The Re-Build Project

CAP S TONE P R OJ E CT

T H E R E B U I L D P R O J E C T ID 4381 Design Research | Fall 2023 | Dr. Guerrero | Brie Godfrey

C O N T E N T S 3

SELECTING A RESEARCH TOPIC

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RESEARCH SUMMARY 5

2 5 CASE STUDY 1

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CONCEPT MAP

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RESEARCH SUMMARY 6

2 6 CASE STUDY 2

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TOPIC INTRODUCTION

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RESEARCH SUMMARY 7

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CASE STUDY 3

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PERSONAL INTEREST AND IMPORTANCE

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RESEARCH SUMMARY 8

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CASE STUDY 4

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RESEARCH QUESTION

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RESEARCH SUMMARY SYNTHESIS

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COMPARATIVE CASE STUDY SYNTHESIS

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CLIENT NARRATIVE

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EXPERT INTERVIEWS

3 0 PROPOSED SITE

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RESEARCH SUMMARIES

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MEET THE EXPERTS

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SITE PROPOSAL

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RESEARCH SUMMARY 1

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EXPERT SYNTHESIS REPORT 1

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SITE ANALYSIS

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RESEARCH SUMMARY 2

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EXPERT SYNTHESIS REPORT 2

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BUILDING ANALYSIS

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RESEARCH SUMMARY 3

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EXPERT SYNTHESIS REPORT 3

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BIOLIOGRAPHY

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RESEARCH SUMMARY 4

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COMPARATIVE CASE STUDY

Capstone Project

S E L E C T I N G A R E S E A R C H T O P I C ID 4381 Design Research | Fall 2023 | Dr. Guerrero

C O N C E P T

M A P

R E F U G E E D I S P L A C E M E N T

cultural inclusivity

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language barriers

urban elements

social integration of individuals and cultural exchange

non-verbal communication

lively cities connecting to economic and educational opportunities

individual and collective identity needs to be shared and accepted

communicating through food, art, crafts, and performances

center of connection for every demographic

rebuild lives in meaningful ways by including the local community

doing activities together in a shared space and learning from each other

sense of belonging, ownership, and support

LANGUAGE | SYMBOLISM | INTEGRATION

“Wherever they’re from, refugees face the same difficult issues when they arrive in their new home countries. They’re most often strangers in a strange land, and such as it’s important that society welcomes them and makes sure they get the support they need.”

The Children’s Society

“language remains the largest barrier” UNHCR report (The Children’s Society)

“Not being able to speak a language properly when trying to settle into your new host country as a refugee can be a huge obstacle towards integration, employment and overall happiness.” Steadman, 2017

“Langauge barriers are a serious challenge faced by many refugees. They often create misunderstandings and can make refugees feel isolated.” BRYCS, 2018

LANGUAGE | SYMBOLISM | INTEGRATION

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R E S E A R C H Q U E S T I O N : How can design encourage cultural inclusivity among a community of displaced refugees?

Can design be used as a tool for communication and expression of identity without the reliance on language?

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PERSONAL INTEREST

IMPORTANCE

Humanitarian concerns of bettering communities

1

Understanding global issues and the ways in which design can contribute to positive change

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Empowering refugees to regain a sense of agency and control over their own narratives

Passion for artistic expression and symbolization

3

Exploration of design tools can help transcend language barriers for multilingual landscapes

Exploration of non-verbal communication tactics and how we communicate in divergent environments

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Impact on the lives of marginalized communities

Expanding my knowledge of the processes of refugee resettlement

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C L I E N T N A R R A T I V E A REFUGEE In a world upended by turmoil and conflict, I was adrift, a refugee without a place to call home. My journey had taken me far from the land I once knew, far from the familiar faces, the comforting embrace of family, and the streets that echoed with my laughter. Now, I am a stranger in this foreign land, yearning to connect, longing for a place to belong. The unfamiliarity of this new world enveloped me as I stepped onto its soil, my footsteps echoing with the weight of uncertainty. The language spoken here was an intricate web of sounds and syllables, a code I struggled to decipher. Each word the locals said was a mystery, a puzzle I couldn't entirely solve.

I felt like an outsider, a lone wanderer in a world with its own rhythm and cadence. As I navigated the winding streets of this new city, I felt like an intruder in a foreign land, a place where I didn't quite fit. The buildings rose around me like silent sentinels; the streets bustled with people who seemed to move in unison, their voices blending into a symphony of unfamiliarity. I was an observer, a silent witness to a world that continued to turn, even as I struggled to find my place within it.

Loneliness became my constant companion, a shadow that clung to me as I walked the streets, sat in the park, and watched the world go by. I yearned for connection, the warmth of human interaction, and the feeling of belonging. But the language barrier stood as a formidable wall, separating me from those around me. The desire to connect, share my experiences, and find common ground with those around me was a fire that burned within me. I wanted to be more than just a stranger passing through. I wanted to be a part of the community, build friendships, create memories, and make this foreign land my own. As I gazed out at the city in the quiet moments, I knew I wasn't alone in my yearning. There were others like me, refugees who had left behind their homes and families, seeking refuge in this new world. We shared the same hopes, the same dreams, and the same desire to connect.

We need a place, a sanctuary where we can unite and cultivate the sense of belonging we all long for. I wish for this place to be a guiding light, not just for those who have already found refuge here but for those who will arrive in the future. It would be a testament to the resilience of human fortitude that even in the face of adversity, communities could form, and bonds could be created that transcended languages and borders.

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Capstone Project

R E S E A R C H S U M M A R I E S ID 4381 Design Research | Fall 2023 | Dr. Guerrero

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R E S E A R C H S U M M A R Y

DESIGN CONSIDERATIONS 1

The use of colors was debriefed as metaphors to produce certain feelings within the community center.

Soft colors emphasize the community center's need for light and warm feelings.

Dark colors focus on the emotions of the community center members, in which the dark communicates a serious or earnest

Title: Using the Visual Arts to Form an Intervention Design Concept for Resettlement Support Among Refugee Women

effort to make the community center a place of becoming,

Publication Type: Journal Reference: Corbett, C. N., & Moxley, D. P. (2018). Using the visual arts to form an intervention design concept for resettlement support among refugee women. Families in Society: The Journal of Contemporary Social Services, 99(2), 146–159. https://doi.org/10.1177/1044389418767840 Design Issue: The intent of this article was to envision the properties of a functioning resettlement community center in Dallas, Texas, specifically for Myanmar refugee women. The center’s purpose is to preserve Myanmar's culture while supporting its members in adapting to the requirements of social integration within American society. The authors explore the potential of using the arts to visually depict invention concepts to build a prototype of the center. These visual representations can guide creating a support system that is culturally suitable, functional, and inclusive of the diverse ethnic groups that form the Myanmar refugee community.

