Public Interest Architecture

A case study of the Bakhita Gardens Center in Seattle, a housing facility for women. This case study is a part of a collection of reports, databases and design strategies for Design Resources for Homelessness, a free online knowledge source for designing housing and facilities for persons experiencing homelessness.

As an attempt to critically unfold and reconcile the mingled public/intimate frameworks in architecture we propose the intimate-extimacy relationship to turn the breach into a bridge, since they are not reducible to a dialectical synthesis, and do not act as opposites but work as a continuous differing from the conventional public/private antagonism.
Slavoj Žižek describes Psycho, Alfred Hitchcock’s masterpiece as an opportunity for bridging the parallax gap through “the staging of an architectural antagonism”: is Norman not split between the two houses, the modern horizontal motel and the vertical Gothic mother’s house, forever running between the two, never finding a proper place of his own?” (Žižek, 2009). We offer a dramatic traversing of the public/intimate gap, as a critical short-circuiting between the two apparently distant aspects, the internal closeness, intimate convolutions of the disciplinary object with the open common good of the social, public ingenuousness.
Extimacy, the term coined by Jacques Lacan extimité from the term intimité which is a superlative of the Latin positive adjective intra or within, its comparative interior or deeper than, and superlative intimus or deeper of all, innermost. In the same manner extimacy is not the contrary of intimacy and it problematizes the apparent oppositions between inner and outer, between container and content. As Jacques-Alain Miller proposes, “it is necessary in order to escape the common ravings about a psychism supposedly located in a bipartition between interior and exterior. (…) The exterior is present in the interior. The most interior—this is how the dictionary defines “intimate” (l’intime)—has, in the analytic experience, a quality of exteriority” (Miller, 2008).
At the inner-outer surpassed deadlock, internal and external architectural worlds have no more consequential meaning for its micro-territorial extimacy, revealing a namely public intimacy. By losing contrast they become reversible: the extime refers now to the innermost, the intimate, which is found on the outside—as the culture determining the subject, referring to a topology that vacillates between interior and exterior.
Architectural extimacy, being very intimate and familiar becomes radically strange. Here being intimate turns into the most distant and un-localized… the familiarly unknown. For Lacan, the inner-center of the subject is out, it is ex-centric. The Other as "something strange to me, although it is in my heart" (Lacan, 1959-1960) becomes a programmatic architectural engine, revealing and undertaking the shock of the overwhelming Real—the primordial object, as the mysterious something of the ordinary object where the sublime dimension shines through it.

Provide a critique of existing development or an existing proposal for a site within Hulme or Moss Side, Manchester. Based on these critiques outline your alternative proposal for promoting a better masterplan/design and with this a more sustainable community.

Humanitarian architecture has become a mainstay in the social practice of architecture and has had an overall positive influence on design teaching. However, the field of humanitarian design has a tendency to oversimplify growing issues of social and environmental justice. The field of humanitarian architecture suggests to students that design can solve systemic problems, but fails to define the complexity of the systems these problems exist within. Rather than emphasizing critical analysis and deconstruction, it emphasizes trending design vocabulary. This paper establishes the basis of humanitarian architecture, the definition, and the key concepts that define the practice of humanitarian architecture, and it uses the concepts of 'craft' and 'replicability' to analyze the practice within complex systems. This analysis of the field makes the argument that incremental facilitation and deep community engagement is necessary for a successful humanitarian architecture. And in order to achieve success, a new school of humanitarian architecture needs to be developed that develops students and practitioners who are prepared to work within complexity , employing praxis.

Public interest design expands the practice and education of architecture and design by shifting from the narrowly focused production of objects to a multi-dimensional process for achieving change and impact. Engaging an inclusive range of stakeholders, it moves design from passive reaction to goals created by the wealthy and powerful to proactive empowerment of the overlooked and underrepresented. Design thus fulfills its potential to contribute to solutions to a myriad of issues connected to the built environment, such as climate change, increasing urbanization, and growing inequity between rich and poor. Present in university design centers, non-profit organizations, for-profit firms, and university courses, public interest design is providing new opportunities for students, young professionals, and all those interested in using their knowledge and training to create positive futures.

SEMESTRE/CURSO/NIVEL: 1 SEMESTRE UNIDAD DIDÁCTICA No.1. Liderazgo y líder TEMA: LIDERAZGO Y LÍDER FORMAS DE ENSEÑANZA: Acción didáctica. DURACIÓN DE LA CLASE: 3 HORAS. DOCENTE: Ing.Wilmer Zambrano Z. Mgs. PROBLEMA: Mantener la comunicación para superar crisis social? OBJETIVO: Identificar el rol del liderazgo en la sociedad. CONOCIMIENOS PREVIOS: Metodología de la investigación. FECHA: 5-9 octubre del 2015. SISTEMA DE CONTENIDOS FASES ACTIVIDADES METODOS Y TECNICAS RECURSOS DIDÁCTICOS Y MATERIALES INDICADORES DE EVALUACION CONOCIMIENTOS : CONCLUSIONES (30.MIN) 1. Sistematización del contenido 2. Conclusión de clase 3. Evaluación de aprendizaje. 4. Anuncio del nuevo tema próxima clase. Preguntas y respuestas. Pizarra, computador, proyector Sustentar el mapa conceptual. Reconocer la situación problemática. ACTIVIDADES INVESTIGATIVAS De qué manera el líder se relaciona en obras civiles. TRABAJO AUTÓNOMO Presentar en forma individual lo requerido en actividades investigativas e incorporar al portafolio docente. FIRMA DEL DOCENTE UNIVERSIDAD TÉCNICA DE MACHALA UNIDAD ACADÉMICA: INGENIERIA CIVIL Plan clase No. 02. CARRERA: INGENIERIA CIVIL. ASIGNATURA: LIDERAZGO Y TRABAJO EN EQUIPO SEMESTRE/CURSO/NIVEL: 1 SEMESTRE UNIDAD DIDÁCTICA No.1. Liderazgo y líder TEMA: LIDERAZGO Y LÍDER FORMAS DE ENSEÑANZA: Acción didáctica. DURACIÓN DE LA CLASE: 3 HORAS. DOCENTE: Ing.Wilmer Zambrano Z. Mgs. PROBLEMA: Mantener la comunicación para superar crisis social? OBJETIVO: Identificar el rol del liderazgo en la sociedad. CONOCIMIENOS PREVIOS: Metodología de la investigación. FECHA: 12-16 octubre del 2015. SISTEMA DE CONTENIDOS FASES ACTIVIDADES METODOS Y TECNICAS RECURSOS DIDÁCTICOS Y MATERIALES INDICADORES DE EVALUACION CONOCIMIENTOS : CONCLUSIONES

A case study of the Third Avenue Apartments, a permanent supportive housing project by Services for the Underserved in New York City. This case study is a part of a collection of reports, databases and design strategies for Design Resources for Homelessness, a free online knowledge source for designing housing and facilities for persons experiencing homelessness.

