Making Performative Places: Re-Thinking the Public Realm

MAKING PERFORMATIVE PLACES RE-THINKING THE PUBLIC REALM 9 TH ANNUAL INTERNATIONAL CONFERENCE AND PANNEL DISCUSSIONS - REPORT

MAKING PERFORMATIVE PLACES RE-THINKING THE PUBLIC REALM 9 TH ANNUAL INTERNATIONAL CONFERENCE AND PANNEL DISCUSSIONS - REPORT 22 ND OF SEPTEMBER 2014 SUSTAINABLE URBAN DESIGN MASTER’S PROGRAMME SCHOOL OF ARCHITECTURE, LUNDS TEKNISKA HÖGSKOLA LUND, SWEDEN WWW.STADSBYGGNAD.LTH.SE

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CONTENTS 05

Contents

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Foreword by Harrison Fraker

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Remaking of the place by Kateřina Vondrová and Cyril Pavlů

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The conference 40

Renne Y. Chow: The Potentials of Field Urbanism

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Peter Elmlund: Small businesses as a Driver of Public Life

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Han Xili: Sensing the City

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Eelco Hooftman: Another Greenworld

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Mattias Kärrholm: Trial by Space

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Kai Piippo: Power of Light

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Kateřina Vondrová and Cyril Pavlů: Temporary Activators in the Everyday City

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Eva de Klerk: Bottom-up Development

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Story of the conference by Donlyn Lyndon

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Afterword by Donlyn Lyndon

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List of makers

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Aknowledgement

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FOREWORD

by Harrison Fraker ‘Urban designers are re-thinking the search for urban form; probing for deeper meanings, exploring different narratives, searching for hidden dimensions and re-presenting the ephermeral flows of daily life, all in an effort to create a more enriching, meaningful and sustainable urban existence.

The search has been enhanced by new tools and new knowledge, creating an expanded field of enquiry, both confirming and challenging old assumptions and sensibilities.’

Performative places can be thought of as occupying the space between the noun (performance) and the verb (to perform).

As the adjective, ‘performative’ unifies the two concepts – the thing (or subject) and the action. For example, a performance space like a concert hall is well understood.

It is a place where music is performed by musicians (the subject). How the hall performs acoustically (the action) while essential to the quality of the musical performance and the experience of concertgoers, only becomes an issue when it is not working. Thus a concert hall can be described as ‘performative’ in its normal sense because the performance of the musicians and the acoustical ‘function’ of the hall are inseparable.

Yet, when the ritual of attending a concert and participating in intermissions by concertgoers is featured and exposed in the design (see DS&R’s redesign of Avery Hall), the design can be described as ‘performative’ on a new level because the ritual ‘performance’ of the concertgoers has been given a reimagined priority.

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Thus places can be understood as ‘performative’ in their conventional usage, but have greater ‘performative presence’ when a new dimension of performance and engagement is privileged and revealed in contrast to conventional expectations.

Rather than think of the public realm as a neutral background for the daily routines of everyday life in the city, rethinking the public space of cities as an opportunity to make more ‘performative places’, to design places that perform in new ways and invite new performance by city dwellers expands the framework of urban design exploration.

But what does it mean, what qualities and dimensions does it engage and how to go about it?

Making Performative Places, the 9th Annual International Conference, begins to give shape and definition to these questions.

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Symbolically, the planners of the conference thought the idea of ‘performative places’ should start with the venue itself, the place in the school of architecture where the conference was to be held. Each part of the venue was reconceived to be ‘performative’ in new ways. The main hall for the presentations was changed from a light-filled atrium into a ‘black box’ that could be opened and closed on demand.

A little-used access to the hall was transformed into the main entry, on axis with the building’s front door, by laying a white carpet that both called attention to the route, but also changed the ‘feel’ of the floor and its acoustics. Tables were placed in the hallways, wrapped in white paper with ample drawing implements to record ideas, reactions, thoughts, daydreams, obsessions, etc. Other rooms were changed into lounging space with raised platforms covered in pillows, surrounded with exhibitions on ‘performative interventions’ in cities. The whole ‘atmosphere’ and mood of the conference was changed as participants engaged and ‘performed’ in new ways.

