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Projection Mapping Facade Design Essay by Christina Lanzl

8/30/2020

Design Innovation in Architecture:
The Spatial Augmented Realities of UrbanScreen
Essay by Christina Lanzl

Edition Menges has published a new anthology by Anne-Catrin Schultz, Associate Professor of the Department of Architecture at Wentworth Institute of Technology. Through her research she realized that the condition of »fake« and »real« in architecture is rarely publicly discussed nor has it encountered broad journalistic or scholarly attention. This book explores the realm of truth, authenticity and fakery in architecture, providing a timely collection of analytical essays and projects. The authors challenge our perception of »authenticity« through the examination of built and simulated environments, architectural fiction, theatric illusions and mannerist trickery. Expanding from the discussion about truthful materiality and tectonics, this book provides an understanding of real, authentic, and fake in urbanism and architecture.

The diverse contributions shed light on unexpected identities in architecture inviting critical thought about our built environment–analog and digital. Editor Anne-Catrin Schultz invited colleagues and friends to contribute essays: Dan Hisel, Morgan McMahon, Nicole Lambrou, Christina Lanzl, Eric Lum, Jennifer Lee Michaliszyn, Tom van Arman, Justin Vigilanti and Kemo Usto. Featured also are projects by Rima Abousleiman, Stefan Al, Alun Be, Kelly Hutzell and Rami el Samahy, Mat Maggio, Jessica Ronayne, Gregor Sailer, Allen Spore and Edoardo Tresoldi.

The authors challenge our perception of »authenticity« through the examination of built and simulated environments, architectural fiction, theatric illusions and mannerist trickery. They examine the notion that the principle of Sullivan’s »form follows function« contains a paradox caused by the ambiguity and complexity of architectural expression. Buildings are perceived through an individual’s personal experiences while also being interpreted along broader cultural values. The works shown demonstrate that under scrutiny, any built environment harbors both, reveals moments of truth, deception and ambiguity – all of it partially in the eye of the beholder.

The goal of this publication goes beyond unmasking deception in architecture, it aims at unfolding time-lines and revealing the layered nature of people and places. The images and essays reveal our contemporary condition and let collective and individual narratives unfold, a range of truths in themselves. Expanding from the discussion about truthful materiality and tectonics, this book provides an understanding of real, authentic, and fake in urbanism and architecture.

Publication:
Anne-Catrin Schultz (editor). Fake and Real in Architecture: Close To The Original, Far From Authenticity? Stuttgart: Edition Menges, 2020: 131-140.

Design Innovation in Architecture:
The Spatial Augmented Realities of UrbanScreen
Abstract | Essay by Christina Lanzl

Design innovation in architecture frequently is the result of a continual, thoughtful consideration of human habitation, its evolution, research and experimentation. The innovation of materials in architecture and design is tested at a smaller scale, where experimentation can happen on modest budgets, in the incubator atmosphere of a workshop environment. Artistic applications and the internet, exhibitions and temporary installations or tradeshows serve as a platform to introduce new ideas, materials or groundbreaking scientific research to a public audience for the first time. At a large scale the intersection of research and innovation increasingly occurs in virtual environments, where ideas can be visualized without the pressure to invest in construction. This phase of theoretical application usually precedes prototyping or, at times, it may occur simultaneously.

A most promising new technology with potential for development of neoteric applications for building façades is projection mapping, a process that maps projected light on the surface of any 3D form. The types of “fake” architectural façades (skins) thus created offer an opportunity for innovation in architectural design and permanent construction.

Projection mapping is a burgeoning field. Therefore, this essay is limited to a case study approach. Particularly noteworthy are the architecturally inspired, “fake” designs by UrbanScreen, a cutting-edge practice based in Bremen, Germany since 2005. UrbanScreen creates cataclysmic possibilities of architectural design as spatial augmented realities that are projected onto iconic buildings. Opera Sydney in Australia, Romania’s Palace of Parliament in Bucharest, Houston’s Rice University, the Leopold Museum in Vienna/Austria and Kunsthalle Hamburg in Germany have staged dazzlingly symphonic and imaginative choreographies developed by the firm. The development of a generally poetic and magical theme on each of these buildings offers fertile ground for exploration.