The world is haunted by crisis and architects are responding with various “conscious” practices. The testing of ideas is invaluable, however we must also unpack the interconnections between crisis, space, and new architectural practices.

This paper will traverse the global economic crisis and revolts, the commodification fetish of architecture, observe a “conscious” architectural practice, and suggest architects follow the new political imagination with a new architectural imagination. The dominant practice of architecture that people aspire to practice and that has engulfed architecture pedagogy in the United States and elsewhere is a fetish for “conscious” architectural objects disguised by progressive rhetoric: sustainable, political, social, public interest, acupuncture, smart, for the other 90%, etc. The practices of architectural consciousness are a fetish (and have a “talisman complex”) that assumes they can produce a predetermined societal impact from an aesthetic, innovative or technological nature of the architectural object.

This is a review of current research concerning elements and issues for designing environments for those who have experienced homelessness. Bibliography and executive summary are included. This report is part of the free content of Design Resources for Homelessness at designresourcesforhomelessness.org

In the context of ongoing economic and environmental crises, “social architecture” has gained traction as a description of those practices that seek to challenge the dominant professional model of capital-intensive, client-dependent architectural production. Approaching “social architecture” as a representation that contains crucial assumptions both about mainstream architectural practice and disparate strategies for its rejection, this paper draws on recent critical social science literature to analyse fieldwork with the Rural Studio, a design-build program in Alabama, USA. Exploring different understandings of “social architecture”—including as expressed by students, teachers, clients and community members—we suggest that the category is, in practice contexts, replete with tensions, rejections and uncertainties; coherence of intention or outcome can certainly not be assumed when architects attempt to deal with contradictions and crises emerging from other parts of capitalist society.

A assistência ao parto está em crise no Brasil. A redução da mortalidade materna e neonatal ainda é um desafio para os serviços de saúde e a sociedade como um todo. As altas taxas encontradas se configuram como uma violação dos Direitos Humanos de Mulheres e Crianças e um problema de gênero e saúde pública. A assistência médica prestada no interior dos hospitais, passa a produzir iatrogenias para a mulher em trabalho de parto, que tem experienciado um momento de violência e desrespeito à sua fisiologia. Através do entendimento dessa problemática, o presente trabalho sugere a Casa de Parto como uma ferramenta arquitetônica capaz de corroborar para a reconstrução de valores sociais e mudança de paradigma acerca do ato de parir e nascer como um ato fisiológico, desvinculado do ambiente hospitalar geralmente associado à insegurança e sofrimento. Utilizou-se como metodologia o estudo de pesquisas observacionais que levam em consideração a perspectiva das usuárias nesses estabelecimentos de saúde bem como visitas a duas unidades em funcionamento. É proposto um projeto arquitetônico de Centro de Parto Normal que contempla as principais necessidades de humanização do ambiente de nascer, sob o viés da percepção do ambiente pelos usuários e a influência deste no processo do parto. Palavras-Chave: arquitetura de ambientes de saúde; centro de parto normal; parto humanizado

Delivery care is in crisis in Brazil. The reduction of maternal and neonatal mortality is still a challenge for health services and society as a whole. The high rates are seen as a violation of women and children's human rights and a problem of gender and public health. The medical assistance provided within hospitals produces iatrogenic effects for women in labor, who have been experiencing a moment of violence and disrespect to their physiology. Through the understanding of this issue, this paper suggests the Birth Center as an architectural tool to improve the reconstruction of social values and paradigm shift about the act of giving birth as a physiological act, detached from the hospital usually associated with insecurity and suffering. Observational studies that consider user's perspective and site visits to two units in operation were used as methodology. A Birth Center architectural design is proposed, which considers the main needs of humanization in birth care place and the user's perspective in the parturition process.

Che cos'è dunque il tempo? Quando nessuno me lo chiede, lo so; ma se qualcuno me lo chiede e voglio spiegarglielo, non lo so. Tuttavia affermo con sicurezza di sapere che, se nulla passasse, non vi sarebbe un tempo passato; se nulla si approssimasse non vi sarebbe un tempo futuro, se non vi fosse nulla, non vi sarebbe il tempo presente. Ma di quei due tempi, passato e futuro, che senso ha dire che esistono, se il passato non è più e il futuro non è ancora? E in quanto al presente, se fosse sempre presente e non si trasformasse nel passato, non sarebbe tempo, ma eternità […]. Questo però è chiaro ed evidente: tre sono i tempi, il passato, il presente, il futuro; ma forse si potrebbe propriamente dire: tre sono i tempi, il presente del passato, il presente del presente, il presente del futuro. Infatti questi tre tempi sono in qualche modo nell'animo, né vedo che abbiano altrove realtà: il presente del passato è la memoria, il presente del presente la visione diretta, il presente del futuro l'attesa […]. Il tempo non mi pare dunque altro che una estensione (distensio), e sarebbe strano che non fosse estensione dell'animo stesso.

This paper compares four layers of the urban form of Athens in Greece and Alexandria in Egypt and uses the palimpsest analogy and a methodology that combines town plan analysis and GIS to investigate the interactions between the symbolic significance of heritage, urban form, and the distinctive spirit of place.  The analyses reveal that the spirit of place remains constant as the urban form is reshaped. They also reveal that reinterpretations of the symbolic significance of tangible and intangible heritage, combined with innovative designs and urban rituals, transform the emerging urban form into a contemporary cosmic one.