The notion of ‘performative places’, as the conference reveals, is a formative and integrating concept. It is both old and new and still in its infancy. It expands the conceptual framework of urban design to think of places as both acting in their on right (performing – the verb) as well as inviting new forms of action (performance – the noun, the event).

It holds out the promise of uncovering new ways of integrating both the social and environmental performance of cities in search of a more sustainable future.

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REMAKING OF THE PLACE

by Kateřina Vondrová and Cyril Pavlů

The temporarity of the event was permanently captured in a form of shoe and coffee marks, written toughts and spontaneous drawings on the vast white carpet and paper.

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With the main theme of the conference set to look for new answers and visions of performative public realm, likewise the place of the event itself was transformed to manifest the conference’s ideas into the physical environment. The place of the event was traditionally the great hall in the School of Architecture, but the goal was not only to use the common space of the hall but to engage the whole ground floor of school and create one interconnected space acting as a continuous public realm. The realm would represent the performance of the space at its best by encouraging many activities and various interactions, inviting everyone to be part of the performative space and share their experiences throughout the conference as well as to raise new questions about the space itself.

The temporarity of the one-day event became the main design tool of the remaking process, challenging new ideas on how to create new and reuse existing, activate and organize the space in original, efficient, fast and simple way. Since the realm of the school had to combine the conference space with an exhibition

installation and open food court, three concepts based on the common ideas were created: Blackbox, The Street and The Cloud.

The three places engaging the visitors in different ways were connected by a common floor cover – the white carpet. The recognizable white color of the carpet acted as a guide in the space, leading from one place to another in a way that a continuous ground pavement does in the public space.

The familiar texture and warm softness of the material performed similarly as grass, naturally inviting people to walk without shoes or even sit on it. By simply changing the ground material, the feeling of the whole space changed and allowed for many new activities to take place. The whiteness of the carpet also invited the conference visitors to take part in the ‘performance’ itself and draw with a black pen on the white surface and express their thoughts, ideas, visions with others.

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THE STREET The entrance hallway, which is the first space that a visitor to school encounters, is a long narrow corridor. The red brick walls and earth color of tiles on the ground floor give the space very natural, but somehow dark character which is even more strengthened by the low ceiling.

The inspiration from the great urban food streets made the concept of The Street enhance the corridor shape of the space with generously long continuous table, covered with the white paper to enlighten the room. This small intervention turned the dark corridor that people normally pass through into a lively social meeting spot, which brought everyone together for a cup of coffee or a bite to eat. Throughout the whole day people were encouraged to use the provided pens and share their thoughts on the paper. This resulted in almost 30 meter long art-piece made of written ideas, thoughts about lectures, diagrams, funny drawings, critical remarks, questions and a lot of other inspiring remarks about the conference day.

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Fifty meter long stretch of soft white carpet marked the way into other parts of the school’s public realm. On one side of the narrow corridor a small lounge area with conference live stream was set up and allowed people to lay down on the carpet or sit in the lounge chair while watching the talks by conference speakers or just to catch the eye of a passer-by.

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THE CLOUD The Cloud was a temporary installation by Cyril Pavlů and Kateřina Vondrová, which accompanied the exhibition called “Urban interventions – Temporary activators in the everyday city”. With the idea of creating a temporary intervention in the space of the Full Scale Laboratory, which would directly engage the audience, the authors designed The Cloud as a large 6 by 6 meters slightly elevated platform covered with the same white carpet, laid down throughout the all conference spaces. The whole platform was topped with almost 200 white pillows, as the cherries on the pie. The soft texture of the carpet and fluffiness of the pillows invited everyone to lay down and to be part of the installation. As if you were laying outside looking into the sky, The Cloud installation was combined with the projection of the conference’s live stream onto the ceiling above the platform. This informal environment among the pillows was offered as an alternative place to watch the conference from, if one wanted to experience the speakers’ performances in a non-traditional way.

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The exhibition, curated by the authors of The Cloud, showed 15 projects by young architects from Prague, Czech Republic, which demonstrated how can inexpensive, temporary or guerrilla projects change the way we interact with the city. The showcased work presented the ongoing trend of bottom-up planning and placemaking as a successful way people can reimagine and recreate the urban space around them in a dynamic and performative way as an alternative to the traditional topdown planning process.

