, vegetables

URBAN AGRICULTURE

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Home / The Continuous Picnic

← Illuminaccion Operation: Ivy League →


THE CONTINUOUS PICNIC

January 16, 2013 · by sofia · in EDUCATION, URBAN ACTION, URBAN AGRICULTURE

©2013 Google -



DateDate: July 2008.

TimeTime: one day.


CostCost:-


Private actorsPrivate actors: Bohn & Viljoen Architects,

Studio Columba, citizens.

A market and massive “continuous” picnic held to show how urban food production and

public space can be combined advantageously in central London. Produce grown inside

the metropolitan London limits was judged and displayed, followed by a picnic that

occupied two large parks and a connecting corridor. The Continuous Picnic project was

a demonstration of a planning strategy called “Continuous Productive Urban

Landscapes,” or CPULs, developed by the architects Katherine Bohn and Andre Viljoen.

The proposal is for low-intensity urban farming integrated with the city to create

continuous green channels that serve as productive gardens. Packs of native seeds

were distributed at the Continuous Picnic along with recycled blankets that doubled as

posters for the event. [from CCA-actions] The event had taken place during the London

Festival of Architecture.

TIME LIFE

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References:

http://continuouspicnic.blogspot.it/

http://cca-actions.org/actions/megapicnic-takes-streets-city-produce/

http://www.bohnandviljoen.co.uk/

Tags: chair, low politics, low site specific, low social network, medium community impact,

medium cost effective, medium diy, medium happiness, medium professionist presence,

medium sustainability, no aesthetic, no friction, seeds, temporary, textile, vegetables

URBAN AGRICULTURE

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Home / The Greening of Detroit

← Favela Painting City Island →


THE GREENING OF DETROIT

January 19, 2013 · by sofia · in EDUCATION, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Detroit (USA).

DateDate: 1989.

TimeTime: Ongoing.

SpaceSpace: City and urban voids.

CostCost: -


Private actorsPrivate actors: The Greening of Detroit no-

profit organization, citizens.

The Greening of Detroit offers educational programs connecting residents with planting

organizations, and runs tree and productive planting sessions along streets and in

parks. Group plantings build community and allow residents to immediately affect the

form and feeling of their neighbourhoods. The Greening of Detroit is a training and

advocacy organization founded in 1989 during a period of financial hardship for the city

of Detroit, which has since lost about a further 13 percent of its population. Thousands

of vacant and abandoned lots dot the city surface as a result, offering potential sites for

urban agriculture and forestry, along with problems of low-density crime and

neighbourhood disconnection. [From CCA-actions]

TIME LIFE

SUSTAINABILITY

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Videos:

http://www.youtube.com/user/greeningofdetroit

References:

http://greeningofdetroit.com/

http://cca-actions.org/actions/prairie-reconnects-neighbourhood

http://www.facebook.com/TheGreeningofDetroit

Tags: high community impact, high diy, high sustainability, medium aesthetic, medium cost

effective, medium happiness, medium politics, medium professionist presence, medium social

network, no friction, permanent, seeds, trees, vegetables

URBAN AGRICULTURE

LEISURE

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Home / The Institute of Placemaking

← Something is going on in Matsaria Safari Basura →


THE INSTITUTE OF PLACEMAKING


©2013 Google -



DateDate: 2012.

TimeTime: One week.


CostCost: Unknown.

Public actors: Public actors: Ajuntament de Barcelona.

Private actorsPrivate actors: Berlin FarmLab, P. Grandry,

J. Gu, V. Karga, citizens

The Institute of Placemaking is a nomadic space that gives people the possibility to think

and change the public space, experimenting actions and do-it-yourself techniques in the

optic of goods recycle. The structure of the Institute is obtained from recovered

materials, and it is studied to be flexible and transformable, in order to adapt to

different workshops (Build your own solar cooker, Remade furniture workshop…).The

Institute is about creating new spaces from vacant lots, social life where there is lack of

community sense. Re-use is operated both on the side of the leftover materials (such as

groceries) used during the workshops and on the other it is possible to talk about re-use

of the structure itself, a space that can be shared and left to te citizens.

TIME LIFE

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References:

http://the-institute-of.com/

http://berlinfarmlab.tumblr.com/

Tags: cloth, high diy, high happiness, high sustainability, low cost effective, medium aesthetic,

medium community impact, medium politics, medium professionist presence, no friction,

recycled windows, temporary, wood panel, wood plank

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Home / The Periscope Project

← For Squat Islands of LA →


THE PERISCOPE PROJECT

January 14, 2013 · by stefania · in EDUCATION, FILL-A-VOID, NEED

©2013 Google -


PlacePlace: San Diego (USA)

DateDate: 2007

TimeTime: Ongoing


CostCost: 25000$


Private actorsPrivate actors: ENS_projects, G. Miller, P.

Perisic

The Periscope Project is a cooperative of artists, designers, scholars, and community

advocates headquartered in four shipping containers on the small San Diego lot of

founder Petar Perisic. The space functions as a public amenity and a living visualization

of alternative urban land use, exploiting temporary-use zoning loopholes as an

opportunity to realize a new paradigm of urban citizenry – one engaged at the level of

the built environment. The cooperative curates, organizes, and hosts events, exhibitions,

panel discussions, and lectures in the flexible spaces, and also emphasizes educational

programming to engage local youth. The Periscope Project has become a central force

in rallying community activism and has evolved into a loose practice that develops public

art and architecture interventions.

TIME LIFE

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Video:


References:

http://www.theperiscopeproject.org

Tags: container, high aesthetic, high community impact, high cost effective, high happiness, high

professionist presence, low diy, low friction, low site specific, medium politics, medium social

network, medium sustainability, paint, permanent, stones, trees

URBAN AGRICULTURE

LEISURE

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GUERRILLA

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Home / The Uni

← Walk Raleigh Caban Unnos: It’s Now-or-Never →

THE UNI


©2013 Google -


PlacePlace: New York (USA), everywhere.

DateDate: 2011.

TimeTime: Ongoing.


CostCost: max 20,000$.

Public actors:Public actors: Brooklin Public Library, .

Private actorsPrivate actors: the Uni team.

The Uni is a mobile, modular outdoor library designed to reinforce the potential for

learning in the public sphere. Developed in Boston by Street Lab (now The Uni Project)

in collaboration with Höweler + Yoon Architecture, the Uni introduces an unfamiliar use

of the public realm, converting any square or sidewalk into a plein-air learning lounge.

Uni’s lightweight modular structures are composed of open-faced stacking cubes, which

can each hold 10 to 15 books, and can be adapted to almost any public space. The first

was assembled in a street market in Lower Manhattan, and Unis have since been

installed all over New York City, Boston, and recently, in Almaty, Kazakhstan, with book

selections varying according to location and time. [from SpontaneousInterventions]

The library is made from 144 white cubes that can be assembled in different

configurations; books are donations to the Uni.

TIME LIFE

SUSTAINABILITY

COMMUNITY

IMPACT

FRICTION

HAPPINESS

COST EFFECTIVE

DIY

PROFESSIONIST

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POLITICS

AESTHETIC

SITE SPECIFIC

SOCIAL NETWORKS

Video:

http://www.youtube.com/watch?v=u3LlD4DLpTQ

References:

http://www.theuniproject.org

http://www.flickr.com/photos/findtheuni

http://www.spontaneousinterventions.org/project/the-uni

Tags: chair, high happiness, high professionist presence, low cost effective, low diy, low politics,

medium aesthetic, medium community impact, medium social network, medium sustainability,

no friction, no site specific, temporary, wood panel

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Home / TreeKIT

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TREEKIT

January 26, 2013 · by sofia · in MAPPING, URBAN AGRICULTURE

©2013 Google -



DateDate: 2011.