Methods: Researchers organized six workshops for 60 Myanmar refugee women representing diverse religious affiliations and at various stages of their resettlement journey. They were separated into small groups 10 to engage in dialogue to identify the nuanced aesthetics they would want in the center. In each workshop, a project artist documented group discussions by creating storyboards. Subsequently, the artist depicted the central metaphors representing the resettlement support the participants and their families desired through visual paintings or pencil sketches. The researchers describe their design or concept formation approach as a participatory, art-based interpretative method. In this method, images are used to generate multiple metaphors that influence and, in some cases, mold the perception of the Myanmar Community Center as perceived by the participants. The method itself is narrative in nature, creating a vision that presents a story of how the Myanmar Community Center is expected to function to fulfill the aspirations and desires of its users.

whether that involves success in work, family life, school, or mutual support.

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Spatial arrangement of spaces – having a shared space, such as a kitchen, centralized to gather individuals together and interact.

Building off symbolism – the actual centrality of the center, in this case, is family life.

The arrangement of spaces allows members to watch their children engage in their own productive activities as they interact with their peers.

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Design that encourages learning and growth.

Sensory engagement, interactive elements, expressing culture.

Spaces that allow everyone to contribute to each aspect of their lives.

Findings: The themes the artist captured spoke to the importance of family life at the core, the incorporation of children who stood to gain from their parents’ depiction of preserving the Myanmar ethnic identities while adapting to American life, and the value of employment and entrepreneurship. What follows is one representation of the findings. Figure 1 showcases the artwork created by the project’s artist during a session where participants contemplated the envisioned ambiance and atmosphere within the community center. For the Myanmar refugee women, the ideal center is envisioned as a tranquil space that fosters learning and encourages supportive interactions among families and children, with active participation from everyone. It is seen that members would connect in the center based on common interests, goals, and shared activities. One activity is cooking, which is the centralized gathering space for members; aromas permeate the interior, reminding participants of their home country. In essence, the color palate produced by the artist effectively communicates the feelings of the women in the workshop: The community center represents a warm and secure environment where the informal yet significant process of resettlement takes place. Thus, the authors presume that the center can support the family in resettlement in all ways.

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Figure 1. Inside the Community Center

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R E S E A R C H S U M M A R Y

DESIGN CONSIDERATIONS 1

their lives are going through the interaction between their circumstances, activities and psychological resources or mental capital.”

Title: Exploring the psychosocial impact of cultural interventions with displaced people

Creative activities have a positive impact on the well-being of refugees.

Publication Type: Book

Cultural creative activities can be employed to address pre-

Reference: Fiddian-Qasmiyeh, E., Chatterjee, H. J., Clini, C., Butler, B., Al-Nammari, F., Al-Asir, R., & Katona, C. (2020). Exploring the psychosocial impact of cultural interventions with displaced people. In Refuge in a moving world: Tracing Refugee and migrant journeys across disciplines (pp. 323– 345). essay, UCL Press.

Design Issue: This chapter delves into the societal and psychological consequences of cultural and artistic engagements for displaced individuals.

This inquiry holds significant relevance in the present area, where there is a burgeoning interest in finding ways to facilitate the adjustment of asylum seekers and refugees to new places of residence and enhance their well-being and integration into host societies.

Consider the “dynamic process that gives people a sense of how

migration trauma (as in the case of Talbiyeh camp) and postmigration living difficulties (explored with the Helen Bamber Foundation).

2

Creative activities afford an opportunity to develop new and enhance existing skills, including those that are transferable and have economic potential.

Allowing individuals to enter the workforce potentially.

Methods: The authors can connect art's role on displaced individuals by amalgamating insights gleaned from two site-specific case studies from the UK (the Helen Bamber Foundation) and Jordan (Talbiyeh refugee camp). The Helen Bamber Foundation and Talbiyeh refugee camp collected research by adopting the participatory-action framework to investigate themes of creativity and arts through a series of art-making, embroidery, and film-making workshops and interviews. This approach additionally provides a chance to analyze and juxtapose the encounters of refugees and asylum seekers originating from the Helen Bamber Foundation in post-migration and those from the Talbiyeh refugee camp in pre-migration.

Findings: In case study 1 (the Helen Bamber Foundation), themes emerged during the interview phase. A prominent theme highlighted was the opportunity to engage in productive activities rather than waiting at home for government decisions regarding their stay in the UK. Participants emphasized that participating in these groups offered them a valuable routine, which they considered a ‘luxury.’ They also mentioned that being involved allowed them to acquire new skills or enhance existing ones, and they noted the positive impact of this combination on their mental wellbeing. Key expressions that recurred during their interviews included “having something to do” and “something to look forward to,” emphasizing the practical value of the skills they gained. Another critical theme that surfaced was the chance to socialize and establish friendships. One client illustrated this by describing how participating in the singing group, for instance, enabled her to acquire skills for building connections with others, stating, “I didn’t know how to communicate…so because of this singing, I know how to communicate now, I know how to sing, and I know how to play with people…” (pg. 333). In a broader sense, it appeared that clients could foster a sense of solidarity within the community through art-based activities. The shared awareness of going through similar situations encouraged participants to openly exchange their experiences with each other, although they also felt comfortable not sharing if they were not inclined to do so; they had the opportunity to express themselves through the creation of art without having to articulate their feelings, helping them to “grow emotionally” and gain “confidence.”

In case study 2 (Talbiyeh refugee camp), the conducted workshops on the residences from the Talbiyeh camp explored themes of perseverance and life skills, identity and self-exploration, joy and combating stress, social networks and peer support, self-esteem and pride in achievement, and economic potential. Several of these themes intersect with those at the Helen Bamber Foundation in London. These common themes encompass the significance of gaining life skills (also considered transferable skills), the role of arts activities in facilitating self-exploration and addressing identity-related concerns, the enhancement of self-confidence and self-esteem, and the value of social networks and peer support.

Programs that offer members access to free artistic and skill development groups such as knitting, music, arts and crafts, photography, and filmmaking within a comfortable and safe surroundings.

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The social and collaborative nature of creative activities allows individuals to explore personal and psychological challenges.

Such as using non-verbal, creative means to express feelings or communicate simply.

Developing a sense of belonging and making meaning of life.

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R E S E A R C H S U M M A R Y

DESIGN CONSIDERATIONS 1

The pictogram on signage should be standardized and informative to provide an educational effect on the public. i.e., the font size of the visualization level, shape codes, uniformity, and simplicity.

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local identity, increasing the site's attractiveness.

Title: Pictogram on signage as an effective communication

Symbols relating to a particular place; in Lampung’s case, the tapis symbol is used.

Publication Type: Journal Reference: Clara, S., & Swasty, W. (2017). Pictogram on signage as an effective communication. Jurnal Sosioteknologi, 16(2), 166–175.

This concept can potentially create a unique image of a place and as an innovative way to preserve local culture.

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Developed by fifty pictograms for the US Department of Transportation, however, visual forms are influenced by

Design Issue: A pictogram is a visual symbol, an image designed to convey communication without using verbal texts or words. Pictograms

their display in transportation environments.

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that has been identified is that the Museum of Lampung currently lacks any pictograms on its signage, even though the creation of such

verbal instructions.

emphasize the significance of incorporating pictograms in graphic communication. In the context of signage, pictograms have the potential

Arrows with shafts communicate more clearly than those

to substitute typography for conveying specific messages. Furthermore, combining pictograms and typographic messages on signage can be

without shafts because the shafts reinforce the direction

valuable in a multilingual environment.

comparable museums, and gathering data through interviews and questionnaires. Subsequently, data analysis was carried out by these comparisons.