Sin dal medioevo, le città italiane si sono dotate di palazzi pubblici e architetture civiche di forte impatto urbano: edifici, monumenti, infrastrutture che assolvevano a svariate funzioni d’uso collettivo e in cui poteva riconoscersi l’identità civile degli abitanti. Questi edifici hanno spesso mantenuto per secoli, in certi casi sino ad oggi, un ruolo cruciale nella vita politica e culturale cittadina, come uno dei luoghi deputati all’autorappresentazione delle autorità locali e dei loro programmi di ‘buon governo’. Questo legame forte e fondante con la storia delle collettività cittadine non è stato tuttavia privo di conseguenze: lungi dal costituire una tipologia durevole, nel corso del tempo i palazzi pubblici sono stati chiamati ad assolvere svariate funzioni materiali e simboliche, generando continui, a volte radicali processi di trasformazione non solo a livello di usi e apparati decorativi, ma anche in termini più propriamente strutturali e architettonici. Tant’è che molto spesso anche quegli edifici e modelli che si presentano come frutto di persistenze genuinamente ‘originarie’ non sono in realtà che il frutto di ricostruzioni e restauri stilistici otto-novecenteschi.
In questo contesto di lungo periodo, la sessione mira a focalizzare l’attenzione sui momenti di svolta, le cesure storiche, le fasi di ristrutturazione/riconversione dopo eventi drammatici: le ricostruzioni post-belliche, le fasi ‘rivoluzionarie’, la dialettica fra diversi modelli di architettura pubblica e i relativi linguaggi, o ‘discorsi’ (nazionalistici VS municipalistici, aulici VS autoctoni, storicisti VS modernisti). Saranno particolarmente privilegiati gli approcci trasversali, capaci di mettere in luce la complessità dei processi storici nel contesto urbano e la permeabilità dell’architettura rispetto alle dinamiche politiche, sociali e culturali del proprio tempo.

Since the Middle Ages, the urban landscape of Italian cities has been marked by the presence of public palaces and civic architecture: buildings, monuments, infrastructures that fulfilled multiple functions for collective use, emboding the civil identity of the inhabitants. Those building have always maintained a crucial role in the public life and cultural landscape of Italian cities as places of self-representation for civic authorities and their policies for 'good government' up to the present day.
This deep and vital link with the history of city's communities has not, however, been without consequences: far from setting up a lasting 'typology', over time public palaces have been asked to perform a variety of material and symbolic functions, generating continuous, sometimes drastic processes of transformation, not only in terms of use and decoration, but also in structural and architectural terms. So much so that even those buildings and models that appear to be the result of genuinely 'original' persistences are often only the fruit of 19th-20th century reconstructions and stylistic restorations.
In this long-term framework, this session aims to focus on turning points, breaks, restructuring/reconversion steps after dramatic events: post-war rebuildings, ''revolutionary'' eras, the interplay between different models of public architecture and their idioms, or ''discourses'' (nationalistic VS municipalistic, classicist VS autochthonous, historicist VS modernist). Special attention will be paid to cross-cutting approaches, highlighting the complexity of historical processes in urban contexts and the permeability of architecture to political, social and cultural factors.

Deadline 31 March 2022

ARCH 3030 SP20-MidCa-Prof. Omayra Rivera Crespo Hitos Corrosivos: Historias de la arquitectura icónica en proyectos públicos y sus desfaces en el espacio urbano. "La realidad de Santurce (y Puerto Rico) es que no entendemos ni aceptamos los matices de su belleza mucho menos sabemos traducirla en un discurso de posibilidad. Al país lo tenemos escondido debajo de una peluca de pretensiones primer mundistas que tapa el químico corrosivo de un alisado casero mal hecho. Jamás podremos encontrar el corte que mejor le queda a nuestras ciudades si enfrentamos sus fisionomías y voluntades. Existen profesionales para eso. Y existe el Estado para implantar controles al capital que paga las cuentas de campaña." 1 Arq. Miguel Rodríguez Casellas Arquitectos, planificadores, políticos de carrera y desarrolladores han hecho de Puerto Rico un laboratorio para experimentar modelos de megaproyectos públicos y privados importados. 2 Espacialmente, se transfiere a una cultura de comisión de obras faraónicas, en escala y coste. Sin duda muchas son estéticamente asombrosas y en el peor de los casos, interesantes. No obstante, son ambivalentes en su capacidad de integrar y/o integrarse a sus comunidades anfitrionas. Políticos y líderes de la industria se han servido de la promesa del progreso, desde el siglo XX, como justificación para construir obras que se promocionan ante el pueblo cómo proyectos de "beneficio público". Pero ¿qué aportaciones espaciales se le puede atribuir a estas intervenciones? ¿A qué costo para la comunidad y el estado? Se ha propiciado una trama urbana ahora incoherente, poniendo entredicho la efectividad de obras "cura-todas" 3 en facilitar los servicios públicos y las servidumbres comunitarias. En 1 Rodríguez Casellas, Miguel. 2010. «La melena de Santurce.» Enciclopedia de Puerto Rico. 23 de septiembre. 31https://enciclopediapr.org/encyclopedia/la-melena-de-santurce/#1468460506719-9e741705-d2fd 2 El Dr. Lizardi Pollock sintetiza del ensayo de Arq. Andrés Mignucci, "Modern urbanism in Puerto Rico: from abstract doctrines to concrete landscapes, demuestra que, a pesar de la impresión generalizada, la Carta de Atenas y los conceptos del Congreso Internacional de Arquitectura Moderna, si estuvieron muy presentes en la planificación de la vivienda social en Puerto Rico. Tal vez, por parecer muy abstractos o generales sus principios, es imposible decir cómo se traducen en "paisajes concretos" a miles de kilómetros de distancia." Lizardi Pollock, Jorge L., y Florian Urban. 2014. Espacios Ambivalentes: Historias y olvidos en la arquitectura social moderna. San Juan: Ediciones Callejón. 13. https://is87.isuu.com/esc_arq_upr/docs/libro_final 3 Obras arquitectónicas que se presumen como la solución definitiva para un problema socioeconómico.

Sin dal medioevo, le città italiane si sono dotate di palazzi pubblici e architetture civiche di forte impatto urbano: edifici, monumenti, infrastrutture che assolvevano a svariate funzioni d’uso collettivo e in cui poteva riconoscersi l’identità civile degli abitanti. Questi edifici hanno spesso mantenuto per secoli, in certi casi sino ad oggi, un ruolo cruciale nella vita politica e culturale cittadina, come uno dei luoghi deputati all’autorappresentazione delle autorità locali e dei loro programmi di ‘buon governo’.
Questo legame forte e fondante con la storia delle collettività cittadine non è stato tuttavia privo di conseguenze: lungi dal costituire una tipologia durevole, nel corso del tempo i palazzi pubblici sono stati chiamati ad assolvere svariate funzioni materiali e simboliche, generando continui, a volte radicali processi di trasformazione non solo a livello di usi e apparati decorativi, ma anche in termini più propriamente strutturali e architettonici. Tant’è che molto spesso anche quegli edifici e modelli che si presentano come frutto di persistenze genuinamente ‘originarie’ non sono in realtà che il frutto di ricostruzioni e restauri stilistici otto-novecenteschi.
In questo contesto di lungo periodo, la sessione mira a focalizzare l’attenzione sui momenti di svolta, le cesure storiche, le fasi di ristrutturazione/riconversione dopo eventi drammatici: incendi, guerre, epidemie di peste; l’affermazione di poteri signorili o l’assoggettamento a città dominanti; la trasformazione dei consigli cittadini in organismi di ceto. Saranno particolarmente privilegiati gli approcci trasversali, capaci di mettere in luce la complessità dei processi storici nel contesto urbano e la permeabilità dell’architettura rispetto alle dinamiche politiche, sociali e culturali del proprio tempo.