TimeTime: Ongoing.


CostCost: 75,000$ annual budget.


Private actorsPrivate actors: Liz Barry, Philip Silva,

volunteers.

In some cities, dead trees are as numerous as potholes, but get a lot less attention. For

this reason, landscape architect Liz Barry and urban forester Philip Silva developed

TreeKIT, a system to measure, map, and manage urban forests. Volunteers use simple

site-survey- ing skills to map trees in urban areas. TreeKIT’s website features a map

showing tree density block by block, and users can zoom in on trees to click for

information about trunk dimension, genus, or species. The map also color-codes empty

treebeds, stumps, and dead trees. This data is shared with city agencies and local tree

steward organizations. Studies indicate healthy trees in urban areas can filter

pollutants, reduce heat island effect, reduce CO2, and prevent runoff as well as create

safe inviting public spaces. [From CCA-actions]

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References:

http://treekit.org/

http://www.flickr.com/photos/treekit/

http://www.facebook.com/TreeKIT

http://www.spontaneousinterventions.org/project/treekit

Tags: high professionist presence, high sustainability, laptop, low community impact, low site

specific, map, medium diy, medium happiness, medium social network, no aesthetic, no cost

effective, no friction, no politics, no time life

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Home / UN:UN salle

← Canillejas imagina un parque Molo Torre →


UN:UN SALLE

December 22, 2012 · by stefania · in FILL-A-VOID, LEISURE

©2013 Google -


PlacePlace: Brest (France)

DateDate: May 2012

TimeTime: One week


CostCost: Unknown

Public actors: Public actors: City of Brest

Private actorsPrivate actors: Vivre la Rue, Collectif ETC

In May 2012 the association “Vivre la Rue” invited Collectif ETC to rehabilitate the ruins

of a house in Saint Malo street, the oldest street in Brest which survived the bombs of

World War II. The association organizes every year initiative giving life to Saint Malo with

cultural workshops and temporary gardens.

The empty space number 11 was converted into a theatre by Collectif ETC. A wooden

footbridge is used as a balcony, placed between two windows and overlooking the stage

and the street (in speech occasions); pallets are the foundation for the wooden deck

stage; a projection screen has been taken from an old cinema; behind the house a small

room has been converted into a cloakroom and all the old chairs used as theatre seats

have been red-painted. The balcony out of the windows highligths the presence of the

theatre from the street.

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References:

http://www.collectifetc.com

Tags: chair, Collectif ETC, high aesthetic, high happiness, high professionist presence, high

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Home / Viv[id]ero

← La Casa del Viento R-Urban →


VIV[ID]ERODecember 18, 2012 · by sofia · in LEISURE, URBAN ACTION

©2013 Google -



DateDate: April 2011

TimeTime: undetermined


CostCost: -

Public actors: Public actors: Consejería Cultural de la

Embajada de España en Colombia-AECID

Private actorsPrivate actors: : Arquitectura expandida,

Habitat Sin Fronteras, citizens

Is a nomadic infrastructure, a facilitator and amplifier of social and communitarian

processes and interventions for the public space. It’s made out from a trailer, renovated

and transformed into a mobile architecture: is a tool for proposing strategies and

actions to adapt the architectural creation to user needs in terms of social and physical

mobility. The main explanation for this construction is the need. The need to transport

and store materials in processes of self-construction, to protect from the unpredictable

rain in Bogota, to have a space with his own identity. This artifact, this nursery of ideas

and projects can be expanded architecture in the most literal sense: a real amplifier of

actions, of public space, of networks and of exhibition, participatory and educational

possibilities. It took an important role during the cultural activities in “La Casa del

Viento”.

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Tags: Arquitectura Expandida, high happiness, high professionist presence, high sustainability,

low cost effective, low politics, low social network, medium aesthetic, medium community

impact, medium diy, no friction, no site specific, polycarbonate panel, temporary, video

projection

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Home / Walk Raleigh

← re-Morion The Uni →

WALK RALEIGH

January 20, 2013 · by sofia · in EDUCATION, GUERRILLA, HIGHLIGHT

©2013 Google -


PlacePlace: Raleigh (USA).

DateDate: 2012.

TimeTime: Ongoing.

SpaceSpace: Street.

CostCost: -.


Private actorsPrivate actors: Matt Tomasulo.

For Matt Tomasulo, the inclination to drive in downtown Raleigh, North Carolina, was a

result more of perceived distance than actual necessity – a tendency endemic in many

American cities. As an antidote to this misconception, he devised Walk Raleigh, an

unsanctioned wayfinding system for pedestrians. Tomasulo hung 27 signs at three

major Raleigh intersections, each with a directional arrow, a count of how many

“minutes by foot” are necessary to reach a destination, and a QR code for more

information. Though the signs were removed within days of being posted, overwhelming

support from the local community led the Raleigh City Council to reinstate Walk Raleigh

as an official pilot project, promoting a healthier and safer pedestrian environment in

the city. [From SpontaneousInterventions]

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References:

http://walkyourcity.org/

http://www.facebook.com/WalkRaleigh?group_id=0

Tags: high sustainability, low diy, low happiness, medium community impact, medium

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Home / Zappata Romana

← Prinzessinnengärten Zebra Crossing →

ZAPPATA ROMANA

January 27, 2013 · by stefania · in MAPPING, URBAN ACTION, URBAN AGRICULTURE

©2013 Google -


PlacePlace: Rome (Italy).

DateDate: 2012.

TimeTime: Ongoing.


CostCost: Unknown.


Private actorsPrivate actors: StudioUAP, citizens.

Zappata Romana is a network project on urban gardens in Rome as collective actions

about urban space appropriation and environmental development. The research is about

mapping existent gardens and promoting experiences and exchanges among them. All

the gardens are self-managed and self-constructed, and citizens are directly involved in

the food production. The presence of these spaces prevents the lots from real estate

speculation, gives the people more accessible and public spaces, makes the life quality

better with possibilities to share experiences and common activities. On the website is

possible to download the guide “how to make a shared garden”, landlords can make

their lots available to be hired and people can apply as volunteers taking care of a

garden. The website is also provided with a map showing that actually Rome has more

than 70 gardens.

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References:

http://www.zappataromana.net/

Facebook Zappata Romana

Tags: high community impact, high diy, high happiness, high sustainability, low politics, low site

specific, map, medium aesthetic, medium cost effective, medium professionist presence,

medium social network, medium temporary, no friction, pallet, vegetables

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Home / Zebra Crossing

← Zappata Romana Local Previews →

ZEBRA CROSSING

January 27, 2013 · by sofia · in NEED, URBAN ACTION

©2013 Google -


PlacePlace: Kassel (Germany).

DateDate: 1993.


SpaceSpace: Street.

CostCost: -.


Private actorsPrivate actors: Gerhard Lang, students,

strollers.

A DIY answer to the question: how can pedestrians legally cross a street wherever they

want to, and not only at the whim of traffic planners? Gerhard Lang’s zebrastreifen, or

“zebra crossing,” allowed a 600-person procession to cross the streets, alleys,

backyards, and car parks of Kassel without jaywalking. The procession honoured Lang’s

friend, collaborator, and former professor, Lucius Burckhardt, the inventor of the field

of Spaziergangswissenschaft, or “Strollology.” Burckhardt adopted the perspective of

the stroller in formulating his criticisms of prevailing automobile-centric planning

practices.