Findings: After analyzing signage in the three museums, it became evident that there is a scarcity of pictogram usage, which diminishes communication effectiveness, particularly for foreign visitors. Conversely, text-based messages require more time to comprehend. Drawing from previous research, it can be deduced that pictograms are a vital element in informative signage design, streamlining information without the necessity of reading text. The authors emphasize that symbols have the ability to transcend language barriers, making them exceptionally valuable in signage for public facilities frequented by visitors from diverse linguistic and cultural backgrounds.

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Arrows are universally used since all cultures understand them; they are more flexible and require less space than

pictogram designs for the museum is considered crucial for easy and efficient information communication. The objective of this study is to

Methods: This research employed both qualitative and quantitative methodologies. It involved conducting a literature review, observing three

The AIGA / DOT system has become a standard symbol for wayfinding.

https://doi.org/10.5614/sostek.itbj.2017.16.2.2

used on signs can effectively communicate information, rules, or restrictions to various visitors in a quick and straightforward manner. One issue

The design of pictograms can adopt visual concepts of

of the arrows.

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Maps are helpful in communicating the position of places and spaces and are used as a navigation tool. The visual of maps replaces complex directions when delivered in words.

Colors can be used to differentiate locations and features, code functional elements of the site, and add personality.

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DESIGN CONSIDERATIONS

R E S E A R C H S U M M A R Y

1

Title: Mapping Places of Encounter: An Integrative Methodological Approach to Understanding Social Inclusion 2

Publication Type: Journal Reference: Spenger, D., Kordel, S., & Weidinger, T. (2023). Mapping Places of Encounter: An Integrative Methodological Approach to Understanding Social Inclusion.

International Journal of Qualitative Methods, 22. https://doi.org/10.1177/16094069231151304 Design Issue: The article discusses an integrative methodological approach for comprehending social inclusion by mapping places where social encounters occur. This approach aims to provide insights into the dynamics of social inclusion by analyzing the locations where people from diverse backgrounds interact and engage with one another. It suggests that studying these places can offer valuable insights into the processes of social inclusion, ultimately contributing to a better understanding of how societies foster inclusivity and diversity.

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Methods: Within the context of a qualitative interview, the study is conducted in the fictitious village of Brainstein where new immigrants and old residents in different age groups are asked about opportunities to meet in the town. This approach considers four key aspects: the degree of institutionalization, the degree of intentionality, the degree of inclusivity, and the extent of both horizontal and vertical scale. The following criteria in Table 1 identify the classification of places.

Findings: Initially, the most prominent places of encounters are named and shown in Figure 1. Evidence shows that long-time residents find the local football club and the weekly regulars' table at the local pub their primary gathering spots. On the other hand, new immigrants often identify the church community and village festivals, organized by local associations, as significant meeting places. This preference arises because newcomers may not feel as welcome at the regular table and believe their voices are not represented in the village council meetings. To build social connections within Brainstein, recent immigrants organize events independently, such as neighborhood barbecue evenings. Notably, newcomers and long-standing residents emphasize the significance of exchanging greetings when encountering each other on the street. In the subsequent sections, the authors categorize the mentioned locations according to the framework presented in Figure 2.

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Table 1

Figure 1

Figure 2

The level of institutionalization while also considering local conditions.

Interactions can exhibit varying degrees of institutionalization and formality, occurring on a regular basis. They may rely on the structure and dedication of influential figures; alternatively, interactions can be entirely spontaneous and lack any organized structure.

A rural area's social inclusivity framework would be different from an urban area's framework.

The level of intentionality.

Specific locations are intentionally designed or modified to promote interactions among diverse individuals or social groups. In contrast, these interactions happen indirectly at other sites as an unintended consequence.

For example, a university courtyard is intentionally designed to promote interactions among diverse individuals and social groups, while a neighborhood grocery store in a bustling urban location serves as a site where interactions happen indirectly and unexpectedly due to its presence in the neighborhood.

Assessing the horizontal scale.

Distinguish among locations that hold primary significance for the local community, encompassing broader streets or residential blocks, and may contain an entire village, town, or district.

For example, consider the significance and scope of three different areas within a city: a small neighborhood park within a residential area, a bustling downtown square, and a city-wide annual festival held at a large park on the outskirts of town. Each place facilitates a different level of importance for the people in the immediate vicinity, ranging scales of interaction from local to broader community to citywide or district-wide significance.

The level of inclusivity.

The existence of places of encounter does not necessarily result in social inclusion. It is essential to gain a comprehensive understanding of the locations where interactions occur within a community and assess the patterns of accessibility and inaccessibility, uncovering both exclusivity and inclusivity.

Assessing the vertical scale.

Pertains to actions involving the incorporation and exclusion of individuals or groups, highlighting the suitability of a location for interactions among diverse people or groups.

For example, consider a church service that serves as a gathering point for numerous individuals. However, because of these encounters' formal and structured nature, direct interaction with others is limited.

Conversely, there are increased opportunities for interactions between diverse social groups at a music festival, where hierarchies are less pronounced.

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R E S E A R C H S U M M A R Y

DESIGN CONSIDERATIONS 1

Hierarchy in design: in cultures with high power distance, emphasize

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structures

in

design,

with

interactive and collaborative design elements that encourage participation and input from all team members.

2

Individualism/Collectivism Personalization:

In

individualistic

cultures,

allow

personalization and customization of products or services.

Group emphasis: In collectivist cultures, highlight group achievements and emphasize teamwork in design and messaging.

3

Masculinity/Femininity Tone and imagery: In masculine cultures, assertive language and imagery emphasize achievement and competition.

Methods: Using the cultural theorists Geert Hofstede’s and Edward T. Hall’s concepts of cultural characteristics as a baseline guide, the author focuses on studying semiotics, cultural awareness, and localization, which can furnish the cultural understanding essential for a prosperous cross-cultural visual design encounter.

Findings: The role of semiotics in understanding how visual symbols convey meaning, emphasizing that interpretation depends on the audience and cultural context.

Societal values assign meaning to symbols and colors; thus, designers should make cautious selections to avoid inadvertently creating visual messages that don’t translate well, potentially leading to misunderstandings. It is highlighted in the text that designer’s perception of aesthetic appeal and appropriateness is influenced by their cultural background and experiences. Therefore, it is important to think globally by understanding another culture’s perspective during the design process instead of one’s own viewpoint. Overall, the first piece of information underscores the need for visual designers to grasp the intricacies of semiotics within a socio-cultural context and the value of involving localization experts in the design process to facilitate successful cross-cultural communication. Furthermore, the author discusses the growing importance of social identification in a shrinking world, exemplified by the rise of social networking media. Social media platforms encourage users to express their preferences, affiliations, and friendships, reflecting the desire for self-identification and belonging. Although now widespread online, this phenomenon has historical roots in clubs, societies, and groups that used symbols and colors to distinguish members from non-members. Semiotics has been long employed for self-identification. The text also explores another form of self-expression and symbolic affiliation through graffiti. Graffiti serves as a means of territorial communication and socio-political commentary, from historical instances like detainees in the Tower of London to contemporary social taggers. It underscores that when individuals feel constrained from self-expression, politically inspired graffiti can be a potent tool for declaring national pride and political allegiance in public spaces. Moreover, the author mentions the view of color as a semiotic resource and questions whether it should be considered a mode of communication in its own right. Color selections can convey diverse attributes, evoke emotional responses, and serve as a social and political statement in various cultures. The text also highlights Hofsyede’s “cultural dimensions,” a concept that helps foster an understanding and respect for cultural similarities and differences. These include Uncertainty Avoidance, Long-term Orientation, Masculinity/Femininity, Power Distance, and Individualism/Collectivism. Uncertainty avoidance measures how comfortable a society is with uncertainty and ambiguity. Long-term Orientation distinguishes between cultures prioritizing long-term goals, such as perseverance and thrift, and those emphasizing short-term goals, such as immediate gratification and tradition.