UrbanScreen concepts offer innovative visions for kinetic façade design leading to a series of relevant analytical questions. Which bright ideas may architectural designers deduce from temporary visualizations? Can the production of projected visuals and motion design inform permanent applications or, may this already have occurred? What kind of questions may arise concerning the digital interface and software codes when converting a projected to a static design? Can the visual drama and theatricality of a night-time projection that also features mesmerizing music and sound components be transformed into the design of a building envelope? This essay is intended to shed light onto these queries into fake architecture.

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Toward a New Paradigm by Christina Lanzl in Extraordinary Partnerships Book

8/9/2020

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Lever Press has published a new pathbreaking book on the humanities, Extraordinary Partnerships: How the Arts and Humanities are Transforming America, edited by Christine Henseler, Chair of the Department of Modern Languages and Literatures and Co-Director of 4Humanities at Union College. Her "inspirative and hopeful collection demonstrates that the arts and humanities are entering a renaissance that stands to change the direction of our communities." (book jacket)

Among the authors are Kim Cook of the Burning Man team, Ella Maria Diaz of Cornell University, Ari W. Epstein of Massachusetts Institute of Technology, Doris Sommer of Harvard University as well as Christina Lanzl of the Urban Culture Institute. Her essay, Toward a New Paradigm: Public Art and Placemaking in the Twenty-First Century, is featured in part 1 of the anthology, Toward a New Common Humanity: Creating Space, Context, and Moment.

Christina Lanzl, initiator and co-author of the Placemaking Manifesto, applies its six principles from her professional practice and research to highlight examples of extraordinary partnerships. These public art and placemaking initiatives, created in partnership with diverse communities, offer key insights, provide tips and offer potential for new endeavors.

The six principles anchored in the Placemaking Manifesto:
1. Placemaking = Quality of Life
2. Placemaking = A Sense of Place
3. Placemaking = Caring About the Community
4. Placemaking = Collaboration and Communication
5. Placemaking = Active Participation
6. Placemaking = Tradition and Innovation

Publication:
Christine Henseler (editor). Extraordinary Partnerships: How the Arts and Humanities Are Transforming America.
Amherst: Lever Press, 2020: 108-148.
The book is available as an open resource.

Abstract – "Toward a New Paradigm: Public Art and Placemaking in the Twenty-First Century" by Christina Lanzl

Quality of life and caring about community are at the core of a contemporary movement, which is increasingly becoming a grassroots-driven approach to consciously embrace the places we inhabit: Successful placemaking, the arts and culture––in short, ways for people to engage in public––are at the center of thriving, functioning neighborhoods. How can we create successful public places that provide all with powerful incentives for active participation? Which tools can we employ to ensure diversity and inclusivity? What kind of hands-on processes can be utilized? Are there universal platforms for discourse? Which creative activities and solutions produce improved, shared environments? This essay will look at strategies that encourage inclusive neighborhoods with ways to bridge the past, the present and the future.

Placemaking activates our lived environment, offers cultural grounding and sense of place. Makers of all disciplines come together to think, plan, create and celebrate together. Storytelling is key to sharing community and place. Stories introduce ways to deal with difficult pasts, bridge differences and celebrate our common humanity. How are digital and social media as well as grassroots communication used to further community building? How can our built environment––architecture, open space, landscapes or parks, public art, and infrastructure be activated without being overbearing or becoming stale?

The new paradigm of placemaking is to eliminate professional boundaries, to bring together professionals with engaged citizens of all ages, backgrounds and abilities. Everyone can contribute to community, in both urban and rural contexts. Methodology and practice will complement case study examples to underline approaches and various perspectives. Experience shows that placemaking practice is overcoming the limitations of individual disciplines that have traditionally served to design and activate public spaces, such as architecture, urban design, landscape architecture, arts and community or social programs

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Typology in Architecture and Memory

6/7/2020

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by Christina Lanzl

All architectural archetypes contain the DNA of memory and are based on basic shapes or derivatives of circle, square, rectangle, triangle with their sheer limitless geometric potential. Vitruvius conceived the evolution of form beginning with the primitive hut in his multi-volume work, De architectura, an understanding shared the Enlightenment and published by Marc Antoine Laugier in his Essays sur l’Architecture in 1753. Providing basic shelter, the primitive hut contains the rectangle and the triangle in its ground plane and section.