Gerhard Lang is a German artist who investigates human perception through its

relationship with landscape. [From CCA-actions]

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References:

http://www.gerhardlang.com/e_work_zebra.html

http://cca-actions.org/actions/zebra-protects-pedestrians

Tags: low diy, low site specific, low sustainability, medium aesthetic, medium community

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A partire dai 100 progetti raccolti è stato possibile ricostruire un quadro generale riguardo l’aspetto, le relazioni, e gli ambiti che delineano la corrente attuale delle pratiche spontanee e partecipate. Pur nell’estre-ma diversità e varietà, l’insieme di queste azioni sono accomunate dal fatto che posseggono un alto potenziale di cambiamento dell’ambiente, che si svolgono sempre toccando temi particolari e agendo attraverso dinamiche spaziali ben definite, e che sono influenzate da diversi fattori i quali possono condizionarsi tra loro.

Sono state individuate sia le tematiche più ricorrenti messe in atto da processi partecipativi e bottom-up per avere uno sguardo più ampio su quanto le persone desiderano portare nella propria vita quotidiana al punto da auto organizzarsi per un fine comune, sia il tipo di interazione con cui ogni azione si rapporta nei confronti dello spazio in cui si con-cretizza, sia gli strumenti più frequentemente utilizzati per attuare gli interventi.

I fattori e i valori che concorrono a determinare la natura di ogni proget-to (tempo, sosteniblità, presenza di professionista…) non sono slegati l’uno con l’altro, ma alcuni sono in relazione tra loro attraverso rapporti di influenze e dipendenze. L’analisi dei progetti ha portato ad impostare una statistica di correlazioni tra gli indicatori per ottenere le intensi-tà e le modalità delle influenze reciproche e per comprendere quanto la presenza o meno di alcuni valori e attori in gioco potesse cambia-re l’esito finale degli interventi. Sulla base di alcuni rapporti ottenuti dall’incrocio di due valori sono stati analizzati i progetti che presentano quelle relazioni, indagando le caratteristiche spaziali, sociali e formali per avere uno sguardo più ampio sul riscontro pratico delle interazioni tra gli indicatori.

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LEISURE 53%

EDUCATION22%

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MAPPING12%

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Le tematiche che connotano ciascuna delle azioni partecipate o sponta-nee sono raccolte in sei principali categorie: leisure (tempo libero), ur-ban agriculture (agricoltura urbana), need (necessità), education (edu-cazione), highlight (evidenziare) e mapping (mappare).

La metà dei progetti presi in analisi riguarda il tema del tempo libero e del divertimento; si manifesta la necessità di riappropriarsi dello spazio pubblico come luogo privilegiato per la socialità e come catalizzatore di comunicazione sociale, condivisione delle passioni individuali e dialogo tra soggetti diversi. La riqualificazione di uno spazio in disuso all’interno del quartiere, l’attivazione di dispositivi mobili per il divertimento che risvegliano dinamiche di interazione con gli utenti come una sorta di agopuntura, l’arredo comune di luoghi urbani anonimi e di passaggio per dare loro carattere e personalità, sono esempi di ciò che le persone attuano per supplire alla carenza di vita e svago collettivi.

Altro tipo di necessità è quella più materiale legata a problematiche effettive di quartiere ed accessibilità dello spazio pubblico. Nascono for-me di auto organizzazione per risolvere in modo autonomo questioni di ordine pratico a scala locale che l’amministrazione pubblica spes-so fatica a percepire e ad affrontare in tempi utili; oppure il bisogno di migliorare luoghi disagiati limitrofi a dove si vive spinge il quartiere se non ad agire, per lo meno a partecipare attivamente al processo di riqualificazione.

Frequenti tra le azioni partecipate sono le attività di agricoltura urbana che si manifesta soprattutto attraverso orti, piccole serre e spazi per workshop di sensibilizzazione all’argomento. L’autoproduzione diven-ta un valore per affrontare la crisi economica e dare sussistenza alle famiglie rispondendo a bisogni materiali, e allo stesso tempo concilia esigenze di impiegare il tempo libero attraverso la condivisione e la cre-azione di piccole reti locali. Spesso i nuclei di orti urbani sono accom-pagnati dalla presenza di un market per la vendita diretta dei prodotti, che vengono per lo più consumati nelle vicinanze, instaurando dei mec-canismi di microeconomie e alimentando la politica del consumo a ki-lometro 0. La propensione verso l’agricoltura urbana rispecchia anche il desiderio di rendere più piacevole il luogo in cui si vive portando del verde e delle “oasi” nel cemento dell’ambiente urbano, di avere spazi comuni, o semplicemente di potersi esprimere in prima persona facen-do giardinaggio.

Il tema dell’agricoltura urbana è affrontato ampiamente anche attraver-so intenzioni educative e di sensibilizzazione; il programma di affiancare delle attività di coltivazione agli ambienti scolastici si è notevolmente diffuso negli ultimi anni, con la convinzione che ciascun bambino debba ricevere un’educazione culturale al cibo, sapere da dove provengono i prodotti che mangia e conoscere alcune delle tecniche base di coltiva-zione da poter condividere con la propria famiglia o con la collettività della scuola.

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URBAN ACTION

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FILL A VOID28%

RE USE11%

GUERRILLA10%

PARASITE4%

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I progetti presi in analisi intervengono fisicamente in modo diverso nello spazio a seconda di con che tipo di luogo interagiscono, e sono raccol-ti in sette categorie: urban action (azione urbana), guerrilla (guerrilla), parasite (parassita), re-use (riuso), fill-a-void (colmare il vuoto), new construction (nuova costruzione), research (ricerca).

Il bisogno di appropriazione e di dare carattere ai propri luoghi si ma-nifesta più frequentemente nell’immediato, attraverso azioni urbane; esse sono locali, interstiziali e puntuali nel loro effettuarsi per lo più nello spazio pubblico, all’aperto e nella strada, il luogo più diretto in cui farsi notare e che favorisce lo scambio orizzontale e il proliferarsi di idee essendo un palcoscenico visibile e frequentato da chiunque. Sono tipi di azioni prevalentemente a carattere temporaneo o in cui si uti-lizzano strumenti che possono cambiare velocemente la percezione di uno spazio (colori, vernici, assi di legno), e quindi anche facilmente or-ganizzabili senza dover incorrere in tempi burocratici. Le azioni urbane sono tipologie di interventi in cui sempre più spesso i confini tra arte e architettura sono sfumati: se gli architetti hanno allargato le loro prati-che oltre la costruzione degli edifici, gli artisti sono usciti dalle gallerie d’arte. Gli interventi artistici in termini di spazialità hanno del potenzia-le trasformativo, fungono da catalizzatori di interesse e possono mo-dificare la percezione spaziale. Dall’altro alto, l’architettura informale che deriva dall’autocostruzione e da materiali riciclati e ri-assemblati ha enorme potere comunicativo e d’impatto grazie alla quotidianità del proprio linguaggio; si avvicina sempre più ad essere opera d’arte che sperimenta l’uso di materiali e di strumenti i quali normalmente appar-tengono alla sfera dell’arte, come il colore e la pittura.