Masculinity/Femininity looks at the distribution of roles and values related to gender. Masculine cultures emphasize achievement, ambition, and assertiveness, while feminine cultures prioritize nurturing, caring, and quality of life. Power distance measures the extent to which less powerful members of society accept and expect unequal power distribution. Lastly, individualism/collectivism explores the balance between individual and group interests within a culture. Individualistic cultures prioritize personal goals, independence, and individual rights, while collectivist cultures emphasize group cohesion, cooperation, and shared responsibilities. The author stresses the significance of understanding cultural dimensions to help a global design reach a successful message.

hierarchical

Interactive design: in cultures with low power distance, create

Publication Type: Journal

Design Issue: The global community is at our doorstep, a forecast that has become a reality after years of anticipation. Cross-cultural awareness is of utmost significance, especially within the design community. Visual design plays a prominent role in our daily experiences, whether in the realms of art, architecture, graphic design, urban planning, or a myriad of visual mediums. In these domains, individuals, whether they are viewers, users, or consumers, have the ability to interpret messages conveying aspects of national identity, social justice, and cultural heritage or purely indulge in aesthetic contemplation. The author stresses the importance of integrating cultural awareness during the initial research phases of visual design across international interactions. In cases where language barriers impede verbal communication and understanding, graphic design emerges as a potent tool for effective cross-cultural communication. The author offers an illustrated presentation that examines and highlights the distinctions and commonalities between international symbols and cultural references within visual design and imagery. Proposing methods to close the divide in cross-cultural communication and prevent the ramifications of culturally insensitive design.

clear

prominent placement of authority figures.

Title: Visual Design in Cross-Cultural Communication

Reference: Jones, J. (2011). Visual design in cross-cultural communication. Design Principles and Practices: An International Journal—Annual Review, 5(4), 361–376.

Power Distance

Emotional appeal: In feminine cultures, prioritize emotional appeals, empathy, and inclusivity in design.

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Uncertainty Avoidance Clarity and structure: In high uncertainty avoidance cultures, provide clear and structured information, navigation, and design elements.

Flexibility: In low uncertainty avoidance cultures, design with more flexibility and adaptability to accommodate diverse perspectives and approaches.

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Long-term Orientation Tradition

vs.

innovation:

In

long-term

oriented

cultures,

incorporate traditional and time-tested design elements. In short-term orientated cultures, focus on innovation and quick, tangible results.

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Cultural meanings of colors and symbols Colors can fuel social and political statements in various cultures. Avoid using colors and symbols that may be offensive or misunderstood in a global design.

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R E S E A R C H S U M M A R Y

DESIGN CONSIDERATIONS 1

It is seen as inherently ethical and closely linked to the social dimension – a way to foster inclusivity.

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Title: Shifting Ground: Art and design action for the engagement and empowerment of migrant citizens

Pinto, P. R., & Gorgel Pinto, A. (2022). Shifting ground: Art and design action for the engagement and empowerment of migrant citizens. The International Journal of Social, Political and Community Agendas in the Arts, 17(1), 37–47.

Inclusive listening Individuals from different backgrounds were encouraged to share their perspectives.

Publication Type: Journal Reference:

Collaborative art

Prioritize creating spaces for inclusive dialogue and active listening.

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Long-term impact The text suggests that the methodology used has a positive and lasting impact.

Design Issue: This paper originates from the ‘Shifting Ground’ project, a community-driven art and design initiative in 2019. It engaged newly arrived and

Consider

second-generation migrants residing in Cedar Rapids, Iowa. The project focused on using the creative process as a tool for fostering dialogue and aiding individuals in establishing a connection to their new cultural environment, considering the participants’ cultural backgrounds. The primary emphasis of this research centers around the methodology employed in crafting collaborative works with participants. Specifically, it delves into the role of action to engage with and shape ceramic sculptures to foster social and cultural integration among the participants. Within this framework, the notion of action is examined as a pivotal element of artistic practice and a potent instrument for empowering a displaced community from a political standpoint.

sustainability, including how they can continue to benefit

their

projects'

long-term

implications

and

individuals beyond the immediate activities.

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Art as a communication tool The text highlights the role of art as a means of communication.

Explore how creative expression can be used to foster

Methods: Several theories are considered in this analysis, including Hannah Arendt’s idea of action and Bruno Latour’s concept of thing, to explore the

dialogue and understanding.

notion of action further. The text commences with a concise overview of the immigration history in the United States. It then examines a case study involving Tiffany Chung, a Vietnamese-American artist who has experienced refugee status, to provide context for the research’s thematic focus. As part of the Shifting Ground project, interviews were conducted involving a cohort of participants and individuals in leadership positions within the supporting organizations. Additionally, input was gathered from the volunteers who actively contributed to these initiatives.

Findings: The Shifting Ground project uses workshops to explore deterritorialization and identity through artistic engagement, drawing inspiration from concepts by Hannah Arendt and Bruno Latour. Participants share personal experiences, creating clay sculptures that reflect their unique identities. Latour's "thing-based democracy" is applied to address immigration, politics, and cultural integration. The project fosters dialogue, creating art as "things" that connect people and shared concerns. It employs an empathic approach, emphasizing listening and dialogue, contributing to social equity. Interviews highlight positive feedback from participants and collaborators, demonstrating the project's potential for positive social and cultural transformations. Two young participants, born in Africa and early immigrants to the US, expressed their eagerness to participate in more art activities. They appreciated the opportunity to engage with their talents, memories, and culture within the community. Adult participants also provided positive feedback. Helen MensahBlevi, despite having no prior experience with ceramics or sculpture, was proud of the pieces she created. She valued the two exhibitions held and the recognition received from the Cedar Rapids community. Sonia Mounzeo-Mampassi acknowledged the playful approach during the creation process, with guidance from the team of artists helping her overcome challenges in developing abstract concepts into clay sculptures. Niyibhitanga appreciated the collaborative spirit among participants and the positive impact of the exhibitions in promoting the appreciation of immigrant culture. The overall success of the Shifting Ground project demonstrates its potential for creating positive social and cultural transformations.

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R E S E A R C H S U M M A R Y

Title: A symbolic representation of Wellington: how participatory painting processes enabled a more inclusive urban narrative

DESIGN CONSIDERATIONS 1

Design with the goal of empowering occupants. The space should make individuals feel appreciated, welcomed, and confident in their roles within a multicultural society.

