Urban Gallery

didactics and implementation

CHORA City&Energy, FG Bunschoten, School of Architecture, TU Berlin

Author: Tomaz Pipan

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overview of the didactics and implementation in teaching

TU BERLIN, School of Architecture

FG Bunschoten
CHORA City & Energy
Institute for Sustainable Planning and Urban Design
October 2012
Author: Tomaz Pipan

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INDEX

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

2. New Profession in Urbanism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3. Urban Gallery as a Didactic Methodology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

4. Urban Gallery (UG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

4.1. Layer 1: Database (DB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

4.1.1. Bean Throwing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

4.1.2. Mini Scenarios (MS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

4.1.3. Operational Fields (OF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

4.2. Layer 2: Prototypes (PT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

4.3. Layer 3: Scenario Games (SG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

4.4. Layer 4: Action Plans (AP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

5. Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

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Preface
This is a white paper on Urban Gallery. It explains the organizational structure, individual parts and
usage of Urban Gallery through definitions and examples. Urban Gallery as explained here is a
practical use of methodology developed and tested by CHORA (www.chora.org) and defined in the
book Urban Flotsam (Bunschoten, Binet, Hoshino 2001).
This paper represents interpretation and update of the methodology in light of most current
developments and needs within the field of urbanism and the teaching practice of urbanism. In
addition, this paper further systemically defines the concepts for the purposes of online deployment.
This requires definition and standardization of Urban Gallery in terms of numbering of individual
elements, mandatory drawings (and their scales) and definition of data consistency norms. This is a
new feature that assures standardization and serialization of Urban Gallery so to achieve compatibility
across different platforms. This allows elements from different Urban Galleries to be exported,
imported and reused in different territories. The data consistency protocols and online Urban Gallery
are being developed by Tomaz Pipan and tested out in numerous didactic sessions with founder of
CHORA professor Raoul Bunschoten and other tutors throughout 2006 2012. It is an on-going
process.
The Urban Gallery is currently (as of September 2011) mostly developed within CHORA City &
Energy (CHORA CE), a research institute for Sustainable Planning and Urban Design at TU-Berlin,
School for Architecture. The digital online Urban Gallery is a testing ground for Brain Box, a physical
interactive environment for dynamic master planning and negotiation.

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1. Introduction
Urban Gallery is a methodology that enables us to look at specific territory, identify its elements, and
understand problems and opportunities. Further it enables us to create and manage planning scenarios.
It is made of four distinct layers through which it is possible to holistically understand and act within
this territory. These layers are set so to inclusively discuss and incorporate matters concerning spatial,
economic, political and social issues in a sustainable manner. These layers are Database (DB),
Prototypes (PT) Scenario Games (SG) and Action Plans (AP), explained and defined in Chapter 4.
Urban Gallery is used to propose new solutions and manage implementation of these new solutions
dynamically through negotiation of involved partners / players / stakeholders. Urban Gallery allows
discussion scenarios; it allows for different stakeholders to contribute to the debate and shaping of a
territory / idea / project.
Urban Gallery is an adaptive methodology and can be applied to engage different subject matters.
CHORA CE is currently focusing on questions that deal with sustainability, resiliency and energy
efficiency; taking these issues as main research topics to be explored through the Urban Gallery. In
this sense, it allows us to create new Prototypes and approaches to planning. We mainly focus on
definition and design of hybrid solutions (projects) by merging technologies, infrastructures and
existing solutions to create Prototypes that satisfy the demands of current social, economic and
environmental conditions.
Urban Gallery is used as a specific architectural management methodology how to look at, manage
and propose solutions on an urban scale city scale. The following chapter explains what is the
position of CHORA City & Energy (CHORA CE) and how we understand what an architect can
engage with on an urban scale and what is his / hers role.
Raoul Bunschoten is a London-based architect who has engaged with a number of complex
and contentious urban regions in Europe, and has developed a number of innovative mapping
techniques for working with such sites. For Bunschoten, cities are dynamic and multiple;
they comprise a vast range of 'players' and 'agents' whose 'effects' flow through the system,
continually reworking the variety of urban spaces in any given field. His approach is aimed
first towards identifying and then redirecting the temporal play of these various forces.
Consequently, urban design is practised less as spatial composition and more as
orchestrating the conditions around which processes in the city may be brought into
relationship and 'put into effect'. Bunschoten calls this 'stirring'. A key principle in
Bunschoten's work is the idea of 'proto-urban conditions'.
(Corner, J. (1999) The Agency of Mapping: Speculation, Critique and Invention)

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2. New Profession in Urbanism