La questione dei vuoti urbani si presenta sempre più come un’urgenza da affrontare, tema sentito non solo a livello intellettuale ma anche alla scala locale del quartiere; è difficile convivere con la presenza di questi spazi lasciati in attesa di nuovi significati e che hanno un impatto visivo immediato, spesso negativo, essendo circondati di frequente dalle pa-reti cieche degli stabili confinanti, che richiamano spazialmente la pre-senza di un’assenza. I vuoti urbani sono lotti inedificati, edifici abbando-nati, spazi di risulta che hanno avuto origine dai bombardamenti della guerra, dal processo di de-industrializzazione della città contempora-nea o dagli sfrenati affari del mercato immobiliare. La maggior parte dei progetti presi in considerazione affronta il tema di colmare i vuoti urbani, di riappropriarsene, di dare nuove funzioni e significati anche se temporanei; l’agricoltura urbana tende ad instaurarsi in questi tipi di spazi, ma è prevalentemente con altro tipo di attività di tempo libero che le persone si riprendono i vuoti urbani, dal desiderio di nuovi luoghi per la socialità al bisogno fisico di posti dove poter realizzare le proprie necessità.

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1 Luz na viela, Favela Painting, Place au changement2 A di città, Football Field, Park-urka, IOT3 Demolition Detroit Disneyland, All Aboard4 1415 Mallinckrodt, Canillejas imagina un parque5 Hortolab, Ecobox, Esto no es un solar6 Chair Bombing, A di città, Molo Torre7 R-urban, Caban Unnos, Better Block

Gli strumenti utilizzati nelle azioni urbane e nei progetti partecipati sono oggetti e materiali accessibili a tutti, facilmente maneggiabili anche da chi non è esperto e versatili nelle proprie molteplici proprietà espressi-ve. Appartengono alla sfera del colore, del bisogno di verde, del calore del legno; del riciclo, dell’autocostruzione, dell’espressione individuale e collettiva.

La popolarità di uno strumento come la pittura si deve alla sua facile re-peribilità, all’immediatezza con cui permette di modificare la percezio-ne spaziale, al rapido collegamento pensiero-mani-pennello che riesce e diverte chiunque. La vernice è il mezzo dell’immediato cambiamento visivo e percettivo dello spazio; con una pennellata veloce si può trasfor-mare un luogo anonimo e grigio cambiandogli volto attraverso il colo-re, creare nuove situazioni tracciandone a terra i contorni, richiamare all’attenzione collettiva oggetti urbani evidenziandoli. Il metodo più ra-pido e facile per rinnovare l’aspetto degli oggetti e per conferire una nuova estetica è “dare una mano” di pittura; oltre all’uso più immediato che se ne fa, compositivamente il colore è percepito come elemento capace di suscitare emozioni, sorpresa, attenzione, simbolismi.

Il colore viene sperimentato nelle sue capacità espressive anche su materiali di riuso, spesso provenienti da scarti industriali; i pallet, ad esempio, sono piattaforme formate da assi di legno che in ambito di trasporto merci ne facilitano la movimentazione. Questi moduli sono fa-cilmente reperibili: le imprese tendono a scartarli in quanto organizzare un viaggio di ritorno per i pallet risulterebbe più costoso che comprarne di nuovi. L’approccio sostenibile consiste nella riappropriazione e nel riuso di questi oggetti e nella loro sperimentazione in ambito architetto-nico, costruttivo e artistico. I pallet sono un elementi leggeri, resistenti e costituiti da un materiale, il legno, caratterizzato da forte espressivi-tà; la loro misura standard permette compositivamente la creazione di moduli o pattern, oppure di elementi di arredo urbano immediati, resi-stenti e creativi, costruzioni temporanee assemblate facilmente grazie alla presenza del legno quale materiale montabile a secco e a incastro, senza bisogno di ulteriori procedimenti che allungherebbero i tempi e restringerebbero il campo d’utenza.

I rinnovamenti spaziali sempre più spesso vedono l’elemento verde, quali alberi, piante, fiori e ortaggi, come un tipo di infrastruttura leggera che apporta miglioramenti alla qualità di vita e degli spazi. In particolare è frequente l’uso di piante per coltivare in luoghi quali gli orti urbani, in grado di condensare esigenze di autoproduzione e di spazi per la collet-tività. La piantina diventa uno strumento sociale, attorno alla quale av-viene la formazione di comunità che se ne prendono cura, e nello stesso momento formano una rete composta da persone che condividono il proprio tempo libero e gli interessi.

157

Indicatori

158

Popolarità

45%

TIME LIFE

22% 24%9%

12% 11% 22% 55%

SUSTAINABILITY

21% 47% 30%2%

COMMUNITY IMPACT

FRICTION!!!

12%76% 11%

HAPPINESS

18% 32% 50%

COST-EFFECTIVE$

49% 21% 20% 10%

DO-IT-YOURSELF

43%9% 19% 29%

PROFESSIONIST PRESENCE

44%6% 12% 38%

POLITICS

37% 25% 28% 10%

AESTHETIC

43%23% 19% 15%

SITE-SPECIFIC

23% 26% 28% 23%

SOCIAL NETWORKS

31% 30% 29% 10%

ø low medium high

ø low medium high

ø low medium high

ø low medium

low medium high

ø low medium high ø low medium high

ø low medium high

ø low medium high

ø low medium high

ø low medium high

ø low medium high

159

La maggioranza delle pratiche prese in analisi è di tipo temporaneo; i progetti tendono ad intervenire nello spazio durante un breve lasso di tempo, come ad esempio le azioni urbane, che durano da qualche ora a settimane. La temporaneità quale breve durata si tratta di sostenibilità in termini di processi piuttosto che di oggetti o di luoghi; il concetto di temporaneo si evolve in accordo con le nuove opportunità spaziali, per promuovere usi dinamici dello spazio e processi decisionali liberi.

L’alto valore di sostenibilità è una delle caratteristiche di questo tipo pratiche, dato che sussiste la tendenza ad utilizzare materiali poveri e di riuso e ad assemblarli in costruzioni spontanee ed informali, ad agire su luoghi abbandonati e sottoutilizzati guadagnando in risorse spaziali ed economiche, a non alterare in modo permanente il luogo in cui viene svolta l’azione o il progetto, che spesso ha carattere temporaneo.

L’impatto sulla comunità che un progetto può avere tende ad essere positivo, ma non è ancora un aspetto consolidato in questo ambito. Ciò significa che le pratiche partecipate di frequenze mirano più alla de-finizione di spazi per il tempo libero ed il divertimento, che pure sono importanti, piuttosto che la risoluzione di problemi sociali, oppure che la partecipazione non è ancora entrata integralmente in ogni fase deci-sionale e realizzativa a fare parte dei processi di cambiamento spaziale.

Il fatto che quasi totalità dei progetti rientrino nel limite della legalità, e quindi non creino tensioni nè di tipo sociale nè politico, afferma la ten-denza degli ultimi decenni che vede ampliata la tolleranza ed il consen-so anche amministrativo nei confronti di questo tipo di pratiche sponta-nee e partecipate. La maggior parte delle azioni illegali come quelle di guerrilla non presenta comunque problemi di ordine sociale e pubblico.

La sensazione di felicità accompagna la maggiorparte delle pratiche partecipate; probabilmente il fatto del coinvolgimento delle persone, la possibilità di scambi eterogenei tra culture diverse e voci differenti e la realizzazione dei desideri espressi durante il processo partecipativo, rende questo tipo di progetti maggiormente sentiti dalla gente. Molti di essi, infatti, si sviluppano rendendo lo spazio comune un luogo sociale e di condivisione.

La produttività in termini economici non risulta essere una delle finalità delle pratiche spontanee; esse non tendono a produrre denaro o beni, ma piuttosto producono scambio sociale e momenti di condivisione. La scala dei valori in questo ambito è decentrata verso la sfera affettiva, informale e umana, verso un’intenzione di coesione micro-sociale e uti-lizzo degli spazi come bene comune.