Since the Middle Ages, the urban landscape of Italian cities has been marked by the presence of public palaces and civic architecture: buildings, monuments, infrastructures that fulfilled multiple functions for collective use, emboding the civil identity of the inhabitants. Those building have always maintained a crucial role in the public life and cultural landscape of Italian cities as places of self-representation for civic authorities and their policies for 'good government' up to the present day.
This deep and vital link with the history of city's communities has not, however, been without consequences: far from setting up a lasting 'typology', over time public palaces have been asked to perform a variety of material and symbolic functions, generating continuous, sometimes drastic processes of transformation, not only in terms of use and decoration, but also in structural and architectural terms. So much so that even those buildings and models that appear to be the result of genuinely 'original' persistences are often only the fruit of 19th-20th century reconstructions and stylistic restorations.
In this long-term framework, this session aims to focus on turning points, breaks, restructuring/reconversion steps after dramatic events: fires, wars, plague epidemics; the establishment of seigniorial powers or the subjugation to dominant cities; the shift towards forms of oligarchic power. Special attention will be paid to cross-cutting approaches, highlighting the complexity of historical processes in urban contexts and the permeability of architecture to political, social and cultural factors.

Deadline: 31 March 2022

Architects are reemphasizing their social mission and creating new forms of ‘social architecture,’ which has elsewhere been categorized as ‘activist,’ ‘humanitarian,’ ‘progressive,’ and ‘public interest.’ This present form of social architecture has roots in 1960s experimentation and has been a reaction to professionalization of the discipline and to stylistic postmodernism. It has paralleled environmental consciousness, and has become more relevant with rising inequality due to the global recession and continuing economic instability. The magnitude of social architecture’s development is impressive. A ‘social architectural’ program has been voted by the Deans of Architecture schools as the best education model in the US[1] and the work of socially engaged architects has been exhibited at MoMA in New York.[2] ‘Social architects receive national awards, teach studios in the Ivy League, and organize conferences to spread influence beyond their disciplinary boundaries.

                As new practices develop, controversies have surfaced regarding the architect’s ambiguous relationship to yielding disciplinary power. This paper will present (1) critical perspectives on social architecture, (2) ethnographic snapshots from the field, (3) a geopolitical perspective, and (4) a projectile where the ‘social’ is more radically localized alongside social movements like the Right to the City.

Aim:  The purpose of this study was to examine the association of Internet overuse with excessive daytime sleepiness (EDS).Methods:  A total of 2336 high school students in South Korea (boys, 57.5%; girls, 42.5%) completed the structured questionnaire. The severity of Internet addiction was evaluated using Young's Internet addiction test.Results:  The proportions of boys who were classified as Internet addicts and possible Internet addicts were 2.5% and 53.7%, respectively. For girls, the corresponding proportions were 1.9% and 38.9%, respectively. The prevalence of EDS was 11.2% (boys, 11.2%; girls, 11.1%). When Internet addicts were compared with non-addicts, they consisted of more boys, drank alcohol more, and considered their own health condition as poor. But smoking was not related with Internet addiction. The prevalence rate of EDS for Internet addicts was 37.7%, whereas that for possible Internet addicts and non-addicts was 13.9% and 7.4%, respectively. The prevalence of insomnia, witnessed snoring, apnea, teeth grinding, and nightmares was highest in Internet addicts, middle in possible addicts, and lowest in non-addicts. With adjustment for duration of Internet use, duration of sleep time, age, gender, smoking, taking painkillers due to headache, insomnia symptoms, witnessed apnea, and nightmares, the odds of EDS were 5.2-fold greater (95% confidence interval [CI]: 2.7–10.2) in Internet addicts and 1.9-fold greater (95%CI: 1.4–2.6) in possible Internet addicts compared to non-addicts.Conclusion:  Internet addiction is strongly associated with EDS in adolescents. Clinicians should consider examining Internet addiction in adolescent cases of EDS.

This report investigates community planning in the context of mega events and forced removals in Brazil, more specifically in relation to the Olympic Games in 2016 in Rio De Janeiro. The report shows how community planning can be a powerful political strategy for localized action. The focus is on a case study of a impoverished neighborhood, Vila Autódromo, located next to the future Olympic Village where the residents in collaboration with two public universities have produced an alternative plan in opposition to the local municipality and local real estate interests.