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THE BLACKBOX In the theatrical context Blackbox is one of the simplest transformations of changing the room to the performative performance space with using the two contrasting tools - the dark and the light to lead the focus of the audience in a different direction.

This idea became the grand theme of the main venue of the conference.

Covering one of the most sunlit spaces in the School of Architecture with a simple black curtain and almost invisible shielding elements demonstrated the power of light and its possibilities to completely change the indoor environment whilst modifying its flow. The usually bright open space became dark cozy theater room, well-suited for the conference performances of the speakers watched by more than 300 people in the audience. The contrasting lightning conditions were even more strenghtened by the movable curtain covering the glass facade, which invited and celebrated the day light when rolled up during the conference breaks.

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THE CONFERENCE Making Performative Places - Re-thinking the public realm Peter Siöström

Assistant professor, Director of SUDes, Lund University, Sweden Welcome and introduction to SUDes

Jenny B Osuldsen

Senior Landscape Architect, MNLA, MLArch, Partner at Snøhetta, Norway Introduction to Making Performative Places

Renee Y. Chow

Professor of Architecture and Urban Design, UC Berkeley, Principal at Studio Urbis, USA The Potentials of Field Urbanism

Peter Elmlund

Project leader at Urban City Research, Researcher at KTH, Stockholm, Sweden Small businesses as a Driver of Public Life

Han Xili

Associate Professor at Peking University, School of Architecture and Landscape Architecture, China Sensing the City

Eelco Hooftman

Landscape Architect, Guest Professor at Harvard School of Design, Founder of GROSS.MAX, Scotland, UK Another Greenworld

Mattias Kärrholm

Professor of Architectural Theory, School of Architecture, Lund University, Sweden Trial by Space

Kai Piippo

Chief Designer at AF Lightning, Stockholm, Sweden Power of Light

Kateřina Vondrová and Cyril Pavlů

Urban Designers, SUDes Alumni, Founders of urbanACT, Prague, Czech Republic Temporary Activators in the Everyday City

Eva de Klerk Conference Online

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Urban Activist, NDSN, Amsterdam, Netherlands Bottom-up development

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RENEE Y. CHOW The Potentials of Field Urbanism Renee Chow is Professor of Architecture and Urban Design at Berkeley University and principal at Studio Urbis, USA. She has developed analytic and generative design tools for integrating urban and architectural systems across sites and individual buildings. These tools are directed toward encoding and extending local conditions, increasing urban legibility and identity, differentiating agency and time, embedding resource strategies at a community scale and facilitating design collaboration. To re-shape the discourse about the forms of urbanism both in suburbs and cities. http://www.studiourbis.com/

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Setting out analytical diagrams that restructure the ways in which we think about relationships between buildings and territories, is, on the contrary from imagining and crafting new forms of building and public space that prompt us to look again at the surroundings and see them in a different way, another path.

This can open up differing patterns of accommodation in space as Rene Chow has shown in her presentation “The Potential of Field Urbanism” using provocative diagrams interweaving grids and existing patterns, incorporating natural growth within what is envisioned, all as a way to shift attention from objects to the “relational conditions” that underlie urban development and which, if attended to, can give new rich understandings of urban form - connecting context to development projects. To do this, she argues, requires learning how to understand locales and to develop continuous connections between insides and surroundings. Developing and using better design tools can form real places of integration in segments of the city.

“The performance is in the field.”

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PETER ELMLUND Small Businesses as a Driver of Public Life Peter Elmlund is an urbanist, writer and publisher, economist and a key person in the founding and development of SUDes. He is a project leader for Urban City Research and a guest researcher KTH, Stockholm. Urban City Research runs a three year collaboration with UN Habitat and PPS in New York. The goal of the collaboration is to get local politicians, other decision-makers and professionals worldwide to shift focus from ’buildings’ to ’places’ and engage in creative placemaking. Peter is also organizing an international conference forum entitled Future of Places in collaboration with UnHabitat and PPS. http://futureofplaces.com/

Thinking beyond economic analyses to examine the social consequences has been Peter Elmlund’s contribution to the field. Examining the economic patterns of exchange that differing forms of shopping arrangements accommodate can be extended with depth and reach to the whole development process and to considering what economists call the “externalities” of a development project (that is to say the consequences that result for society, but are not included within the targeted profits and expenses).