160

Popolarità

45%

TIME LIFE

22% 24%9%

12% 11% 22% 55%

SUSTAINABILITY

21% 47% 30%2%

COMMUNITY IMPACT

FRICTION!!!

12%76% 11%

HAPPINESS

18% 32% 50%

COST-EFFECTIVE$

49% 21% 20% 10%

DO-IT-YOURSELF

43%9% 19% 29%

PROFESSIONIST PRESENCE

44%6% 12% 38%

POLITICS

37% 25% 28% 10%

AESTHETIC

43%23% 19% 15%

SITE-SPECIFIC

23% 26% 28% 23%

SOCIAL NETWORKS

31% 30% 29% 10%

ø low medium high

ø low medium high

ø low medium high

ø low medium

low medium high

ø low medium high ø low medium high

ø low medium high

ø low medium high

ø low medium high

ø low medium high

ø low medium high

161

Il processo partecipativo è particolarmente condiviso soprattutto nella fase costruttiva e realizzativa del progetto data la consistente presenza di pratiche di autocostruzione e fai da te. Il professionista spesso mette a disposizione le proprie competenze per arricchire le conoscenze in-formali delle persone contribuendo al raggiungimento del risultato fi-nale. L’autocostruzione diventa un valore che costituisce un alternativa reale e concreta del cambiamento spaziale.

La consistente presenza di professionisti (architetti, artisti, attivisti ur-bani) nell’ambito della partecipazione e del bottom-up può significare che è stato accettato il cambiamento del ruolo dell’architetto, seppur in modo graduale rispetto al livello di interazione all’interno del proces-so progettuale. Il professionista si presta all’apertura nei confronti del contributo informale che possono fornire le persone.

Si riscontra l’assenza di istituzioni politiche tra le azioni partecipate e spontanee, dal momento che molte di esse nascono dal basso appunto. Tuttavia, seppur in minor numero, all’interno di alcuni processi l’ammi-nistrazione può rivestire il ruolo di mediatore, o semplicemente espri-me consenso nei confronti nell’azione stessa quando essa agisce nella legalità. La legislazione attuale si sta muovendo verso l’apertura nei confronti di questo tipo di pratiche e dei progetti temporanei.

La qualità estetica dei risultati finali è per lo più media; l’eccellenza è raggiunta poche volte e grazie alla presenza di un professionista, ma non sempre quest’ultimo riesce a gestire perfettamente la coesistenza di opere informali derivate dall’autocostruzione, uso di materiali di riuso e precarietà dei progetti stessi. L’opportunità di usare materiali poveri e riciclati non è ancora sfruttata appieno e si dovrebbe sensibilizzare le persone verso un utilizzo consapevole delle risorse a disposizione.

La tendenza attuale delle pratiche partecipate non trova uno specifi-co riscontro spaziale; gli interventi possono essere di natura mobile, insediandosi solo quando e dove ne è richiesto il bisogno in maniera nomade, oppure progettati apposta per un determinato luogo rispon-dendo ai bisogni di esso e della comunità circostante. Altri progetti an-cora potrebbero essere replicati ovunque grazie all’impiego di materiali di facile reperibilità e linguaggi universali.

In epoca attuale la partecipazione può essere attuata anche attraverso l’uso di social networks come Flickr, Facebook, Twitter e i blog. Tuttavia questo fenomeno non si afferma come tendenza consolidata, ma sono molti i progetti che utilizzano almeno in parte queste piattaforme virtua-li per raccogliere consensi, comunicare trasversalmente e senza limiti fisici e ricevere commenti, idee e responsi dagli utenti della rete.

163

RELAZIONI

164

Professionist presence

165

Nel contesto delle pratiche spontanee e partecipate, il ruolo dell’archi-tetto è soggetto di ripensamento; il professionista non è più l’unica voce in grado di dare forma al cambiamento, ma altri attori contribuiscono alla creazione di un processo condiviso, il cui esito finale di frequente rimane incerto e dipende da molteplici fattori in campo.

La presenza del professionista tuttavia, portando con sè tutto un in-sieme di competenze, conoscenze e sensibilità nei confronti di molti argomenti che hanno a che fare con la spazialità e la socialità, è in gra-do di influenzare determinati fattori che concorrono alla definizione del progetto.

L’architetto condiziona il livello estetico dell’opera e determina la pre-senza o meno di attività Do It Yourself e di autocostruzione.Prima di affrontare l’analisi delle relazioni che dipendono dalla pre-senza del professionista era stata ipotizzata l’esistenza di un rapporto stretto tra il contributo dell’architetto all’interno del progetto e soste-nibilità, impatto sulla comunità e felicità presenti nello stesso, ma a seguito dell’operazione statitica svolta questi fattori non sono risultati correlati, data l’esistenza di altre voci che prescindono questi legami.

166

PROFESSIONISTPRESENCE

RELAZIONI

La presenza del professionista influenza il livello di estetica dei progetti.

Se il professionista è presente, l’estetica del progetto è maggiore.

66%

33%

AESTHETICPROFESSIONISTPRESENCE

Se il professionista è presente, ma il livello estetico è basso, il suo contributo è evidente in termini di funzionalità.

ComposizioneApporto di conoscenze formali

Ri-creazioneUso di materiali di riciclo secondo una nuova estetica.

High High

Funzionalitàprogetti funzionali in cui l’estetica è al secondo posto

High Low

Professionistpresence

Aesthetic


Aesthetic

167

La presenza di un professionista quale un architetto influenza il livello estetico di un progetto.

“L’architetto apporta competenze di ordine tecnico e artistico che per-metteranno di interpretare il progetto secondo un linguaggio e una for-ma originali” diceva Giancarlo De Carlo riguardo il ruolo dell’architetto nei processi partecipati. Senza la supervisione di un professionista, è meno probabile che la qualità estetica del risultato finale sia elevata.

L’architetto porta coerenza e stile all’intero processo; possiede cono-scenze tecniche e rende possibile la realizzazione di una costruzione che sia il più performativa possibile, ma per professione volge l’at-tenzione anche alla composizione formale del progetto, operando per principi coerenti riguardo la relazione tra materiali, soluzioni tecniche e influenze del contesto. La frequenza nell’uso di materiali di riciclo nei progetti partecipati si presenta come l’occasione per sperimentare la ri-creazione dei materiali stessi, e l’architetto riesce a conferire nuova vita e nuova estetica a ciò che è già stato considerato come scarto. 1

La maggioranza dei casi in cui sia presente un professionista ma il li-vello estetico del progetto risulti basso è dovuta invece al fatto che ci sia la tendenza a concentrarsi sulla funzionalità del risultato, e quindi l’estetica come valore passa in secondo piano; si tratta di azioni in cui la soddisfazione di bisogni immediati è una priorità in qualsiasi fase del progetto. 2

1 Periscope Project, Noorderparkbar, Esto no es un Solar, Un un Salle2 IOT, Astoria scum river bridge, Noupaticastellum

168

Se il professionista è presente, il livello di DIY è minore.

94%

67%


DO IT YOURSELF

Se il professionista è assente, la presenza di DIY nel progetto è maggiore.

Artisti

Imprese

Ricerca

autoproduzione artistica

progetti che non comprendono attività manuali

presenza di un’impresa costruttrice

La presenza del professionista influenza il livello di “fai-da-te”.