In questo caso il tessuto viario diventa un fattore condizionante dell'inserimento urbano del portico, che moltiplicandosi in modo seriale può creare un percorso protetto parallelo alla strada.
In alcuni casi la presenza dell'elemento diventa una caratteristica peculiare del tessuto storico della città. Nel centro storico della città di Parma queste strade coperte costituiscono invece un'eccezione più che una consuetudine.
In particolare la pianta dello Smeraldi (quella dove sono più numerosi) mostra l'esistenza di portici strutturati lungo un solo lato stradale, sull'asta meridionale del cardo (l'attuale Strada Farini) sino all'incrocio con la Strada al Ponte Caprazucca, anch'essa porticata, in borgo delle Colonne e in Via Affò (oggi completamente ricostruita). Edifici porticati fiancheggiano anche le due piazze simbolo della città: una è quella civica (piazza Garibaldi) sul luogo del foro romano, dove si trovano il portico del palazzo comunale (mercato delle granaglie) e un palazzo gentilizio (palazzo Bondani) che oltre al portico aveva un loggiato al primo piano; l'altra è quella della cattedrale con il Vescovado e il Seminario, entrambi loggiati. Un altro porticato di origine e funzione diversa ma ben riconoscibile è quello che sorreggeva il Corridore, primo nucleo del palazzo della Pilotta, sede dei servizi della corte farnesiana.
Altri due porticati sono riconoscibili ai due estremi delle mura che costeggiavano l'altra sponda del torrente, rispettivamente a nord del Corridore e nei pressi di Porta Nuova. Uno dei principali percorsi porticati si trova lungo quest'asse, che nel suo prolungamento ha assunto un andamento sinuoso, forse a causa del passaggio del Canale Comune, che ne segue il tracciato sino alla prima divisione interna dell'insula sulla quale insiste il palazzo civico, e della relativa vicinanza del torrente nella parte più meridionale. Questo canale è l'unico che penetra all'interno della prima cinta; il percorso porticato lo costeggia sull'asse viario che conduce da sud alla città.
Il primo si trovava lungo la strada al ponte Caprazzucca, proprio in corrispondenza del tracciato delle mura, a sinistra dell'antica porta meridionale della città; l'altro sul lato occidentale di un viottolo chiuso tra Borgo del Canale e Via Nazario Sauro. L'ampliamento del 1169 allarga la cinta a nord e ad est, lasciando immutato l'angolo meridionale verso il torrente. Nella zona di espansione, le nuove mura inglobano la cattedrale e i grandi conventi insediati a nord est della cinta precedente (San Paolo, San Giovanni, San Sepolcro) con un andamento parallelo al corso Borgo delle Colonne. In particolare, il tracciato delle mura è stato ipotizzato in corrispondenza dei palazzi quattro-cinquecenteschi che fronteggiano il lato porticato della strada. Dopo la grande piena del 1177, che aveva spostato il letto del torrente verso ovest, un ulteriore intervento ingloba una nuova modesta area di espansione nel vecchio alveo a nord della piazza della Ghiaia; il tracciato della cinta è stato individuato in corrispondenza della vecchia via Affò.
Nell'angolo settentrionale verso il torrente le mura furono invece ricostruite in corrispondenza del lato occidentale della Pilotta. Nella stessa zona fu ampliata anche la cinta successiva, inglobando Via Affò, l'ultima strada porticata, ricostruita nel dopoguerra con una totale sostituzione del tessuto edilizio che non ha mantenuto i percorsi stradali precedenti.
Questa si presenta come la prima strada "produttiva" specializzata della città, dove l'atlante Sardi riporta la presenza di non meglio specificate fabbriche ducali e della cereria (della quale si individua la posizione dall'omonima canadella) e dove il catasto napoleonico documenta l'esistenza delle fonderie e del mercato dei cavalli. La sovrapposizione tra i portici di Strada al ponte Caprazzucca e di quelli di via Affò con il tracciato delle mura induce a pensare che la loro costruzione abbia seguito lo spostamento delle mura stesse. L'ipotesi generale trova conferma nella relativa omogeneità del tessuto interessato, nel quale dominano le schiere medievali, e nelle caratteristiche architettoniche e costruttive dei portici residui, o dei quali restano fotografie come quelli di via Affò. Molto probabilmente questo fu favorito dal passaggio di canali e fosse importanti che troviamo in prossimità di tutti i portici : il canale Comune in Strada Farini, il canale Maggiore sul lato est della prima cinta, la Naviglia scoperta in Borgo delle Colonne, la Fossaccia in Via Affò, la canadella del collegio dei Nobili in Strada Caprazucca. Talvolta questo tessuto "povero" è stato sostituito con interventi successivi, legati alla costruzione di palazzi signorili in seguito a rigualificazione generale della strada, come in Via Farini, Borgo delle Colonne, Strada Caprazucca, ma nella maggior parte dei casi i portici, poi ricostruiti con volte a crociera (in qualche caso a vela) hanno mantenuto l'impianto originario, senza modifiche nell'altezza del primo solaio. Nell'ultimo caso citato, il portico non si è mantenuto, ma una traccia della sua presenza è ancora riconoscibile nell'ampliamento dell'edificio all'angolo con Strada Farini, al quale è stata aggiunta una stretta striscia ben visibile in facciata, che ha le finestre leggermente diverse da quelle del resto del palazzo.

Nel complesso quindi, questo sistema frammentario si documenta come il residuo di un elemento tipologico legato ai percorsi interni della città medievale e mostra una relazione interessante con il sistema idrico.

References

M. Rossi, Bologna: il palazzo porticato, in E. Mandelli, Palazzi del rinascimento, Alinea, Firenze, 1988, pagg. 333-346.
  Gian Pietro Sardi, La città di Parma delineata e divisa in tutte le sue isole….(Atlante Sardi), 1759, stampa anastatica, PPS editrice, Parma, s.d.
  Archivio di Stato di Parma, Catasto Cessato
  G. Sitti, Parma nel nome delle sue strade, Parma, 1929, pag. 82
  cfr. Paolo Conforti, Le mura di Parma - dalle origini alle soglie del Ducato, Battei, Parma, 1979
  Gianni Capelli, Piazza Grande, Battei, Parma, 1989.
  Gianni Capelli, Alla ricerca di Parma perduta, PPS Editrice, Parma, 1997,

Public interest design expands the practice and education of architecture and design by shifting from the narrowly focused production of objects to a multidimensional process for achieving change and impact. It moves design from adherence to goals created by wealthy and powerful clients and policymakers to engaging proactively with a broad range of stakeholders. Design thus contributes to solutions to issues connected to the built environment, such as climate change, increasing urbanization, and growing inequity between rich and poor. Present in university design centers, nonprofit organizations, for-profit firms, and university courses, public interest design is providing new opportunities for students, young professionals, and others interested in using their knowledge and training to create positive futures. Disciplines Architecture Comments This article is from Public: A Journal of Imagining America 2 (2014): https://public.imaginingamerica.org/ blog/article/public-interest-desig...

En el fondo del mar, vivía Pulpín con su padre Don Pulpón, ellos eran muy felices. Llegó el momento que Pulpín vaya a la escuela, Papá le explicó que sería un lugar muy bonito donde aprendería cosas divertidas; pero Pulpín no estaba muy seguro de ello y sentía temor.

In an era where mainly growing bottom-line profits are the focus of universal corporate cultures , being creative and experimental is less affordable, and also there is a lack of equal opportunities for all. Architecture, both in practice and education terms, remains competitive and very much attached to the rich-client/genius-architect couple. In my pedagogy, I critique and challenge this enterprise by taking a different approach that allows and reinforces creativity and experimentation for students, while equipping them to become emergent professionals with skills to envision and produce a more social and more public architecture that integrates larger concerns. In doing so, I have developed a pedagogical model that is based on exhibitions and art installations which I had used and tested as part of my Thesis Lab course.