The lineage of typologies continues to be explored by architectural historians. Siegfried Gideon, for instance, considered the evolution of the circle: “The circular structure […] moved from the primitive round hut through several intermediary stages to the cylindrical rotunda of the tholos: a form that had an unusual vitality and acquired many different meanings. The shape originally was related to chthonic forces. In the Roman era, it became linked with the cosmos through the development of the radiating form of the cupola dome.” (Gideon, p. 79) Considered more globally, the round building appears among the earliest structures in many cultures: as Neolithic mounds in various regions around the world, in the African kraal or boma villages, the Native American hogan and the teepee, the Aboriginal humpy and the igloo of the Eskimos, the structures of the Hakka or of the Ashoka dynasty found at Sanchi and elsewhere in Asia.

Cultural Memory
Architects, commissioning agencies, clients or builders determine form, function and program of architecture. Based on (historic) context and/or aesthetic decisions, architecture contains vernacular or monumental, sacred or secular, traditional or avantgarde design principles. Over millennia, architects and builders have continuously drawn inspiration from the past to inform the the present and future. To do so, memory has been a consistent building block in developing form. Memory connects us humans to our individual and collective pasts, whether they are of a pleasant nature or conjure up sadness and loss.

In examining the concept of cultural memory, renowned literary theory scholar, Aleida Assmann, recognizes two basic configurations: metaphors of space and metaphors of time, concluding that “the media of writing, photography, and electronic forms of storage provide consecutive metaphors and models for the internal mechanisms and dynamics of memory.” (Assmann, p. 137) Indeed, the physical manifestations of our collective memory largely consist of art and architecture starting with the Paleolithic, 400,000 years ago. Some of these harbingers of the past are still standing while others have disappeared. Similarly, Marc Streib notes that “buildings and their remains suggest stories of human fate, both real and imaginary.” (Streib, p. 21) The vast archive of our cultural memory continues to be extant because residues of our past have been (re)discovered, recorded, analyzed, (re)visited and documented through the ages.

Buildings are storage houses and museums of time and silence. Architectural structures have the capacity of transforming, speeding up, slowing down, and halting time.

Marc Streib. Spatial Recall: Memory in Architecture and Landscape, p. 18

Architecture History Project: Typology, Memory & Place
A project of Dr. Christina Lanzl and her Architecture History 01 seminar students in the Department of Architecture at Wentworth Institute of Technology, fall 2019.
Course coordinator: Prof. Anne-Catrin Schultz.

Architecture History and Theory 01 students: Zahra Ali, Spencer Asselin, Lenny Bamberg, Jordan Bembe, Sofia Bertine, Mary Bowman, Braeden Chan, Skylar Chardon, Carvens Charles, Coleman Conner, Reece Cortez, Emily Current, Dante Egizi, Ryan Estremera, Patrick Gould, Maegan Herd, Christopher Hudson, Calvin Johnson, Isabelle Morris, Royce Pease, Emilia Polanco, Ben Procter, Emily Quach, Casey Remillard, Paul Rudolph, Jona Sulaj, Gillian Valanzola, Amber Vuong, Anna Wason and Lexi Winston

Project focus was to investigate the dialogue on memory of place. Recognizing and analyzing architectural typologies, i.e. classifications according to general type, was an important aspect of the learning outcomes. Working on this objective, students selected a historic building for analysis. A corresponding, modern or contemporary building was chosen by each student that shares a typology or organizational scheme with the historic antecedent.

Students explored the layer of memory in sites ranging from antiquity to contemporary architecture. The task was to briefly lay out relationships concerning space, program, design or activity. Inquiries focused on various topics, including materiality, construction, scale, organization and hierarchy.

Bibliography
Assmann, Aleida. Cultural Memory and Western Civilization: Functions, Media, Archives. New York: Cambridge University Press, 2011.