High Low

Professionistpresence DIY

169

La presenza di un professionista condiziona le attività Do It Yourself all’interno dello svolgersi di un progetto.

In casi in cui è assente il professionista quasi la totalità dei progetti pre-senta esperienze di autocostruzione e la formazione spontanea di grup-pi che si dedicano fisicamente alla realizzazione di qualcosa. Dall’altro lato, se il progetto è guidato o supportato da un architetto invece lo svol-gimento di attività DIY tende ad abbassarsi; ciò significa che le pratiche di coinvolgimento nell’ autocostruzione non sono ancora una tendenza consolidata all’interno dei processi partecipati.

In particolare, se la presenza di un professionista esclude lo svolgimen-to di azioni DIY è dovuto al fatto che spesso si ricorre ad ingaggiare terzi per realizzare materialmente i progetti (imprese costruttrici o persona-le retribuito) (1), oppure si tratta di programmi di ricerca che non com-prendono in genere attività manuali, ma rimangono nell’ambito teorico (2); anche le performance artistiche sono considerate, se non preve-dono l’interazione della gente, come prive di Do It Yourself in quanto l’artista tende quasi sempre a produrre con le proprie mani la propria opera d’arte e ciò fa parte della sua professionalità. (3)

1 Esto no es un solar, Periscope project, Edyble Schoolyard2 Recycling Tokyo, For Squat, Something is going on in Matsaria3 Al di qua del giorno, Football Field, Appropriate Subverte Activate

170

Professionist presence non influenza il livello di happiness.

80%

83%

HAPPINESSPROFESSIONISTPRESENCE

La presenza di felicità nei progetti non varia alla presenza del professionista

Partecipazione

Progettazione

Costruzione

Mancanza di interazione nell’utilizzo finale.

Mancanza di coinvolgimento in fase costruttiva.

Mancanza di coinvolgimento in fase progettuale.

High Low


Happiness

171

La sensazione di felicità che può suscitare un progetto è indipendente dalla presenza o meno di un professionista.

Infatti entrambe le tipologie di progetti, con o senza supervisione di un architetto, hanno la stessa probabilità di influenzare positivamente gli stati d’animo degli utenti e il loro grado di soddisfazione.

Nel dettaglio dei progetti in cui la presenza di professionista non contri-buisce a suscitare positività e felicità si riscontra mancanza di coinvolgi-mento totale delle persone. Il sentimento di soddisfazione è fortemente legato al concetto di partecipazione; se essa viene a mancare in fase progettuale, nei casi quindi in cui gli utenti non vengono interpellati e non esiste dialogo tra le parti, le persone tendono a non riconoscersi nel risultato finale.

Ugualmente la mancanza di coinvolgimento in fase realizzativa e pra-tica contribuisce a diminuire il feedback positivo di un progetto; l’au-tocostruzione infatti diventa un valore aggiunto che dimostra il potere creativo di cambiare con le proprie mani una situazione. 1

Se è previsto un utilizzo finale in cui l’utente interagisce poco con l’ope-ra stessa, è probabile che si abbia minore riscontro positivo sulle perso-ne; infatti quando l’utente non viene considerato come attivatore e frui-tore empatico che può contribuire al cambiamento dinamico e sensibile dell’opera, l’esperienza che si fa del progetto rimane esclusivamente di percezione e contemplazione. 2

1 Chair bombing, Appropriate Subverte Activate, Roaming Forest2 All Aboard, Subjective map of Valadares, Local previews

172

Professionist presence NON influenza sustainability.

SUSTAINABILITYPROFESSIONISTPRESENCE

82%

88%

Il livello di sostenibilità di un progetto NON varia alla presenza del professionista

Azioni urbane

Materiali di riciclo

Vuoto urbano

Non implicano trasformazioni spaziali definitive.

Progetti di riuso di vuoti urbani o edifici abbandonati.

Utilizzo di materiali di riuso.

High High


Sustainability

173

La sostenibilità di un progetto non dipende dalla presenza del profes-sionista.

Sussiste una tendenza generale alla sostenibilità tra le pratiche parte-cipate, infatti che l’architetto contribuisca o meno allo svolgimento del progetto non comporta una maggiore o minore propensione ad essa. Le motivazioni sono da ricercare all’interno della definizione di sostenibili-tà stessa, che si concilia con la sfera delle pratiche partecipate negli usi dei materiali e nell’approccio progettuale.

L’utilizzo di materiali di riciclo ritarda la dismissione e lo spreco di ri-sorse, oltre che rendere accessibile a tutti grazie al basso costo la co-struzione di opere; l’architetto può incentivare l’uso di materiali di que-sto tipo e il loro rinnovamento estetico dando un consapevole approccio sostenibile. 1

La maggiorparte dei progetti altamente sostenibili con presenza di un professionista vedono la riqualificazione di vuoti urbani o il riuso di edi-fici abbandonati, sfruttamento spazi già esistenti sottoutilizzati senza nuovamente consumare suolo. Altri casi sono invece di azioni urbane, che essendo per lo più di breve durata e avendo come palcoscenico lo spazio aperto e la strada, generalmente non implicano trasformazioni spaziali definitive.2 Si denota quindi che la questione sostenibilità non è portata dall’architetto in sé, ma è dovuta ad altri fattori che si presenta-no in modo ricorrente e che portano valore aggiunto. 3

1 Hortolab, Le 56, Re-Morion2 A di città, Dispositivo de la Cebada, Un un salle3 Depave, Better block, TreeKIT

174

Professionist presence NON influenza community impact.

COMMUNITYIMPACT


81%

71%

L’impatto sulla comunità non varia alla presenza del professionista.

Utenza

Temporaneo

Progetti previsti per singole persone,

Azioni di breve durata.

Visibilità

Progetti con scarsa visibilità e accessibilità.

High Low


Community impact

175

L’impatto sulla comunità generato da un progetto è indipendente dal contributo o meno che un professionista può dare.

L’influenza sulla collettività circostante dipende da fattori che prescin-dono dalla presenza di un professionista ma che si legano maggior-mente ai bisogni della comunità stessa e all’utilizzo della partecipazio-ne in sé come strumento sociale che aiuta a indirizzare il risultato tra interesse generale e ragioni individuali.

I progetti in cui è meno rilevante l’effetto positivo sulla collettività presentano per la maggiorparte carattere temporaneo, sono di breve durata per cui probabilmente hanno meno tempo per avere influenza consistente sulla comunità1; altri risultano poco visibili e accessibili sia perché sono attuati sul web, sia per il motivo che sono realizzati da una stretta cerchia di persone2. Hanno poco impatto sulla comunità anche i progetti previsti per singole persone non per un’utenza a larga scala.3

1 Football Field, Caban Unnos, Al di qua del giorno2 TreeKIT, Recycling Tokyo3 Casa rompecabeza, Parasite, After (Andes)

176

Community impact

177

L’impatto sulla comunità determinato da un cambiamento spaziale e sociale dipende da fattori partecipativi e di risoluzione di problemi a li-vello locale e spesso alla scala del quartiere.

Il coinvolgimento attivo nei processi progettuali e nell’utilizzo finale dell’opera contribuisce ad aumentare l’influenza sulla collettività, come pure l’attenzione a risolvere problemi sociali, a realizzare desideri col-lettivi tenendone conto in fase progettuale. Per questo in questo tipo di pratiche, affinchè esse suscitino consensi e feedback positivi, è impor-tante non solo il risultato finale, ma anche l’intero processo durante il quale possono avvenire scambi dinamici tra culture diverse e opinioni differenti per ottenere connessioni ed eterogeneità all’interno del quar-tiere.