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Identity reflection Create spaces that encourage reflection on identity, both individual and collective. Design elements should prompt participants to explore

Publication Type: Journal Reference: Kale, A. (2018). A symbolic representation of Wellington: how participatory painting processes enabled a more inclusive urban narrative. Visual Studies, 33(4), 343–356.

Empowerment through design

their sense of self and group identity, fostering a sense of belonging.

This could be a meditation place or a nesting/refuge place that is a place of healing and relaxation.

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Symbolic design elements Incorporate symbolic design elements within the space to encourage

Design Issue: The paper explored the impact of a collaborative painting initiative in Wellington, which fostered better mutual comprehension between former refugees and the host community while promoting a more inclusive urban story. Given the ongoing global humanitarian crisis, there has been an atmosphere of apprehension surrounding refugees, frequently exacerbated by the media disseminating falsehoods and unfavorable generalizations. In response to this misrepresentation, the painting project created an avenue for participants to express their real-life encounters related to home, a sense of belonging, and their presence within the public sphere.

Methods: A scholar-activist approach was utilized, drawing inspiration from a participatory action research framework. These philosophical underpinnings guided a diverse qualitative research methodology, encompassing painting workshops, semi-structured interviews, participant observation, and gathering public feedback. The researcher conducted a series of five painting workshops, each lasting two hours, held weekly in a private seminar room. The initial sessions focused on participants sharing their personal experiences and thoughts related to the concepts of home, belonging, and visibility in public spaces. They used sketching to represent these ideas symbolically and worked together to create a unified mural design. Subsequent workshops involved painting the canvas using acrylic paint, with participants encouraged to express themselves creatively. Post-workshop interviews followed a similar format to pre-workshop interviews, aiming to assess whether participants had gained new insights about each other, whether their perspectives on home, belonging, and public visibility had evolved, and if they felt more connected to fellow participants and Wellington City. After completing the interviews, the project culminated in an exhibition at a local café, where the mural was presented to the public. This exhibition aimed to make academic research more accessible to challenge negative refugee stereotypes and counteract media and political narratives that discriminate against vulnerable social groups.

symbolic expression and communication.

These elements could include murals, artwork, or symbolic objects that occupants can relate to and use to convey their experiences.

4

Artistic expression zones Designate specific zones within the space for artistic expression, such as sketching or painting areas. Provide the necessary materials and a conducive environment for occupants to express themselves creatively.

Findings: Symbolism was vital in enhancing social communication during painting workshops. For instance, participant Sarah, facing language limitations, expressed her experiences and emotions more effectively through sketching and fostering group dialogue. The symbolism in her artwork made her experiences memorable and facilitated cross-cultural communication. Symbolism was crucial in constructing a shared group identity, as participants used symbols like apples and coffee to represent shared values. The wind, a unifying symbol, was depicted in their mural, showcasing shared experiences in Wellington. Despite varying opinions, the iconic "bucket fountain" symbolized the city's dynamics. This approach fostered connections, belonging, and a shared sociopolitical narrative. The mural and comment book, displayed after the exhibition, engaged the public and initiated conversations on critical integration issues. Viewers' comments highlighted the effectiveness of this creative approach in capturing interactions between former refugees and host communities, promoting inclusivity, understanding, and potential societal changes. While the project may not have led to widespread social change, it empowered participants with new knowledge and connections, fostering a more inclusive and equitable society.

16

FIGURE 10. Diverse identities in Wellington (Kale, 2018 pp.352)

08

R E S E A R C H S U M M A R Y

DESIGN CONSIDERATIONS 1

Participatory design approach Engage with refugees in the design process, allowing them to express their preferences and needs for the community center.

Conduct workshops and collaborative sessions to ensure the space

reflects

the

community's

cultural,

social,

and

recreational desires.

2

Title: Inclusive Urban Planning and Public Space for Refugee Youth in Pursuit of a Just City in Amman, Jordan

Inclusive spaces Design the community center to be inclusive, considering accessibility

Publication Type: Book Chapter

for

individuals

with

disabilities

or

mobility

challenges.

Create spaces catering to various age groups, ensuring areas

Reference: Aytug, R. (2023). Inclusive Urban Planning and Public Space for Refugee Youth in Pursuit of a Just City in Amman, Jordan. In M. De Backer, P.

for children and adolescents.

3

Safe and welcoming environment

Hopkins, I. van Liempt, R. Finlay, E. Kirndörfer, M. Kox, M. C. Benwell, & K. Hörschelmann (Eds.), Refugee Youth: Migration, Justice and

Prioritize safety by implementing well-lit pathways, security

Urban Space (1st ed., pp. 100–116). Bristol University Press. https://doi.org/10.2307/jj.1011738.12

measures, and visible communal spaces.

Use welcoming and culturally sensitive design elements to create an environment that fosters a sense of belonging.

Design Issue: The chapter of the book addresses the design issues related to inclusive urban planning and public space for refugee youth in Amman, Jordan. It focuses on creating a just city that accommodates the needs of this vulnerable population and promotes their well-being.

Methods: The research in the book chapter employs a qualitative approach, including in-depth interviews, participant observation, and content analysis. These methods help understand the experiences, challenges, and aspirations of refugee youth in Amman and assess the effectiveness of urban planning and public space initiatives.

Findings: The findings of the research chapter highlight the complex challenges faced by refugee youth in Amman, such as limited access to safe and inclusive public spaces, economic marginalization, and social exclusion. It emphasizes the importance of participatory urban planning and creating public spaces catering to refugee youth's specific needs and preferences. The chapter also emphasizes the role of social and cultural factors in shaping the urban experiences of refugee youth. Overall, it underscores the significance of inclusive urban planning in creating a just and equitable city for all residents, including refugee youth.

17

RESEARCH SUMMARY SYNTHESIS FINDINGS SUMMARIZED The collective findings from various case studies underscore the transformative impact of art-based activities on diverse communities, particularly refugees. Themes such as the centrality of family life, preservation of ethnic identities amid adaptation to new environments, and the value of employment and entrepreneurship emerge consistently.

Envisioned community centers serve as vital hubs for learning and supportive interactions, while art-based initiatives at organizations like the Helen Bamber Foundation and the Talbiyeh refugee camp demonstrate the universal benefits of routine, skill acquisition, and enhanced mental well-being. Analyses of museum signage stress the importance of pictograms for effective cross-cultural communication. Additionally, discussions on social identification, symbolism in art projects like Shifting Ground, and the challenges faced by refugee youth in Amman collectively highlight the integral role of art in fostering community, inclusivity, and understanding across diverse cultural landscapes.