"The involvement of local communities in public space planning and design processes is widely promoted as an essential element of landscape architecture and urban design practice. Despite this, there has been little theorisation of this topic within these fields. Furthermore, the implementation of ideals and principles commonly found in theory are far from becoming mainstream practice, indicating a significant gap between the theory and practice of participation.
This thesis aims to contribute to the development of theories of participation in the planning and design of public spaces. It steps away from the prevailing normative and procedural approach to theory development, and instead adopts a critical approach grounded on the deep understanding of the challenges of participation in the planning and design of public spaces. Case studies of two urban renewal projects, in Medellin, Colombia, and in Barcelona, Spain, and their participatory processes, are used for building up the theoretical contribution.
The empirical and theoretical findings foreground the contextual and political nature of participatory processes. Contextual, in the sense that the implementation of ideals and principles found in theory is facilitated or hindered by the social, political and economic context in which a participatory process takes place. Political, in the sense that in complex contexts that comprise a wide range of actors, and where contrasting goals and agendas are at stake, the implementation of these theoretical ideals and principles is significantly challenged by politics involving deep differences, conflicts and power relations.
The findings also show that prevailing theories of participation within landscape architecture and urban design do not take into consideration the contextual and political nature of participatory processes. This renders these theories weak in their capacity to respond to the challenges encountered by participatory processes in contemporary public space projects. This is particularly so as the dynamics of increasing pluralisation, muliticultarisation and neoliberalisation of cities create contexts that hinder the implementation of the ideals and principles found in theory, and increase the challenges caused by their political nature. Consequently, this thesis proposes a new theoretical approach to participation in the planning and design of public spaces, that allows context-based distinctions and judgements about the qualities of participatory practices for just decision-making. Difference, conflict and power are central in this approach. This thesis establishes this theoretical departure point and makes a significant contribution towards the development of the proposed theoretical approach. "

Ο αρχιτεκτονικός σχεδιασμός, όπως γενικά πραγματοποιείται σε επαγγελματικό επίπεδο αλλά και όπως κυρίως διδάσκεται στις αρχιτεκτονικές σχολές, στηρίζεται στην αποδοχή και στην επιβεβαίωση του αναντικατάστατου ρόλου, τον οποίο ο αρχιτέκτονας κατέχει στην κοινωνία. Ωστόσο, η καθημερινή πρακτική έρχεται συχνά να διαψεύσει αυτήν την πεποίθηση αφαιρώντας από τον αρχιτέκτονα το ρόλο του κύριου ρυθμιστή της οικοδομικής διαδικασίας και στερώντας του την αποκλειστικότητα της δημιουργίας, όταν οι τελικοί αποδέκτες του σχεδιασμού επεμβαίνουν δραστικά στη διαμόρφωση του αρχιτεκτονικού έργου. Στόχος της παρούσας εισήγησης είναι να θέσει υπό εξέταση την πιθανότητα και τις προοπτικές ενίσχυσης, στο πλαίσιο των αρχιτεκτονικών σπουδών, της αντίληψης του αρχιτεκτονικού έργου ως συλλογικής – συμμετοχικής υπόθεσης. Μέσα από τη μελέτη της σχέσης σχεδιασμού και αυτοσχεδιασμού επιχειρείται να αμφισβητηθεί ο κυρίαρχος ρόλος του αρχιτέκτονα και να εδραιωθεί η αξία της συμμετοχής του δημιουργικού χρήστη στην παραγωγή του χώρου. Τα συμπεράσματα αυτού του εγχειρήματος ουσιαστικά είναι ερωτήματα και υποθέσεις για τα χαρακτηριστικά και τη σημασία ενός πιθανού μαθήματος αρχιτεκτονικού αυτοσχεδιασμού σε ακαδημαϊκό επίπεδο.

One of the reasons that led me to focus my research on urban riots – and the case of Exarcheia, Athens in particular – was what I conceived to be an often shallow and misaligned reading of such events in public discourse. In telling opposition to everyday struggles in urban settings, for example, the occurrence of urban riots has been systematically left under-explored. On the rare occasions when they are referred to in literature, this happens mostly from a distance, whether chronological or geographical. The reasons leading researchers to allow for this distance could be fairly comprehensible: chronological distance – that is, the lapse of time – can offer them the reassurance that they are looking into a subject worthy of their research effort. Geographical distance might offer them a feeling of personal safety. And yet, as I want to argue in this chapter, research on urban riots from afar largely perpetuates their misguided representation in public discourse.

Awareness of international crises and the opening of global marketplaces have captured the attention of contemporary practitioners.  Large firms invest increasing amounts of resources and effort to managing global opportunities, but given the state of the economy, some are finding that such labors are not paying off.  Furthermore, the common model of architectural practice is predicated upon a very limited client base.  Architects create new opportunities by diversifying their definition of who can be a client, and how a different skill set can both increase their professional prosperity and bring design services to overlooked local stakeholders.

Similarly, international crises - be they tsunamis, earthquakes, or floods – capture the attention of socially-aware design professionals.  These instances often bring out the best in design practitioners, but just as frequently result in design interventions which, while well-intended, range from misguided to patronizing.  Designers who practice humanitarian architecture on a global scale must negotiate obstacles such as language barriers, inadequate understanding of local practices, and an overly-heroic sense of hubris.  Meanwhile, many of our local communities – some in our own backyards – suffer from less dramatic yet equally dire conditions of decay, poverty, and neglect.

Are traditional models of architectural practice still viable in cities mired in physical, psychological, and economic crisis?  What are the reasonable limits of architectural involvement in such contexts?  Are students being educated in a manner that allows them to maximize the public benefits of their talents? To accept these challenges is to accept the need for a new model that allows for the possibility of new interpretations of professional practice, outcomes and deliverables. 

This paper outlines the philosophical underpinnings and activities of practitioners who are breaking from previously-accepted models of global, professional, and humanitarian practices.  Examples include ‘storefront architects’, who aim to bring professional design services to clients who previously believed this a luxury reserved for only wealthy individuals and corporations, and  Seattle architect John Morefield, who changed his practice by offering “architecture for five cents”.  Discussion includes the work of Public Architecture, which was launched when John Peterson decided to ‘create his own design competition’ by presenting an unsolicited proposal to improve public green space in San Francisco’s Tenderloin district.  The transition of Atlanta-based Mad Housers from ‘guerilla activists’ to ‘legitimate’ service providers underscores the opportunities for architects to fulfill their fiduciary responsibility within a matrix of social and professional sanction.