Sono principalmente tre gli elementi che nfluiscono sull’impatto sulla comunità: la durata del progetto, dalla felicità suscitata negli utenti e dalla produttività del nuovo intervento urbano.

178

COMMUNITYIMPACT

RELAZIONI

La produzione di beni influenza il livello di impatto sulla comunità

COMMUNITYIMPACT

COST EFFECTIVE

96%

68%

+$

-$Se un progetto è volto alla produzione di beni ha più impatto sulla comunità.

Agricoltura urbanaAttività per il tempo libero che includono autoproduzione e creazione di reti.

High High

Cost effective Communityimpact

179

1 Prinzessinnengarten, Soil Kitchen, City Farm, Le 56, R-urban

La produzione di beni, il loro commercio e lo scambio di informazioni che ruota attorno ad esso possono condizionare la comunità e i gruppi sociali coinvolti.

Se un progetto è produttivo in termini di denaro o di beni di consumo è possibile che influenzi l’ambiente circostante spazialmente, econo-micamente e socialmente, in quanto determinerà flussi particolari di persone, circolazione di idee e collaborazione tra parti diverse. Quasi la totalità dei progetti e delle azioni che sono volte alla produzione di beni infatti riescono nello stesso tempo a creare ed accrescere la collettività di quel determinato luogo.

In particolare l’agricoltura urbana stimola questo genere di rapporto; i luoghi in cui viene svolta questa attività infatti sono spesso gestiti dai cittadini stessi, i quali si prendono cura direttamente della coltivazione, della raccolta e di frequente anche della vendita di frutta e verdure tra-mite market a kilometro 0. La presenza di orti urbani garantisce frutta e verdure sempre freschi e incide positivamente sulla spesa domestica contribuendo al risparmio nell’acquisto di beni alimentari, oltre che au-mentare la creazione di reti tra i cittadini e favorire lo svolgersi di attività per il tempo libero.1

180

TIME LIFE COMMUNITYIMPACT

La durata di un progetto influenza il livello d’impatto sulla comunità.

90%

68%

Si riscontra maggiore impatto sulla comunità quando un’azione è più duratura.

Se il progetto è temporaneo, l’impatto sulla comunità è minore.

QuartiereProgetti di riqualificazione di spazi pubblici e realtà di quartiere.

High High

SensibilizzazioneAzioni svolte per sensibilizzare, di durata troppo breve.

SvagoAzioni temporanee per il tempo libero.

Low Low

Time life Communityimpact

Time life Communityimpact

181

1 Park-urka, Le 56, Can Battlò2 Al di qua del giorno, Chair bombing, Pagina bianca3 Raval generator, Caban Unnos, Football Field

La durata di un progetto influenza la sua capacità di avere impatto sulla comunità.

I progetti permanenti o duraturi riescono a cambiare e a condizionare in positivo la collettività circostante in quanto hanno più tempo a disposi-zione per integrarsi nel luogo, innescare meccanismi sociali ed essere vissuti. Dall’altro lato, la temporaneità delle azioni spesso riduce la pos-sibilità che esse siano impattanti sulla comunità a causa della carenza di tempo per poter consolidare socialmente il cambiamento avvenuto.

I progetti che hanno elevata influenza sulla collettività e che presentano carattere permanente riguardano in maggior parte la scala locale, inte-ressando il quartiere come luogo di identità in cui operare; in particola-re la riqualificazione di spazi pubblici o di vuoti urbani in modo durevole può portare a cambiare la percezione che il vicinato ha sempre avuto di quel luogo e delle atmosfere che creava, riconsegnando alla comunità una risorsa per lo sviluppo locale in termini di economie informali, ser-vizi autorganizzati e laboratori di sperimentazione urbana. 1

Il carattere temporaneo di un’azione non impedisce comunque di avere impatto positivo sulla comunità; tuttavia può influisce in maniera mino-re rispetto ad un progetto permanente. Ciò è dovuto al fatto che spesso gli interventi temporanei svolgono un’operazione di sensibilizzazione, concretizzata in azioni urbane di breve durata che non vanno oltre la segnalazione del problema, seppure in maniera creativa ed attraente2; hanno minore impatto sulla comunità anche quelle azioni temporanee per lo svago ed il tempo libero, spesso brevi manifestazioni di desideri ed interessi che promuovono momenti di intensa condivisione, ma che non hanno influenza sulla collettività ed il senso sociale3.

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La felicità influenza l’impatto sulla comunità, e viceversa.

82%

55%

COMMUNITY IMPACTHAPPINESS

L’impatto sulla comunità è maggiore se un progetto suscita felicità

Agricoltura urbanaTempo libero, autopro-duzione come valore che crea comunità.

High High

Happiness Communityimpact

QuartiereRecupero di realtà di quartiere e soluzione a problemi della comunità.

Reti socialiPartecipazione della comunità in fase proget-tuale e creazione di reti.

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1 Place au changement, Park-urka, Tempelhof, IOT, Esto no es un solar2 Prinzessinnengarten, Le 56, Hortolab3 Ordenacion y ocupacion, Park Fiction, Molo Torre, La casa del viento.

La capacità di rispondere ai desideri, di condizionare positivamente gli stati d’animo e quindi di suscitare senso di felicità contribuisce ad au-mentare socialmente l’influenza di un progetto. Allo stesso tempo, la creazione di reti, la soluzione di alcuni problemi sociali e l’apporto di benefici nei confronti dei cittadini favoriscono in essi un sentimento po-sitivo di realizzazione e soddisfazione.

Il rapporto che lega i valori di impatto sulla comunità e di felicità è molto stretto e ambivalente; entrambe sono accomunati dal concetto di condi-visione sia di momenti di vita che di circostanze spaziali.

Le situazioni che rispecchiano questa duplice relazione si manifestano soprattutto a livello di quartiere, quando i rapporti sono più stretti, i bisogni maggiormente sentiti e la comunicazione avviene in maniera orizzontale tra le parti; i casi di recupero di realtà che influiscono so-cialmente in modo negativo sulla comunità, per lo più vuoti urbani sen-titi dal vicinato come luoghi estranei, sprecati ed equivoci, manifestano un alto grado di correlazione tra coesione sociale, legami comunitari e felicità personale e collettiva nel veder cambiare in positivo un luogo cui si appartiene. 1

L’agricoltura urbana come fenomeno che coinvolge direttamente la presenza e l’impegno dei cittadini in fattori di tempo, relazioni e passioni crea microrealtà di unione sociale e autoproduzione. 2

Inoltre, la partecipazione diretta alle fasi progettuali e il coinvolgimento della gente a livello pratico riguardo progetti che sono volti a rispondere sia bisogni locali sia a problematiche a grande scala, contribuisce ad aumentare il livello di soddisfazione e felicità della persona, che diventa protagonista attiva nel fornire input progettuali e nel concretizzare i mi-glioramenti spaziali dei luoghi quotidiani 3.

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Happiness

185

I processi partecipati sono guidati dai desideri delle persone per rag-giungere un progetto comune; la loro importanza sta non sono nell’e-sito finale, che dev’essere condiviso e partecipato anche nell’uso, ma anche nel processo in sè quale laboratorio di relazioni e realizzazioni personali.

La felicità e la soddisfazione suscitati da un progetto nascono dalla ca-pacità delle dinamiche instauratesi di influenzare gli stati d’animo delle persone, di realizzare desideri personali siano essi effimeri o di neces-sità.