Gideon, Siegfried. Architecture and the Phenomenon of Transition: The Three Space Conceptions in Architecture. Cambridge: Harvard University Press, 1971.

Streib, Marc (ed.). Spatial Recall: Memory in Architecture and Landscape. New York: Routledge, 2009.

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Christina Lanzl Receives Recognition of Service Award from Boston Society of Architects/AIA

1/31/2020

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Christina Lanzl received a Recognition of Service award from the Boston Society of Architects/AIA for "work, time, creativity and knowledge as Committee Chair for the Placemaking Network", which she initiated as a platform for cross-disciplinary dialogue and exchange in 2007. The explicit vision of the Placemaking Network is to “investigate ways to enrich the public realm through dialogue among urban planning, landscape design, architecture, and public art/design professionals” as well as engaged citizens.

The initial Boston Society of Architects newsletter announcement started with the premise: “The topics of placemaking and quality of life have entered architecture and planning conversations as they have entered creative arts conversations.” Rather than simply functioning as a standing committee, the Placemaking Network had a mission to build a network of like-minded people who would introduce placemaking principles to their work and communities. By now, the network has grown to include engaged citizens and professionals of many backgrounds and disciplines.

Since the beginning, concepts and case studies have been shared at monthly seminars where invited speakers present topics that are then discussed in a moderated roundtable format. The foundation of our work is that placemaking offers interdisciplinary dialogue on a successful public realm that engages communities and enriches lives. Initially, the spark of successful public places that are actively used or programmed by communities was ignited by proactive urbanists, whose publications honed in on the placemaking tenets.

After ten years of experience and conversations, the Placemaking Manifesto took form. Christina Lanzl invited co-chair Robert Tullis and architectural historian Anne-Catrin Schultz to co-write a one-page policy that lists the core placemaking principles in six points. Using the equation symbol to summarize each value the document reads like a poem. Our draft was reviewed and confirmed by our network’s interdisciplinary ad hoc working group. Succinctly, we concluded that placemaking is about sense of place. Everybody––people of all backgrounds, ages and abilities––can participate in creating successful public places. Everyone can serve the agenda of excellence in design, healthy communities and thriving neighborhoods. We see our built environment as a common good that comes alive through an understanding of how humans instinctively relate to space, design leadership that leverages it, and activity programming that capitalizes on it. Over the years, my ongoing work in the field of public art and with the Placemaking Network has been a cross-fertilizer on how to best mark place, history and time through integrative, community-based public art and culture that furthers identity, local storytelling as well as learning.

This story includes an excerpt from the essay "Toward a New Paradigm: Public Art and Placemaking in the 21st Century" by Christina Lanzl, published in Extraordinary Partnerships: How the Arts and Humanities are Transforming Society, edited by Christine Henseler (Lever Press, 2020).

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Richard Bertman: The Sculptures Book by Christina Lanzl

6/20/2019

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Richard Bertman: The Sculptures

Provides a thoughtful and comprehensive account by author Christina Lanzl, on Bertman's synthesis of art and life, sculpture and architecture.
Covers Richard Bertman's early works, how he draws the figure 'in space', his kinetic sculptures, wood carvings, and how he infuses his works with humor.
Includes a full inventory of Bertman's sculptures.
Features full-color photography of Bertman's vivid sculptures, studies, illustrations and sketches.

For over 50 years Richard Bertman has been sculpting, drawing, and leading an architectural practice. Gradually assembling a lifetime's work, Bertman's sculptural creations encompass over 100 works from five decades. The sculptures bear testimony to a boundless energy and the creativity of a Renaissance man, both an artist and a renowned architect.

Christina Lanzl, the author of this catalogue raisonné, delves into process, meaning and interpretation of Bertman's sculptures, shedding light on his creative practice and analyzing each work, while also listening to the artist's voice. He is best known for his whimsical mechanical sculptures. Man, and machine are Bertman's central foci, resulting in two major groupings: kinetic objects primarily activated by electric motors and figurative portraits made from bent wire, welded steel rod, or carved in wood. Complementing these are the early abstract sculptures as well as explorations in other materials, such as copper, bronze or the incorporation of appropriated items from found objects.