KEY DESIGN CONSIDERATIONS

18

Design for emotional impact

Effective signage and pictograms

Spatial arrangement and symbolism

Universal wayfinding symbols

Look and feel of the city

Cultural meaning of color and symbols

Circulation paths to promote social encounters

Factors influencing interaction

Design for learning and growth

Long-term impact and empowerment

Impact of creative activities

Artistic expression zones

Skill development and economic potential

Personalization of space

Capstone Project

E X P E R T I N T E R V I E W S

ID 4381 Design Research | Fall 2023 | Dr. Guerrero

MEET THE EXPERTS

01

CAROLINA ARELLANOS Assistant Director, International Relations at Texas Tech University

02

ESTHER LEMANDE Social Worker & Small Business Owner of Majesta

TOPIC POINT OF VIEW

TOPIC POINT OF VIEW

Cultural Center Operations

Refugee Resettlement Processes

03

CARLA TEDESCHI Associate Professor, Graphic Design Coordinator of Graphic Design at Texas Tech University TOPIC POINT OF VIEW

QUESTION INTENTION Influential initiatives for cultural inclusivity Operations and detail of a cultural center Representing marginalized cultural groups

20

QUESTION INTENTION The needs of refugees Challenges and obstacles during the integration process Services and programs that are offered for refugees

Symbolization and Language Semiotics

QUESTION INTENTION Cross-cultural design strategies Symbolization and picograms

01

EXPERT SYNTHESIS REPORT The interview with the Assistant Director of the International Affairs office at Texas Tech University provided valuable

KEY POINTS

insights into the International Cultural Center as a model for the design project of a cultural center, stating the mission, initiatives, challenges, and perspective plans aimed at promoting cultural inclusivity and diversity in Lubbock, Texas.

Established in 1996, the center is a focal point for fostering cross-cultural interactions, celebrating diversity, and nurturing a

1

Representing marginalized groups through exhibition showcases and incorporating the nation's flags to foster a sense of belonging.

sense of belonging among individuals from diverse backgrounds.

While the knowledge from the interview is beneficial for designing a cultural center, it is essential to recognize that these insights are specific to the International Cultural Center in Lubbock, Texas, and its local context. Implementing the same strategies and approaches in a different location may constitute disharmony and require adaptation. Some potential issues begin with cultural differences among diverse landscapes. What works effectively in Lubbock may not be equally suitable for another location with different cultural norms, values, and demographics. The strategies used at the ICC in Lubbock need to be adjusted to align with the local culture and community needs.

As the purpose of the ICC is to advance cultural inclusivity and promote diversity among scholars, the unique community

2

Integrating spaces for interactive cultural exchange - event spaces, classes, workshops, etc.

needs and priorities would vary in a location that does not stand on university grounds. The design project for a cultural center calls for displaced refugees and migrants of all ages and demographics as the end user. Therefore, the initiatives the ICC partakes in to promote cultural inclusivity among students may need to be more equitable for the assemblage of the vast environment.

In summary, while the interview can provide a solid foundation to facilitate cross-cultural interactions in the local contexts, it is essential to approach each location as a unique context. The design should be open to adapting strategies and approaches to address the specific challenges and opportunities the selected location presents. Flexibility and cultural

3

Collaboration spaces among the center’s staff and local organizations.

sensitivity will be paramount to the success of cultural centers in different settings. The interview emphasized the importance of diverse educational programs, workshops, and cultural events. In response, the design project of a cultural center will include flexible spaces seamlessly integrated into the layout to accommodate a variety of cultural activities and exhibits.

Additionally, visual cues and engaging displays were highlighted to foster cross-cultural understanding, even in the presence of language barriers. Design considerations for this will incorporate elements like country flags and interactive exhibits to facilitate communication and create an immersive cultural environment. Lastly, engaging younger generations was identified as a priority. Consequently, the design will allocate dedicated spaces and resources for youth-oriented programs, fostering cultural exploration and education for children and teenagers within the center.

21

02

EXPERT SYNTHESIS REPORT

KEY POINTS

The refugee crisis is a global humanitarian challenge requiring a structured and comprehensive approach to resettlement and integration in host countries. This enlightening interview with a social worker specializing in child welfare, immigrant and

Private rooms for counseling sessions, mentorship programs, and services regarding legal documentation. As well as a skills development space for training programs.

1

refugee youths, families, and women sheds light on the refugee resettlement process's multifaceted aspects and the challenges refugees and social workers face. It offered practical insights into how refugee's needs are assessed and addressed and the vital role of the local community and volunteers in the integration process.

From the interview, several vital points may pose challenges in designing a cultural center for refugees and migrants, starting with the diverse needs of refugees, including language proficiency, education, employment, and mental health support. Designing a space catering to these various needs effectively can be a foreseen challenge. Based on this insight, conducting a prior "needs" assessment will aid in understanding the specific area requirements of the refugee and migrant

2

Incorporate holistic support spaces such as mindfulness areas for meditation, yoga, and prayer to support refugees' mental health.

population in that area, helping tailor the services and facilities offered by the cultural center. Moreover, the interview mentioned that not all resources are readily available, especially regarding mental health services, which can impact the services and support that the cultural center can provide. Ensuring the center can address resource gaps is essential.

Regarding the lack of mental health resources, private and comfortable spaces will help occupants practice mindfulness through meditation without needing a counselor. Another difficulty in integrating refugees and migrants into a host country is the complex and lengthy legal processes. Legal paperwork can perplex refugees as they often need help understanding the language of the host environment. Consequently, having an awareness of their status is relatively inconvenient for them. The concept of a resource and information hub in the center can provide information on legal documentation, assistance for

3

Emphasize privacy and safety through designated areas for counseling and mindfulness activities. Creating an inclusive and welcoming atmosphere for refugees seeking assistance.

filling out paperwork, employment opportunities, healthcare services, and local community services to support times of adversity in the lives of newcomers.

In summary, the discernment from the interview directly informs and guides the design of a cultural center by helping to identify critical features threatening the successfulness of long-term integration for refugees and immigrants. It ensures that a cultural center is relevant and effective in its mission to support integration and well-being within a community.

22

03

EXPERT SYNTHESIS REPORT Language plays a significant role in shaping the accessibility and inclusivity of public spaces. Acknowledging the diverse

KEY POINTS

linguistic landscape within a community is paramount for creating environments that embrace cultural richness and foster a sense of belonging. The interview with Carla Tedeschi translates ways to disrupt traditional dialogue to examine new meanings of communication through visual cues, symbolization, and other methods to address and eliminate language barriers.

1

Develop signage versions with interchangeable elements tailored to specific cultural preferences, considering potential variations in interpretation.

In essence, language becomes the bridge that connects people, fostering a shared sense of community and reinforcing the idea that every voice deserves to be understood and respected in the public sphere. The challenge of the capstone project of a refugee cultural center recalls the adoption of universally understood symbols, icons, and picograms to assist communication among people and how they interact with the center's environment. Carla underscored the importance of utilizing symbols and graphics in conjunction with text to enrich cultural comprehension. Prioritizing simplicity in these symbols —incorporating elements like arrows, basic shapes, and universally recognized symbols—will facilitate quick comprehension.

Additionally, it is crucial to recognize that various cultures assign specific meanings to colors. Carla emphasized the need to remember cultural color symbolism, ensuring that the selected color palette aligns precisely with the intended message and

2

Utilize color-coded systems, spatial organization, and other design components to convey information effectively without requiring extensive written text.

avoids unintended connotations. This consideration extends to the fonts and typography styles selected for text, necessitating easy readability and cultural neutrality.