Il sentimento di felicità dipende soprattutto dall’impatto sociale che un intervento riesce a scatenare, dalla presenza di do-it-yourself e quindi di partecipazione attiva e concreta, e dalla qualità estetica del progetto.

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Do It Yourself influenza il livello di felicità di un progetto.

HAPPINESSDO ITYOURSELF

90%

64%

E’ presente più felicità dove c’è presenza di attività DIY.

HAPPINESS

RELAZIONI

High High

DIY Happiness

CondivisioneAzioni di ricreazione di spazi sociali per il tempo libero e l’educazione

Vuoti urbaniPositività nell’auto- riattivazione di vuoti urbani nel contesto di quartiere

AutocostruzioneSoddisfazione nel cambiare con le proprie mani gli spazi cui si appartiene

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1 Tempelhof, Prinzessinnengarten, Ordenacion y ocupacion.2 Kingshighway skatepark, Hortolab, (Dis)assembled.3 Institute of Placemaking, Noupaticastellum, Canillejas imagina un parque.

In un progetto la presenza di attività di autocostruzione influenza il livel-lo di felicità dell’utente.

In particolare, il coinvolgimento delle persone attraverso pratiche Do It Yourself incrementa la loro felicità e soddisfazione, in quanto è avviene il coinvolgimento diretto del singolo nel contribuire a concretizzare il progetto.

In questi casi si tratta di riattivazione dei vuoti urbani nel contesto di quartiere attraverso episodi di autocostruzione, esperienza che susci-ta realizzazione personale nel cambiare direttamente gli spazi cui si appartiene attraverso le proprie mani e mostra un’alternativa reale ai tempi spesso lunghi dell’amministrazione pubblica 1. Il DIY di frequente riguarda anche le azioni di ricreazione di spazi sociali per il tempo libero, i quali diventano un’esigenza sentita dato che l’am-bito urbano e lo spazio pubblico ne sono carenti 2. Ugualmente, i progetti che rispondono alla correlazione tra felicità e DIY riguardano spesso l’ambito dell’educazione; ciò significa che si ha un riscontro positivo dalle persone ad apprendere in modo attivo, diretto e concreto tecniche costruttive, capacità particolari e conoscenze utili per integrare il proprio stile di vita 3.

188

La bellezza di un progetto influenza la felicità.

HAPPINESSAESTHETIC

90%

71%

C’è maggiore felicità nei progetti in cui con alto livello estetico

RiusoMigliorata l’estetica di luoghi un tempo abbando-nati e non accessibili

High High

Aesthetic Happiness

Do It YourselfSoddisfazione nel creare qualcosa di alto valore estetico con le proprie mani

ComposizioneResponso psicologico di serenità nel comprendere ciò che si guarda, chiarezza della forma

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1 Noorderparkbar, Esto no es un solar, Periscope project.2 Park-urka, Molo Torre, Park(ing)3 Place au changement, City Island, Un un Salle

Il livello estetico di un progetto può influenzare il riscontro positivo di felicità suscitato dal progetto stesso.

I progetti che presentano alto livello estetico suscitano sentimenti di contentezza e soddisfazione con probabilità maggiore rispetto di a quelli di minor valore estetico. Il metro di giudizio estetico considera la chiarezza della forma e il riscontro di una coerenza d’espressione in-terna al progetto, riconoscibile e riconducibile a principi generatori. Se nell’esperienza della bellezza e nella sua percezione si comprende la chiarezza di ciò che sta alla base della composizione e si riconosce una logica ed un metodo, si è soddisfatti nell’aver compreso ciò che si vede e si instaura un responso psicologico positivo di serenità. 1

In particolare i progetti con alto valore estetico che suscitano felicità nell’utente presentano un’elevata presenza di attività di Do It Yourself; produrre qualcosa di esteticamente bello coinvolgendo direttamente le proprie mani incrementa la soddisfazione e la felicità nei confronti del proprio lavoro 2.

Interventi di riuso di luoghi abbandonati o vuoti urbani, migliorando la loro qualità estetica con il processo riqualificazione, suscitano positività e contentezza, specialmente se si mette a confronto lo stato precedente di quei posti e le atmosfere spesso negative loro legate 3.

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BIBLIOGRAFIA

191

LIBRI

Atelier d’Architecture Autogérée (a cura di), Urban Act. A handbook for alternative practices, PEPRAV, 2007

P. Blundell Jones, D. Petrescu, J. Till (a cura di), Architecture & Partici-pation, Spon Press, London, 2005

G. De Carlo, “Postfazione”, in: Avventure urbane: progettare la città con gli abitanti, M. Scavi, I.Romano, S. Guercio, A. Pillon, M. Robiglio, I. Toussant, Elèuthera, 2002

M. Mostafavi, G. Doherty (a cura di), Ecological Urbanism, Lars Müller Publishers, Baden, 2010

J. M. Richards, Peter Blake, G. De Carlo, L’architettura degli anni Set-tanta, il Saggiatore, Milano, 1973

P. Savoldi, Giochi di Partecipazione – forme territoriali di azione collet-tiva, FrancoAngeli DIAP, Milano, 2006

RIVISTE

M. Maggio, “Movimenti urbani e partecipazione”, Archivio di studi urbani e regionali, 82, 2005

J. Prost, “Adaptive Actions”, Field Journal, 2, ottobre 2008

F. Raggi, “Il progetto come utensile sociale”, Abitare, 506, settembre 2010.

Spontaneous Interventions – U.S. Pavilion, 13th International Architec-ture Exhibition at the Venice Biennale, Architect: the Magazine of the American Institute of Architects, Agosto 2012

SITOGRAFIA

S. Caracciolo, L’approccio bottom-up, http://qualitiamo.com/edico-la/2008070901.html

S. Cirugeda, Ordenacion y ocupacion territorial de solares, Re-cetas Urbanas, 2004, http://www.recetasurbanas.net/index.php?idioma=ESP&REF=1&ID=0008

A. M. Leon, Eme3 2012: Bottom-up, Domus Web, Luglio 2012, http://www.domusweb.it/en/architecture/eme3-2012-bottom-up-/

R. Murrow, ECObox. Mobile devices and urban tactics, Domus Web, No-vembre 2007, http://www.domusweb.it/it/architecture/ecobox-dispositivi-mobili-e-tattiche-urbane

http://www.spatialagency.net

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R. Poletti, Lucien Kroll: una utopia interrotta, Domus Web, Giugno 2010, http://www.domusweb.it/en/architecture/lucien-kroll-utopia-interrup-ted/

D. Petrescu, How to make a community as well as the space for it, http://www.re-public.gr/en/?p=60

From: http://www.spontaneousinterventions.org/statements:

G. Douglas, Guerrilla Bike Lanes and Other Acts of Civic Improvement through Civil Disobedience, 2012

G. Douglas, Do It Yourself Urban Design in the Help Yourself City

C. Lang Ho, Spontaneous Interventions: Design Actions for the Common Good, 2012

T. L. Griffin, American City Interrupted: What Spontaeous Interventions Can Teach Us About taking the city back, 2012

L. Lefaivre, Top Down Meets Bottom-Up, 2012

J. Roberts, Stop Planning Start Acting, 2012

Catalog, Eme3, 2012, http://issuu.com/eme3/docs/eme3_2012_catalogo

Press release, Actions: What you can do with the city, Graham Founda-tion, Ottobre 2009, http://www.grahamfoundation.org/system/press/pdf/2/original/Actions_PressRelease_2009_10_12.pdfedicola/2008070901.html

http://www.spontaneousinterventions.orghttp://www.eme3.org/http://cca-actions.org/

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