The paper concludes with an introduction to a graduate level design studio offered at a Midwestern university.  By exploring alternative practice principles such as clientless and unsolicited architectural interventions the course requirements shift student skill development from ‘problem solving’ to ‘problem seeking’, attempting to engage students in a dialogue regarding the social, political, and cultural obligations of the design professional.  Special focus is placed upon cultivating student abilities in critically reading their environment from both the physical and social perspective, as well as upon expanding their definitions of ‘architectural’ interventions, seeking to impact sustainable change at the individual and neighborhood scale.

"ABSTRACT For most of the 20th century, the border cities of Nogales, Arizona and Nogales, Sonora formed the
single transnational community of Ambos Nogales (Both Nogales). Today the people in Ambos Nogales nostalgically
remember this border as a picket fence between neighbors. In the mid-1990s, the United States tore down the picket
fence and erected a steel wall to enclose the border and prevent undocumented migration and drug smuggling. In
2011, they erected a new and improved steel wall. The rematerialization of the U.S.–Mexican border through Ambos
Nogales emerges dialectically from fortification and transgression. The wall is the most visible instrument of the
United States’ militarization of the border, but the wall does not secure the border. The United States built the
wall to limit the agency of crossers. The wall, however, enables agency that the builders did not imagine or desire,
and crossers continually create new ways to transgress the barrier. The material border facilitates and restricts the
agency of the people of Ambos Nogales, and they rematerialize the border in ways that contravene the interests
of the nation-states. This in turn leads the nation-state to rematerialize the border to counter this transgression.
[contemporary archaeology, borders, U.S.–Mexican border]
RESUMEN Por el siglo XX, las ciudades fronterizas de Nogales, Arizona y Nogales, Sonora conformaron una sola
comunidad transnacional de Ambos, Nogales. Hoy en d´ıa la gente de Ambos, Nogales solo recuerda con nostalgia
esta frontera como una cerca entre vecinos. A mediados de la de´ cada de los 90’s Estados Unidos demolio´ la cerca y
erigio´ unmuro de acero que bloqueo´ la frontera para prevenir la inmigracio´ n de indocumentados y el contrabando de
drogas. En 2011 se construyo´ un nuevo ymejoradomuro de acero; fue as´ı como la reconstruccio´ n de la frontera E.U.–
Me´ xico en Ambos, Nogales surgio´ del dialecto de fortificacio´ n y transgresio´ n. Aunque el muro es el ma´ s importante
instrumento de militarizacio´ n en la frontera, e´ ste no la asegura. Estados Unidos construyo´ el muro para limitar a la
agencia de quienes cruzan; sin embargo e´ ste le permite aquello que sus constructores no deseaban ni imaginaban
y estos cruces crean continuamente nuevas formas de traspasar la barrera. La frontera material facilita y restringe
a la agencia de la gente de Ambos, Nogales; no obstante ellos crearon formas de infringir en los intereses de las
Q1 naciones-estado, a quienes conllevo´ a reconstruir la frontera para oponerse a esta transgresio´ n."

This paper examines both the traditional and the modern aspects of the lilong, traditional low‐rise row houses adapted from the Western tradition to accommodate the families of Chinese workers from the beginning of the Treaty Port era in the late 19th century to the establishment of the People's Republic in 1948. The paper aims to redefine the abstract concept of the lilong, arguing for their potential to be rethought as a typology of low–medium rise‐high density (LMRHD) housing today. In particular, the paper delivers a practical answer to a conceptual question: how does lilong provide the dwelling identity of Shanghai, China, taking into account its form, meaning, and culture? The emergence of both lilong and Western modern housing is rooted in a crisis of space and the economic drive of modern cities. Lilong architecture and the normative living programme embedded in the typology of modern housing have been proper development housing strategies in modern Shanghai. By closely examining both the physical and community aspects that make lilong a mediating agency between Chinese locality and Western modernity, the paper presents the assumption that the architecture of lilong does not confine itself to certain forms or physical configurations; instead it is an “abstract concept” of an urban neighbourhood – the spatial organization, architectural practicality, casual formation of semi‐private space, and community lane‐life – a concept that should be taken into account for the design of urban housing today. The redefinition of lilong is a conceptual idea that will serve as a point of departure for the last part of the paper: a discussion of the possibility to develop this housing strategy for today's situation. This paper also presents the preliminary strategies for the designing of the new LMRHD housing.

As one of the first to explore the history of traditional urban housing in Shanghai (known as the lilong) in  the sociocultural context of contemporary urbanization, this paper is both widely cited and recommended by instructors to students as introductory reading on Shanghai. In Harvard University historian Dr. Jie Li’s book Shanghai Homes: Palimpsests of Private Life (2014) and prominent historian of modern China Professor Qin Shao’s Shanghai Gone: Domicide and Defiance in a Chinese Megacity (2013), this paper is cited as key to understanding the architectural culture of Shanghai. It is selected as one of the Best 100 Papers on improving cities and the quality of urban life by Routledge for World Habitat Day 2010 (see details: https://www.tandf.co.uk/journals/access/world-habitat-day.pdf). This paper is also singled out as an important research reference on Chinese Urban Heritage by Planning, Urban Management and Heritage (PUMAH), a part of the Marie Curie Actions – International Research Staff Exchange Scheme funded by the EU Seventh Framework Programme. This paper is also widely cited in theses and dissertations from universities across the world, such as at Harvard University and MIT, University of Birmingham and King’s College London (UK), Ghent University (Belgium), Carleton and Concordia Universities (Canada), and the University of Hong Kong.

This paper considers the relationships between hospitality, culture and urban regeneration through an examination of rom (ruin) venues, which operate in dilapidated buildings in Budapest, Hungary. The paper reviews previous work on culture and urban regeneration in order to locate the role of hospitality within emerging debates. It subsequently interrogates the evolution of the rom phenomenon and demonstrates how, in this context, hospitality thrives because of social and physical decay in urban locations, how operators and entrepreneurs exploit conflicts among various actors involved in regeneration, and how hospitality may be mobilised purposefully in the regeneration process. The paper demonstrates how networked entrepreneurship maintains these operations and how various forms of cultural production are entangled and mobilised in the venues’ hospitality propositions.