Carla also highlighted another facet to be incorporated into the capstone project—aiming for a design that reduces dependence on language. Drawing from her visual illustration, color-coded systems, spatial organization, and other design components can effectively convey information without needing explicit language. Carla suggested incorporating visual elements in a modular and flexible manner to facilitate seamless adaption to diverse cultural contexts. This could entail developing signage versions with interchangeable elements tailored to specific cultural preferences in the capstone project.

3

Prioritize simplicity in symbols, incorporating elements like arrows, basic shapes, and universally recognized symbols to ensure quick comprehension.

However, it is crucial to consider the context in which visual cues will be utilized. A symbol carrying a particular meaning in one context might be interpreted differently in another. Thus, ensuring that the design aligns precisely with the specific context and intended use is paramount.

Finally, Carla suggested investigating the application of technology, including translation apps or QR codes, to furnish comprehensive information in various languages. However, this approach may present challenges for occupants needing smartphones or technology access. Integrating QR codes into the design may not be the most suitable solution for a refugee center. Instead, a more effective strategy would involve equipping the center with accessible and user-friendly technology to bridge language gaps.

23

Capstone Project

C O M P A R A T I V E C A S E S T U D Y ID 4381 Design Research | Fall 2023 | Dr. Guerrero

FREE CHOICE ASSIGNMENT COMPARATIVE CAS E S TUDY

01

Make the Road New York Community Center - Under Construction

SITE, ORIENTATION, ENTRANCE

STRUCTURAL, CIRCULATION

REPETITIVE TO UNIQUE, VIEWS, MATERIALS & DETAILS

Queens, New York, near Corona Plaza subway station, serviced by the seven train.

Adjacent to Citi Field stadium, close to Flushing Bay promenade and LaGuardia Airport.

Terraced seating, open work areas, private offices, three large glass volumes for natural light, blurring facade for individualism and community, multiple levels with offices, auditorium, outside terrace, and community garden with lightbox cutouts.

Large glass volumes above the roofline enhance rhythm and design Terraced seating and town hall as focal points for activities Conceptual extension of public streetscape into the building for harmony

Integration with the public streetscape, welcoming and accessible the facade does not entirely separate the inside and the outside.

Central staircase with tiered seating leading to outside terrace It starts with a discrete lower courtyard level and moves up to more bustling gathering areas as you move up vertically

Use of glass volumes as beacons connecting with the city Emphasis on creating a light-filled and welcoming space Use of glass, vibrant colors, graphic overlays, concrete, and wood

25

FREE CHOICE ASSIGNMENT COMPARATIVE CAS E S TUDY

02

SITE, ORIENTATION, ENTRANCE

Powerhouse Arts, New York - Adaptive Reuse Project

STRUCTURAL, CIRCULATION

Located along Brooklyn's Gowanus Canal Repurposed power station with century-old Romanesque building and new six-story structure The rear features loading docks and a private parking garage

Thoughtful spatial relationship between old and new structures Division of century-old turbine hall into two floors with a doubleheight "grand hall" A new six-story structure complements the adjacent foundations of the

Inconspicuous entrance cut into turbine hall's east elevation The entrance includes a wood-clad vestibule, a monolithic concrete wall, and a reception desk

demolished boiler house Well-planned spatial transitions for efficient movement Geometric relationship between old and new structures

The entrance sequence reveals the building's transformation

Hierarchy of functional spaces, with an emphasis on art fabrication studios Flexible, adaptable spaces that serve various functions Opportunities to observe art creation through interior glazing framed in galvanized steel

26

REPETITIVE TO UNIQUE, VIEWS, MATERIALS & DETAILS Grand hall serves as a focal point for large-scale artworks and events The harmonious blending of old and new structures preserves history while introducing modern functionality The exterior design features a pink cast-in-place concrete facade with punched arched windows Interior glazing framed in galvanized steel offers opportunities to observe art creation Preservation of graffiti on Turbine Hall's walls while embracing change Views of the surrounding area and Brooklyn from the Grand Hall Use of concrete, wood, and steel materials Exposed structural steel and unfinished ceilings for an industrial feel Emphasis on enhancing what remains of the past in a sustainable way

FREE CHOICE ASSIGNMENT COMPARATIVE CAS E S TUDY

03

SITE, ORIENTATION, ENTRANCE

Ishinomaki Cultural Center, Japan

STRUCTURAL, CIRCULATION

The site features athletic fields to the south, Toyakemori Mountains to the north, and two-story houses to the west Doubles as a disaster emergency shelter center Linear orientation with connected house-like volumes

The structure is composed of 20 connected volumes with varying heights Functions include permanent and temporary exhibition halls, a 1,254seat Grand Hall, smaller spaces, shops, and storage and dressing

The main entrance at the center of the 558-foot-long facade A secondary access door at the west end for pedestrians A car-friendly main entrance for easy access and exit

rooms Interior components serve different functions and vary in size The design incorporates cross-mullioned windows and chimneys for skylights and smoke vents Corrugated metal-clad building elements are arranged perpendicular to each other The building's layout accommodates various functions and user needs Small seminar rooms and studios extend towards the parking area The lobby features varying ceiling heights, angled interior walls, and hanging signage for an informal atmosphere

REPETITIVE TO UNIQUE, VIEWS, MATERIALS & DETAILS Utilization of parallelogram volumes with gable roofs for town-like spaces The building is designed to maximize natural surroundings with views of the Pacific Ocean, athletic fields, and the Toyakemori Mountains Primarily made of galvanized steel, with three different shades of white articulating individual volumes The use of steel and glass in the lobby creates transparency and lightfilled spaces, and the presence of raw and natural interiors through the use of white Cloth and graphic overlays, hanging signage, and urban-inspired details in the lobby Varying ceiling heights, angled interior walls, and hanging signage relieve the lobby's linearity

27

FREE CHOICE ASSIGNMENT COMPARATIVE CAS E S TUDY

04

Guyanhuaxiang Art Center, Lishui - Under Construction

STRUCTURAL, CIRCULATION

SITE, ORIENTATION, ENTRANCE It covers an area of approximately 20,000 square meters

Focuses on space enclosure and bottom openness

Less than 100 meters from the Oujiang River & Ancient Street

Large-scale and continuous suspended upper form complements the

Adjacent to a temporary parking lot and private residences from the 1980s

surroundings

and 1990s

The ground floor is designed to serve inhabitants most of the time

Multiple entrances and connections to the surrounding area

The design establishes the art center as an architectural link in the high-

Street-facing corners create large-scale street corner squares and ground-

density neighborhood's center

floor overhead spaces

Features three large-scale street corner squares and ground-floor overhead

Visitors can enter through corner squares, courtyards, and other spaces

spaces. Visitors start at corner squares and move through overhead spaces,

Two main entrances from the city, a main entrance to the town and a

courtyards, and along gentle slopes and long ramps

secondary entrance to the town

An overhead corridor on the second floor separates the courtyard into two

Emphasis on creating a strong civic presence and fluid interaction with the

parts

surrounding community

Courtyards serve as enhanced public spaces for daily life Continuous spatial changes between indoor and outdoor spaces create an