Recognizing that all forms of investment must in the end create good places has become a constant theme in Peter’s work.

He is now advocating for UN Habitat to commit to considering worldwide development patterns that are based on the concept of place and can give rise to more complex and inclusive distribution of benefits within a community. His broad support, through the Ax:son Johnson Foundation has been absolutely critical to the continuing life of SUDes and its commitment to laying the groundwork for sustainable urban design.

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“Externalities, the cobenefits of small scale retail performance.”

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HAN XILI Sensing the City Han Xili is an associate professor at School of Architecture and Landscape Architecture, Peking University, China. She is a scholar and researcher at Peking University. Her research focuses on Green infrastructure, children’s play environment and theirs behavior interactions and contemporary needs and currently on senses of cities – attractiveness and quality of urban landscape and open space.

Finding many ways to make the public domain more enjoyable for all its in habitants and for their various ways of being has been Han Xili’s enduring commitment.

In her work “City Sense(s)” she has been constantly calling out the need for sensitive accommodations within and between larger structures that are primarily developed to meet economic and programmatic demands, isolated from consideration of human consequence.

She makes her arguments through research and representation of intimate dimensions within larger structures, de-coding the city with touch (“safe touch”, “interesting touch”), smell, and the sounds of nature, looking for places where people can share in leisure and be enfolded in dimensions of intimacy as well as observing grand prospects. She seeks understanding of the range of experiences the city can afford. We should all join her in this search and build it into our ways of designing.

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“The role of the senses is enriching performance.”

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EELCO HOOFTMAN Another Greenworld Eelco Hooftman is a landscape architect, guest professor at Harvard Graduate School of Design and founder of GROSS.MAX., based in Scotland.

The works of GROSS.MAX. can be summarized as combination of a British sense of humor, a Dutch sense of experiment and a German sense of rigor.

Current projects include the transformation of the former Tempelhof airport in Berlin, Germany and a linear park in Beijing, China. GROSS.MAX. has been awarded the European Landscape Award 2006 by Topos Magazine. Since 2009 Eelco Hooftman has been a visiting professor at GSD, Harvard. http://www.grossmax.com/

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Another great source of reimagining our future is bringing forward fresh intertwinings of cities and buildings with nature and then presenting them boldly as Eelco Hooftman and his colleagues in their firm GROSS.MAX. have, gathering motivation through investing imaginative energy at every scale of representation.

Eelco urged that we pay attention to each of the fundamental concepts Land-ScapeArchitecture as areas of concern that need to be seen together in finding the fundamental sources for the character of an area. “Optically zooming in and out” in a process of continuous transformation, he refers to inspirations that “combine Bacchus and Apollo,” join unfettered enthusiasms with the cool overview of reason in the design of parks and the inventive intricacies of their connection to place.

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“The ecological performance of the urban landscape.”

Parklandschaft Tempelhof © GROSS.MAX.

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The vision of the Tempelhof Airport in Berlin, Germany according to the GROSS.MAX. The former airport is the vast open space that the authors of the proposal call ‘a contemporary prarie of the urban cowboy’. The edges of the airport are carefully filled in with urban fabric and returning social activities to the enormous airport building while the open grassland remains open, with artificial rock in the central area and the rign of overlapping circuits, providing a dynamic edge condition for different smaller scale activities.

“A park is not an object but a process!”

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MATTIAS KÄRRHOLM Trial by Space Mattias Kärrholm is a professor in architectural theory at the Department of Architecture and Built Environment, LTH in Lund. His research deals with territoriality, the use of public space, urban design, materiality, actor-network theory, society and space and everyday life. He has published articles in international journals and in 2012 published a book that deals with ways in which the new consumer society has brought about new styles of architectural and material organization, affecting our, minds, bodies and movements in urban space. Current research projects include issues on time-space planning, sustainability and the use of public space, urban walking, and on ‘the material turn’ in architectural research.