Book Talks
Book Launch at the MIT Museum
On Wednesday, June 19, 2019 the MIT Museum hosted the book launch of Richard Bertman: The Sculptures by Christina Lanzl. She was joined by Richard Bertman, artist and co-founder of CBT Architects, and Mark Jarzombek, author of the foreword, professor at the MIT School of Architecture and Planning and the curator of the concurrent exhibition, Drawing, Designing, Thinking: 150 Years of Teaching Architecture at MIT.

The trio of Richard Bertman, Mark Jarzombek and Christina Lanzl led a conversation on the creative synergy between architecture and sculpture, the making and meaning of Bertman’s kinetic objects, wire sculptures and other works. Many of Bertman's works contain an element of humor, which offered opportunity for exploration.

MIT Museum | Book launch
265 Massachusetts Ave, Cambridge, MA
Wednesday, June 19, 2019 | 6 p.m.

BSA Space | BSA Placemaking Network
270 Congress Street, Boston
Monday, September 23, 2019 | 6 p.m.

40th Annual Fort Point Open Studios
300 Summer Street | Studio 23, 2nd floor
Sunday, October 20, 2019 | 4 p.m

Published by Images Publishing + Peleus Press, Richard Bertman: The Sculptures, is available for purchase in the MIT Museum Store.
Hardcover. Order the book on Amazon.

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Boston Harbor Heroes Award for South Bay Harbor Trail Coalition

4/4/2018

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Save the Harbor / Save the Bay bestowed its annual Boston Harbor Heroes awards at a gala evening held in the grand ballroom of the Seaport Hotel on March 29, 2018. Among others, the South Bay Harbor Trail Coalition was honored for its "vision, tenacity and commitment to connecting Boston's neighborhoods to Boston Harbor and each other." Under the leadership of coalition founder, Michael Tyrrell, the team of David Giangrande, Christina Lanzl, Ann McQueen, Tom Parks, the late Bill Pressley and his wife Marion, Candelaria Silva and Bob Wells envisioned the South Bay Harbor Trail (SBHT) as part of a larger trail network that connects the Southwest Corridor Park from Jamaica Plain to the Boston Harborwalk downtown and in South Boston. Buoys salvaged and reconditioned by the US Coast Guard serve as markers and a playful reminder of Boston's rich maritime history. Main goal is to reconnect communities divided by major traffic arteries via an easily accessible, multi-use bicycle and pedestrian path. The first of a series of SBHT Buoys was dedicated along the Harborwalk in Fort Point Channel in November 2008. Funding for public art planning along the trail was provided by the Edward Ingersoll Browne Trust Fund of the City of Boston. Other funders include the ISTEA program, MassDOT, the New England Foundation for the Arts as well as private donors. Overall construction of the SBHT is underway as of spring 2018.

About the South Bay Harbor Trail
The South Bay Harbor Trail Coalition, in partnership with Save the Harbor / Save the Bay, municipal and state agencies, partnered to plan and build the 3.5 mile-long, multi-use South Bay Harbor Trail which, when completed, will connect Roxbury, the South End, Chinatown, Fort Point Channel and South Boston to each other and to Boston Harbor.

The South Bay Harbor Trail is one of the most important and exciting initiatives in the city connecting our inland neighborhoods to Boston Harbor. The Trail will link people to the recreational resources of a revitalized Boston Harbor and to the economic opportunities of a prospering waterfront. Residents from Boston’s diverse neighborhoods will have the opportunity to share in a cultural exchange.

The South Bay Harbor Trail will provide an important link in the larger transportation network by connecting with existing streets and trails such as the Southwest Corridor and Melnea Cass Boulevard. It will also serve as a critical link in a citywide greenway, connecting trails from Fenway, the Southwest Corridor, Charles River Park, Broadway Bridge, Fort Point Channel and the Rose Kennedy Greenway.

The South Bay Harbor Trail Coalition includes community groups, environmental organizations, the City of Boston, property owners, developers, and residents. It is governed by a steering committee which is comprised of coalition members representing every neighborhood through which the Trail will pass. The Coalition receives organizational, fundraising, and technical assistance from Save the Harbor/Save the Bay.