Este artigo analisa a arquitetura do Federal Modernism através de uma abordagem tipológica, partindo desde a identificação dos agentes responsáveis pela transição federal estadunidense para um léxico modernista, até a discussão sobre as dimensões físicas e programáticas desta arquitetura. Com o subsídio da historiografia dita hegemônica, é construído percurso contextual que discute o desenvolvimento da arquitetura moderna aliado a iniciativas públicas, denotando como a mesma pode ser utilizada como instrumento de representatividade nacional, e demonstrando como este ato oportuniza novos vetores experimentação e difusão de práticas profissionais correntes. A investigação tipológica toma corpo através de um aprofundamento conceitual do termo, permitindo analisar desde as feições estético-compositivas desta arquitetura, como considerar as suas possíveis vinculações metodológicas com o projetar modernista.

The typical public interest design studio or community design center is formatted to reflect the structure of professional practice. Most community design centers must run like an architecture firm to function properly due to the use of grant funding. Nevertheless, both forms start where the client brings their needs to the architect and then the architect analyzes the client needs, the site information, building codes, zoning requirements, and budget. From there the architect creates design solutions and meets with the client to critique and refine the design solutions. The major contrast between professional practice and the work of the public interest design studios and community design centers is that the students are the primary designers instead of a licensed architect. This allows for an excellent educational experience for the students that they would otherwise have to wait to experience upon graduation. Additional benefits include exposing students to clients that they may never come into contact with in professional practice, specifically non-profit and/or low-income clients.

Urban planning and design has developed over the years based on the movement and needs of daily living.  The invention of the motor vehicle changed the ideas of movement behind James Oglethorpe’s ward design for Savannah, GA from a smaller scale pedestrian friendly place to a large and remote space for driving.  The resulting suburbs are inhospitable masses of houses that lack community gathering spaces, markets and other daily amenities within walking distance.  This disconnection from daily activities and needs is one of the many factors that have resulted in an unhealthy lifestyle for countless suburbanites.  This trend has been pushing people from the suburbs to urban areas and can be seen more recently in “Build a Better Burb: an ideas competition to retrofit Long Island downtowns.”  These ideas are being sought to allow suburban areas like Long Island, NY to compete with urban areas.  So what would happen if the urban ideas of cities like Savannah, GA, such as wards, walkability and community, were integrated into a suburban setting?  This studio was created to develop a new neighborhood plan for the Coastal Empire of Habitat for Humanity in Savannah, GA to help them create a healthier prototype for their low-income clients moving from an urban environment into a suburb.  With the current economic crisis and the ever-present issue of providing housing for the “working poor” Habitat for Humanity is currently exploring the development of not just single family homes, but multi-family homes and even neighborhoods. This was accomplished through the integration of student designs for a new sustainable and affordable neighborhood and housing with Habitat for Humanity.  The study and critique of Oglethorpe’s city plan for Savannah, GA allowed students to learn from urban planning and development in a successful urban area.  The implementation of items such as boulevards, tree lawns and squares seen in downtown Savannah, GA were perceived as a necessary component due to the benefits of these green elements in relation to human scale and as an element of uniting the urban spaces together.  Healthier habits were also noted in the study of downtown Savannah, GA through the observation of higher pedestrian activity and engagement, bicycling, urban gardens and outdoor activities at sidewalk cafes, parks and squares.  How can this idea of urban life be translated to suburban spaces?  Homes were still relegated to the suburban zoning restrictions of the area but students used these parameters to come up with creative ways to develop the house sites to implement more community and street access, as well as shared spaces such as community gardens, playgrounds, bike paths and a basketball court.  Healthy living was encouraged through the use of the shared spaces for playing outside, growing and eating fresh fruits and vegetables, as well as sustainable site development.  Through the use of these elements the strengths and identity of urban living spaces were translated into suburban spaces for a new suburban identity that will better the lives of suburbanites and the future development of the suburb.

The processes whereby intentional communities change are many and complex, but change they must if they are to survive the challenges they will inevitably meet. Most communities do not survive the challenges they meet in their first two years. The Findhorn Community in north east Scotland has survived and grown in the more than 40 years since it began. This paper provides a description by two former, long-standing members of that community of the main changes the community has gone through that have enabled the community to respond to change and continue to grow. It describes the role played in those changes by key individuals and contends that, without them, the community would probably have stagnated and gone the way of the many communities that were not able to respond to the challenges they faced. The authors use these case studies to show how a handful of practical visionaries have ensured the long-term future of the community.

On August 20, 2003, in the course of excavations of the ancient settlement of
Myrmekion (Ukraine, town of Kerch) the State Hermitage expedition discovered a hoard
of electrum staters from the town of Cyzicus. The hoard had been kept in a bronze jug
hidden under masonry. It contained 99 well-preserved coins that belong to 53 types,
mostly dating from the 5th century BC (2nd and 3rd groups according to H. Fritze). One
of the types (a sitting warrior wearing a helmet with a bow placed to the right of him)
is unique. The building under which the hoard was found had been a sanctuary constructed
in the 4th century BC. However the wall where the hoard comes from was constructed
not before the 370s BC, so coins from Cyzicus cannot be dated to an earlier period. Most
probably the hoard was not a private property but part of the temple’s treasures concealed
in some unclear circumstances. The hoard, by its size, is comparable to similar
finds from Prinkipo, Clazomenae, Piraeus and Orlovka. The hoard from Myrmekion is
the only one obtained by a museum in its integrity and whose archaeological origin is
clear. The sanctuary, in which the hoard was found, is known as the “Demeter sanctuary”.
It occupied an area of more than 500 m2, in the center of which there was a premise with
a stone altar. The archaeological context proves that the hoard could have been hidden
not earlier than 375-350 BC.

Design Across Boundaries is a group of architecture students and faculty at Iowa State University working with the village of La Croix, Haiti to develop social infrastructure that will foster self-sufficiency and long-term sustainability. Following the January 12, 2010 earthquake in Haiti, the group began working with a Haitian-run community organization in La Croix to develop a sports complex that will attract young people, particularly teenagers, and keep them working and living in the community rather than migrating to larger cities in hope of work that does not exist.

Prior to traveling to Haiti during the summer of 2010, the group developed a prototype design for the center using shipping containers, a readily available material resource. While on site, they worked with community members to determine how the project will function within the social life of the community as well as what local material practices can be employed in building the project. After returning to campus, the group has been developing prototype details and a construction sequence that will be executed by volunteer groups in partnership with local residents.

This project, conducted outside the regular architecture curriculum, has created an opportunity for learning-by-doing through community engagement and material investigation that synthesizes many of the diverse aspects of architectural education. It has also provided a mechanism for engaging critical contemporary issues including disaster resilient design, informal material practices, and social sustainability. As such, it offers a model for architectural education and practice in the twenty-first century.