Mattias Kärrholm follows another trail towards understanding the conditions we face, through giving a scholar’s attention to sociological definitions and what they reveal about the sources for change, and take advantage, or do not, of the opportunities available to them within complex places.

Building from Henri Lefebvre’s concept of “Trial by Space” he notes the need to secure spaces where the public comes together in problem solving.

“The theoretical concepts of ‘appropriation’, the ‘interstitial’, and the performance of ‘spatial appearance’ and ‘responsivity’ in creating ‘publics’.”

Citing concepts of “appropriation” – taking command of spaces, “spatial appearance” – people and groups making themselves present and “meeting the non-familiar”– coming up against the differing ways and intentions of others, he cites the need to make spaces that have “responsivity,” that allow intermediate sizes and groupings and have “crowd space affordance” for assemblies and demonstrations; all characteristics of a domain that allows the forming and expression of new insights and forces within the society.

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KAI PIIPPO Power of Light Kai Piippo is the founder of the internationally recognized lighting design company Ljusarkitektur and chief designer in ÅF Lighting with which his company merged with in August 2013. With more than 30 years of experience, ÅF Lighting is in the forefront of the professional lighting consultancy field. Their multidisciplinary team of experts possesses a wide range of competences in all facets of professional lighting, right from initial concepts and ideas through to finished solutions. Their consultancy services are based on a combination of highly specialized engineering services and a Scandinavian design approach. http://af-lighting.com/

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Three of the presenters have shown ways of adding specific elements to existing sites, creating performative places that are designed to provoke new understandings of what’s possible in the minds of the users.

“The performance of light is not just on and off.”

By using rich and ingeniously placed lighting to refocus attention within urban environments Kai Piippo can turn places into performance pieces and settings for action as well as compelling transformations of locations that had become disarmingly familiar. Referring to awareness of “the body of light” and noting enormous changes within the technology of light production, Kai noted that daylighting and artificial lighting are a continuum, showing examples that bring light to surfaces in ways that allow us to imagine spaces differently, shifting the focus and directing attention in ways they enliven our understanding of a place.

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KATEŘINA VONDROVÁ + CYRIL PAVLŮ Temporary Activators in the Everyday City Kateřina and Cyril graduated from Sustainable Urban Design Master Program at LTH in the spring 2014 and are currently finishing their second degree in Architecture in their hometown Prague, Czech Republic. Given the education in both fields they have always been interested in how the architectural design contributes to the better urban space and vice versa. After years of theoretical studies and academic education they felt the urge to engage themselves in the actual process of making things physical. In January 2012, together with a friend of theirs they founded a student platform urbanACT that operates in the field of urban space and seeks various ways to engage people in creation and rethinking of the existing public spaces by making temporary installations. http://urbanact.cz/

Kateřina Vondrová and Cyril Pavlů, recent graduates, have stepped out from SUDes into the world of action, placing objects of potential in the paths of citizens using humble means to invite inventive play and giving space to life within existing frameworks of urban space, implicitly challenging passersby to become agents in reconceptualizing the city.

They have also shown this directly in their setting for the conference as well as in curating an exhibition of many such works to be found in Prague and other cities, made by people with similar insights and energies.

“Even small interventions can make a big difference.”

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EVA DE KLERK Bottom-up City Development Eva de Klerk is initiator, pioneer, cultural explorer, project booster, matchmaker, community builder, fundraiser, process manager and bottom-up city developer. She is driven by a relentless passion, commitment and devotion for the community and the utilization of urban areas. Eva relishes the areas that are deserted no-go zones – which cities have all over the globe. Areas that are negatively encapsulated by their identities as neglected residential or industrial areas. Branded by their past they seem inaccessible and difficult urban cases to crack. Yet, Eva manages to surpass their abandoned destiny and offers new functions. A challenge she tackles by breaking the presumptions through mobilizing the surrounding community and introducing other people and disciplines that enhance the creation of ideas and solutions. http://www.evadeklerk.com

With Eva de Klerk’s presentation we saw how she has used her imaginative skills, her energetic persuasive powers and a great capacity for perseverance to embed a fresh sense of possibility within places and communities that had been neglected or set aside with little sense of hopeful change. With her provocative insertion of a lively community that achieved collective ownership of a large abandoned factory area, then transformed it through their ingenuity and individualized efforts, she showed the way that static environments, which may now be oppressive and discarded can be reconsidered; that not all that exists is locked down and subject to standard development institutions and routines.