The Coalition worked together with Pressley Associates, a Cambridge-based landscape architecture firm, and Design Consultants Inc., a Somerville-based engineering firm, to develop the engineering and design master plans that will link various completed segments of the trail into a contiguous, single trail system/experience.

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Placemaking in Action: EPIC Making in the Classroom

3/15/2018

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Wentworth Institute of Technology | Spring 2018 Faculty Showcase
Watson Hall | March 15, 2018

Wentworth Institute of Technology organizes the annual Faculty Showcase to celebrate and recognize the accomplishments of faculty. Fifty faculty showcased 34 examples of excellence and creativity with teaching, scholarship, EPIC, grants, sabbaticals, and interdisciplinary collaborations. Organized by the Provost Office and Learning Innovation & Technology, participants hosted information tables to illuminate services and resources.

Dr. Christina Lanzl, Adjunct Professor of the Department of Architecture and Director of the Urban Culture Institute presented Placemaking in Action: EPIC Making in the Classroom. The exhibit offers documentation, outcomes and insights in the power of interdisciplinary, collaborative learning. Surveyed are three seminars from the past two years that focus on placemaking and art-in-architecture, an investigation of urban placemaking within a hands-on learning platform that combines theory with the making of successful places on and off campus. Focus and outcomes are cultural mapping, idea competition and exhibition projects developed by Wentworth senior and graduate students (two funded by EPIC Mini Grants).

Architecture student Shuxin Huang, Dr. Lanzl's spring 2018 co-op student, assisted. Thank you to Don Tracia, Tes Zakrzewski and the entire Provost Office and Learning Innovation & Technology team for incredible support.

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Lunchtime Conversation on Placemaking

3/13/2018

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Christina Lanzl and Anne-Catrin Schultz presented a faculty lecture on placemaking, which introduced the Placemaking Manifesto, which they co-authored and issued together with Robert Tullis and members of the Boston Society of Architects/AIA Placemaking Network in fall 2017. Lanzl and Schultz highlighted placemaking principles outlined in the Manifesto by discussing a series of case studies from their professional practice.

The Lunchtime Conversation faculty lecture series is coordinated by Associate Professor Antonio Furgiuele, Department of Architecture within the College of Architecture, Design & Construction Management at Wentworth Institute of Technology in Boston, Massachusetts.

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Placemaking Manifesto Issued November 2017

11/1/2017

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Placemaking is about sense of place. Everybody – people of all backgrounds, ages and abilities – can participate in creating successful public places. Everyone can serve the agenda of excellence in design, healthy communities and thriving neighborhoods. Our built environment is a common good that comes alive through an understanding of how humans instinctively relate to space, design leadership that leverages it, and activity programming that capitalizes on it. The BSA Placemaking Network celebrates its 10-year anniversary with the release of the Placemaking Manifesto. To solicit community input the Manifesto was launched at a public writers' workshop with the co-authors, Christina Lanzl, Robert Tullis and Anne-Catrin Schultz at BSA Space in Boston on October 23, 2017.

The Placemaking Network explores what it takes to further the creation of high-quality, distinctive public places. Participants of the public Placemaking Manifesto review at BSA Space on October 23, 2017 were Placemaking Manifesto co-authors Christina Lanzl, Robert Tullis and Anne-Catrin Schultz as well as Polly Carpenter/BSA Foundation, A. Vernon Woodworth/AIAMA Board of Directors, Anthony Clayton, Deborah Fennick, Kathryn Firth, Júlia Hilário, Marek Jacisin, Victoria LaGuette, Doris Martinez, Neil McCann, Stephanie Osser, Sergio Arturo Perez, Coco Raynes, Eric Reinhard, Renata von Tscharner, Sara Wermiel, Douglas Wohn and Claudia Zarazua

The Placemaking Manifesto
Placemaking transforms space into place. Our public realm is a common good that comes alive through an understanding of how humans instinctively relate to place, design leadership that leverages it, and active programs for and by communities as a civic benefit for everyone. Placemaking activates our built and lived environment. We acknowledge and actively work towards improving hard as well as soft quality of life factors.
Placemaking = Quality of Life