28

evolving viewing experience; circulation provides a dynamic and changing experience

REPETITIVE TO UNIQUE, VIEWS, MATERIALS & DETAILS Incorporates a dynamic rhythm with a mix of large and small elements, serving as a landmark and an integral part of the art town Blends cultural and artistic functions with daily life for a multifunctional space Emphasizes views of the Ancient Street, Oujiang River, and mountains The roof platform offers a panoramic view of the local scenery The facade was constructed using wood formwork concrete Recycled old bricks and tiles used for the first-floor spaces First-level commercial volume primarily employs glass and wood-colored metal components The second and third floors were constructed with bamboo formwork concrete

COMPARATIVE CASE STUDY SYNTHESIS In exploring community center design, this comparative case study focuses on three community centers and an art center, aiming to foster belonging, adaptability, and engagement. The capstone project draws inspiration from successful models like the Ishinomaki Cultural Center, emphasizing clear pathways, unique identity, and wayfinding techniques. Multilingual signage is incorporated to cater to diverse linguistic backgrounds, promoting inclusivity. Adaptive reuse principles from the Powerhouse Arts building inspire the capstone's versatility, allowing personalization through fixed frames. The importance of a visible and integrated entrance, influenced by the Guyanhuaxiang Art Center, encourages interaction and flexibility. The Make the Road New York Community Center's design, emphasizing a welcoming environment, transparency, and natural light, contributes to the study's identified critical success factors for a refugee community center: integration with the urban landscape, accessibility, harmonization of old

and

new

elements,

versatility,

maximizing

views,

and

personalization.

Effective

implementation of these factors, tailored to refugees' needs, is crucial for creating an inclusive and empowering space.

29

Capstone Project

P R O P O S E D S I T E

ID 4381 Design Research | Fall 2023 | Dr. Guerrero

SITE SELECT I ON 58 Kent St, Brooklyn, NY 11222 Industrial historic building The surrounding city Adaptive reuse

DESI GN CONSI DERATI ONS Zoning group M1-1 32,589 SF (approx.) with 16,689

SITE PROPOSAL

SF (approx.) available air rights Views of the city landscape Preservation of the current structure Interaction and inclusivity Sense of place

31

SITE ANALYSIS The Re-Build Project 58 Kent Street, Brooklyn, New York 11222 Latitude: 40º 43' 49.332" Longitude: 73º 57' 32.1984"

GREENRY Situated adjacent to WNYC Transmitter Park, this building provides access to lush green surroundings and scenic views of the East River, just opposite Manhattan.

SUN PATH By optimizing sunlight capture on the southern side throughout the day and strategically situating spaces on the northern side of the building, which receives less light.

TRAFFIC The primary adjacent streets and bustling intersections include Greenpoint Ave, Franklin St, and McGuinness Blvd. Conversely, the less congested roads extend westward towards the East River.

Roads

ACCESS Greenpoint Avenue G-Train station and NYC Ferry are within walking distance, providing convenient transportation. Bicycle paths are a common entity in the city. There are two entry points: pedestrians use the south entrance, while those with cars use the north entrance.

Pedestrian walkway Parking Public transportation

SITE 58 Kent St, Brooklyn, New York - situated in Greenpoint, Brooklyn’s northernmost neighborhood bounded by Williamsburg, East Williamsburg, Newtown Creek, Long Island City, and the East River.

32

SITE PLAN SCALE: 3/32"=1'

33

BIBLIOGRAPHY Arellanos C. (2023, September 26). Expert Interview [In-person].

Aytug, R. (2023). Inclusive Urban Planning and Public Space for Refugee Youth in Pursuit of a Just City in Amman, Jordan. In M. De Backer, P. Hopkins, I. van Liempt, R. Finlay, E. Kirndörfer, M. Kox, M.C. Benwell, & K. Hörschelmann (Eds.), Refugee Youth: Migration, Justice and Urban Space (1st ed., pp. 100–116). Bristol University Press.

Bernstein, F. (2023, June 23). Herzog & de Meuron’s powerhouse arts in Brooklyn is now finished. The Architect’s Newspaper. https://www.archpaper.com/2023/06/after-years-of-workherzog-de-meurons-powerhouse-arts-in-brooklyn-is-now-finished/#google_vignette Carla T. (2023, December 4). Expert Interview [In-person].

Clara, S., & Swasty, W. (2017). Pictogram on signage as an effective communication. Jurnal Sosioteknologi, 16(2), 166–175.

Corbett, C. N., & Moxley, D. P. (2018). Using the visual arts to form an intervention design concept for resettlement support among refugee women. Families in Society: The Journal of Contemporary Social Services, 99(2), 146–159.

Fiddian-Qasmiyeh, E., Chatterjee, H. J., Clini, C., Butler, B., Al-Nammari, F., Al-Asir, R., & Katona, C. (2020). Exploring the psychosocial impact of cultural interventions with displaced people. In Refuge in a moving world: Tracing Refugee and migrant journeys across disciplines (pp. 323–345). essay, UCL Press.

Guyanhuaxiang Art Center in Lishui by line+. Architizer. (2023, June 19). https://architizer.com/projects/guyanhuaxiang-art-center-in-lishui/ Jones, J. (2011). Visual design in cross-cultural communication. Design Principles and Practices: An International Journal—Annual Review, 5(4), 361–376.

Kale, A. (2018). A symbolic representation of Wellington: how participatory painting processes enabled a more inclusive urban narrative. Visual Studies, 33(4), 343–356.

58 Kent Street, Greenpoint. (n.d.). https://www.58kentstreet.com/ Kornblatt, I. (2023, July 12). At Herzog & de Meuron’s powerhouse arts, nostalgia for a lost industrial past. Architectural Record RSS. Lemande E. (2023, October 6). Expert Interview [Virtual Meeting Platform].

Line+. (2022, June 28). Lishui Guyanhuaxiang art center, a tension between Aesthetic Purpose and urbanity: The plan. line+. https://www.theplan.it/eng/award-2022-culture/lishuiguyanhuaxiang-art-center-a-tension-between-aesthetic-purpose-and-urbanity-line Make the Road New York: Asa - Andrea Steele Architecture. ASA. (2021, May 3). https://asa-ten.com/project/mrny/ Maruhonmakiart Terrace (Ishinomaki Cultural Center) by Sou Fujimoto architects. 谷德设计网. (n.d.). https://www.gooood.cn/maruhonmakiart-terrace-by-sou-fujimoto-architects.htm Pinto, P. R., & Gorgel Pinto, A. (2022). Shifting ground: Art and design action for the engagement and empowerment of migrant citizens. The International Journal of Social, Political and Community Agendas in the Arts, 17(1), 37–47.

Spenger, D., Kordel, S., & Weidinger, T. (2023). Mapping Places of Encounter: An Integrative Methodological Approach to Understanding Social Inclusion. International Journal of Qualitative Methods, 22.

SunCalc Sun position- and Sun phases calculator. SunCalc. (n.d.). https://www.suncalc.org/#/27.6936,-97.5195,3/2023.10.30/23:53/1/3

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Capstone Project

ID 4381 Design Research | Fall 2023 | Dr. Guerrero | Brie Godfrey