“Just because something is impossible doesn’t mean that it can’t be done” was her repeated call to action; facing down the forces of inertia.

“First comes the community, second comes the planner.”

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“It might be impossible, but not undoable!”

Kunststad is a project that Eva de Klerk iniciated in the former shipbuilding hall of the NDSM Shipyard in Amsterdam. Kunststad is a city designed and built by the ‘citizens’ themselves, with 80 studios and business premises, 12 large theatre workshops, and an indoor skate park. Only a framework of steel and concrete was provided to give the ‘citizens’ as much freedom as possible. Eva de Klerk was the process manager of the project from the very beginning. She was involved in all the stages of the design, from fundraising and financing to the actual building. She also became a citizen of Kunststad.

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NDSM Shipyard Photo: Ronald Tilleman © Eva De Klerk

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STORY OF THE CONFERENCE

by Donlyn Lyndon As anticipated, this has been a conference of great interest, stimulating for the mind and for the senses. It’s especially important to note what was unexpected: embodiment in the place itself of the fundamental notions of the conference…

If we are to be fully aware of ourselves, our companions in this world and the nature of the environments in which we live, we need to be reminded of that, even surprised by that, through reflection and directed attention.

These actions, accompanying the array of powerful images being projected, for the transformed Hall and the workshop into engaging and memorable places, distinct from their everyday existence.

The actions that we take within a defined context can be, usually are, reflexive, called forth from the routines of daily existence, programed in our minds and bodies as response to certain familiar stimuli: the presence of a path, the beckoning welcome of a chair, the actions of those around us, the messages embedded throughout our surroundings in the shape of things and the traces of their making. We are constantly surrounded, as well, by signs and messages, visually projected instructions, appeals and warnings and the actions that they imply or press upon us.

This morning we encountered gleaming white carpet, darkened and lighted surrounds and the platform of pillows in the Full Scale Laboratory, followed later by the invitation to each of those present to leave penned marks and thoughts on the paper-covered tables and even on the carpet below.

To perform is to carry out an intended set of movements or actions, usually in a prescribed manner and for the benefit of others, as in a musical performance or medical operation. The term “Performative” seems to have emerged from the study of linguistics and refers to words that are themselves some kind of action or

That performance is always a part of what we do and who we are.

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instruction and it has more recently become used within gender studies and sociology as indicating terms and actions that are deeply linked to personal identity. Concepts and terms that are not merely descriptive but that become active in forming the identity of a person or group.

Performative places are, by extension, environments that contribute to the formation of group or cultural affinities.

Decades ago the philosopher Suzanne Langer identified the fundamental import of architecture as an art that creates “ethnic domain”, that is as an art that brings the elements of building within the grasp of cultural groupings.

The character of our times is such that “ethnic” groupings now seem to be either fiercely confined, often brutally protected or in full flux of absorption and change, often within cultures where both things are happening and there is much discord.

Our environments become a part of us.

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More recent scholars, like Stanislav Roudovsky have used the term “performative places“ to refer to the wide array of combinations of grouping and identity that now create our social identities and that are formed around both physical conditions close by and the persistent appeal of remote electronic communication; the fascination that attaches to maintaining contact with others no matter how far away.

Our groupings and associations are now widely dispersed and interlocking and we take part in creating them. The physical places of our world become, therefore, places that are constantly in need of readjustment and change. They are inevitably charged with extraordinary overlays of imagination and association.

The places in which we live and work and play are decisive in our lives.

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But the physical is present. It does affect how we perform, it does bring us together with others and with the tangibles of being; with light and its magic flows of radiance, with air and water and their capacity to nourish us; with earth and its transformed surfaces that configure our movements and with the composite elements and biotics

which sustain the vegetation that provides food and shelter for us and for what used to be called the animal kingdom, with which we share space on this globe.