Placemaking engages the five senses. It is about developing and continuing identity, distinctive, specific and memorable character in our public spaces. It’s about fostering a sense of place: our body-mind’s positive kinesthetic, emotional and cognitive experience in, and in relationship to our public surroundings. It’s achieved by putting the importance of our shared, exterior spaces between buildings above that of our private, interior spaces within them. We recognize that storytelling gives meaning to our lives and is therefore an important narrative device of human civilization.
Placemaking = A Sense of Place

Placemaking is about the benefits that accrue to us, our neighbors, our community, and even our culture when we engage with each other in a high-quality and healthy public realm. Including public participation in its design and use helps create community identification. Active programming, public events, and public art are powerful tools that help foster community pride.
Placemaking = Caring About the Community

Placemaking integrates the individualized focus of disciplines such as architecture, urban design, landscape architecture, public art, and community cultural programming; and supersedes their boundaries by focusing on collaboration, communication and place instead of isolated projects, bringing together individuals of all backgrounds, interests and talents.
Placemaking = Collaboration and Communication

Placemaking embraces inclusivity by offering a universal platform for discourse. Everyone is a maker of place. Everyone can serve the agenda of excellence in design, supportive environments, healthy communities, and thriving neighborhoods. In a high-quality public realm, we shed our individual bubbles and participate in a life of greater civic engagement.
Placemaking = Active Participation

Placemaking combines an awareness of tradition with an embracing of new and emerging technologies. It respects time-tested rules of form and space, but also employs the research, development and innovation along with contemporary digital and social media tools to further community building.
Placemaking = Tradition and Innovation

Download the Placemaking Manifesto
Download the Oct. 23, 2017 Writers' Workshop Notes
Download the Authors' Biographies
See the Jan. 2, 2018 article on ArchDaily
Download the Letter to the Editor of ArchDaily

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HUBweek Panel on Creative Placemaking

10/15/2017

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HUBWEEK 2017 | Oct. 10-15, 2017
HUBweek explores the future being built in Boston at the intersections of art, science, and technology. HUBweek kicked off with events taking place across the city, and landed on Boston’s City Hall Plaza, which transformed into a
first-of-its-kind festival site. Filled with 80 shipping containers, dozens of art installations, and 6 geodesic domes, thousands of artists, innovators and creators from across Boston and the globe converged at The HUB. Among the panels featured:

Creative Placemaking
A View on Tactical Urbanism
HUBweek – Red Dome, 1 City Hall Square, Boston, MA
Sunday, October 15, 2017 | 3:30 pm – 4:30 pm
Moderator
Christina Lanzl, Director, Urban Culture Institute
Presenters
Julie Burros, Chief of Arts and Culture, City of Boston
Christine Dunn, Chair of Arts & Culture, Sasaki
Janet Echelman, Artist
Christopher Janney, Artist/Composer
David Nagahiro, Principal, CBT Architects – Master Planner of HUBweek's The HUB on City Hall Square (see rendering)

A View of Tactical Urbanism––Abstract
We are in the midst of a public art paradigm shift. Most cities struggle to afford investment in monumental public art and new high quality public realm designs. Often time, public spaces are missing the vital programs that aid in full activation potential.

Planners, architects, landscape architects, artists in collaboration with community members, cities, policy makers, private entities and grassroots organizations are working to transform these spaces through “creative placemaking”. The maker movement, tactical urbanism, readily-available tools of digital production, and other cultural drivers are steadily chiseling away at the prominence of iconic public art.

Discuss with us how HUBweek transforms Boston’s City Hall Plaza into a first-of-its-kind centralized festival site “The HUB”; how a curated art program activates the Rose Kennedy Greenway; and how a temporary flex space like “Lawn on D” becomes the new urban and hip place to be. Join our esteemed panelists from the HUBweek Change-Maker series, which showcases the most creative and inventive minds in art, science, and technology making an impact in Boston and around the world.

Hosted by HUBweek in partnership with the City of Boston and the Boston Society of Architects/AIA.

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