We need to keep finding new ways of understanding what’s around us and what will become of it. We need to learn to make compelling places that bring people back into touch with the immediate; with the physical world at hand - with that which calls the body into performance and the mind into awareness. What might a place become, how it can be sustained and in what ways we will be able to share our common ground for multiple purposes? Such questions require constant attention.

Given all that this implies, this conference is about finding ways to draw in resources with which to see and experience and know in new and productive ways. That takes not only insight and imagination, but the spirit of adventure and the will to make things happen. It requires being able to bring others to share in those explorations and risk the unexpected.

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AFTERWORD

by Donlyn Lyndon We might say that within SUDes Conference 2014 on Making Performative Places, we have seen five modes of working: Making forms that reawaken our interest in relationships.

Analyzing territories as patterns of potential interaction.

Viewing places In ways that engage both fragile human bodies and large economic mechanisms in the society Returning the focus of attention to the natural world and the landscapes of settlement.

Recoloring the ways we look at what presently exists through making lived suggestions for change.

Together these, absorbing the performative aspects of place, offer an array of steps forward that are able to mobilize many aspects of our societies to become involved in positive change.

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In conclusion I want to thank SUDes for continuing to “turn the page”, to look repeatedly to new information, examples and sources, while keeping its central commitment to understanding the importance of place and the abilities that urban designers can use to engage new conditions while sustaining a central focus on human consequence.

I should also note the role that Harrison Fraker has played. His note regarding the character of change and what is emerging in the field set the charge for this conference. As Guest Professor, Harrison is an unrelenting and perceptive scout of ideas and studies that can move the field forward.

And finally a great vote of gratitude for Peter Siöström and the staff of SUDes who constantly provide a productive mix of ideas, one that opens paths for generations of students and seekers and which constantly brings us back in touch with our selves, the ultimate source for our engagement with the world.

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LIST OF MAKERS Publishing director

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Peter Siöstrom

Book Editors

Kateřina Vondrová Cyril Pavlů

Organization team

Edda Ívarsdóttir Cyril Pavlů Peter Siöström Kateřina Vondrová

SUDes team

Louise Lövenstierne Andreas Olsson Per Tibbelin

Conference manager

Mattias Nordström

Photographs

Edda Ívarsdóttir Costin Mihai Milea Cyril Pavlů Kateřina Vondrová

Student contributions during the conference

Cassandra Alves Raluca Axante Svetlana Tutanova

Conference participants

Renee Y. Chow Peter Elmlund Harrison Fraker Eelco Hooftman Mattias Kärrholm Eva de Klerk Donlyn Lyndon Jenny B Osuldsen Cyril Pavlů Kai Piippo Kateřina Vondrová Han Xili

Special thanks to

Ax:son Johnson Institute for Sustainable Urban Design Lund Unversity

Harrison Fraker, FAIA

Professor of Architecture and Urban Design, Department of Architecture, UC Berkeley William Wurster Dean Emeritus, College of Environmental Design Chair, Energy Resources Group, UC Berkeley Ax:son Johnson Guest Professor, SUDes, School of Architecture, Lund University AIA/ACSA 2014 Topaz Medallion Recipient

Donlyn Lyndon, FAIA

Eva Li Professor Emeritus of Architecture and Urban Design, UC Berkeley Professor of Architecture and Urban Design, Department of Architecture Ax:son Johnson Guest Professor, SUDes, School of Architecture, Lund University AIA/ACSA 1997 Topaz Medallion Recipient

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AKNOWLEDGEMENT Ax:son Johnson Institute for Sustainable Urban Design Lund University Sustainable Urban Design Master’s Program www.stadsbyggnad.lth.se School of Architecture Lunds Tekniska Högskola P.O.Box 124, 221 00 Lund, Sweden +46 46 222 00 00 School of Architecture Lunds Tekniska Högskola Lund University Lund, Sweden SUDes Publishing ISBN 978-91-980294-6-8 Printed in Lund by Media Tryck 2015 Lund, Sweden Publication Online

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http://www.stadsbyggnad.lth.se/english/resources/downloads/

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