Architecture is mainly preoccupied with the built environment, with the shape and form of the space.
It is concerned with how different elements fit together in space. It questions the quality of these
compositions in terms of things like living standard and quality of space for the users, lately also
questions regarding energy efficiency and so on. The practitioners within the architectural field
become specialised and deal with certain segments more often (and better) than with others. Some are
more interested in the detailing and design of the buildings, some in the general layout and urban
organization. CHORA CE is interested in a larger scale (scale of the city) and the urban territory in
terms of management, choreography of stakeholders and design of projects. This scale could be
loosely called urbanism. Within this scale, we seek answers to how it can we create new integrated
and inclusive solutions that are more energy efficient, resilient and sustainable. This with one word is
a debate on Smartness that is becoming one of the leading research subjects in the field of Urbanism.
Recent trends in the direction of "Smartness" had been spearheaded by the IT companies like Siemens
and IBM. They are starting to reach into the domain of the urban infrastructure and the city as such in
order to meet the challenges of Climate Change and seek solutions for low carbon economies. With
cities being ever more dependent on utilization of information, the digital giants are changing their
focus from mere supply of computers and software to devising integrated city solutions. Through this
act, they are entering the spatial, political and economic domain of our urban environment. Through
data mining and information synergy, they are proposing a better world, where industries will be
greener, traffic will run smoother, and where "green" energy will be in abundance.
The ideas behind their solutions are noble; however the implementation of their ideas in reality although technologically possible - would need a spatial and propositional perspective. City is more
than computers and digital infrastructure. Understanding urban environment and building a smart
energy efficient city is more than installing a state of the art database and linking all the computers
together. This is where information-based companies have little experience. The conceptual and
digital level of smartness needs to be complimented with its spatial implementation. Instead of staying
on the conceptual level, we have to grab the opportunity given and carve out our space in the
Smartness debate by proposing possible urban designs for new industrialization efforts- a level of
definition that firms like Sysco and IBM, due to their specificity of field, are just incapable of doing.
In this spirit CHORA CE looks how to work within the vocabulary of Smartness that has been mainly
claimed by the IT firms and how to facilitate the Intelligent and the Smart and propose a next
generation of industrialized city that is geared towards good research and development. In other
words, if companies like Siemens are devising a software - driven answer to the Smart City, our
response as architects and urban designers is a spatial and design driven implementation and
facilitation of the technological solution of companies like Siemens and IBM that do not know how to
materialize their networks.

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One of the ways how to achieve that is, we believe, by connecting the city scale with the detailed
scale of contemporary technologies (like new materials, systems etc.). This crucial connection is
defining a new way how to look at a city as a whole and define urbanism.
Urban environment and urbanism is a difficult area to operate in. The problem with urbanism is, that
it is never understood as an independent discipline but is attributed to one or another; namely to
architecture, geography, landscape architecture, planning, sociology and the list could go on. From
this condition, a main problem arises; each of these disciplines understands term urbanism differently
and each discipline deals with urban space in a different way. For example: IT companies think about
software solutions and computing the optimum results. Architects try to enhance the quality of urban
space with new buildings and different programs. Landscape architects evaluate the quality of urban
open space on the basis of physical comfort shade, water bodies, green areas etc. Urban geographers
would analyse the environment through adequate infrastructure, energy and water supply etc. Again,
urban sociologists would deal with the local communities, social and physical health of the population
and similar issues.
These short descriptions are very general; nevertheless they show just how varied and multifaceted
the claim on urban territory really is. City and urban environment are elusive phenomena that so far
managed to avoid any definite characterisation. As the urban environment is so complex and
pervasive, it is no wonder that many different disciplines are making the research claim on it, a claim
that in many cases is unilaterally exclusive. This shows the inherent problem of the urban field it
operates in a fractured horizon that is shared by many different disciplines, yet these disciplines treat
it in many cases as exclusive research subject of their respected field. These kinds of positions are
always partial and only segments of a larger reality. We believe that it is better to turn the argument
around and define a general discipline that deals with the urban environment that being urbanism
and agree that many different professions and research disciplines are needed to be able to describe
the phenomenon adequately. In this way we can better define areas of interests it covers and
collaborate with experts form other fields in order to bring about a more complete picture of a certain
territory. But even so, the angle or vantage point from which one researches the urban phenomenon
can vary immensely, therefore in addition to framing the urbanism as a separate discipline; it has to be
also framed in terms of an approach angle; being that economic, cultural, social, spatial, energy
related, etc.
CHORA CE is an architecture oriented urban research institute (with all the implications the previous
paragraphs entitles). Even within the architect-urbanist direction, there are different ways how one
can go about explaining and making sense of the urban environment. As architecture is a design and
space related discipline, we understand urbanism as a spatial discipline that can be represented and
understood through drawings, diagrams, graphs, maps and photographs. However, we strongly
believe that our design aspirations need to be connected to social, cultural and economic factors that
shape the spatial form we call the city in order for it to be sustainable and energy efficient. To make
sense and understand this urban phenomenon, we look at the city as interconnected web of urban
systems and try to understand the city as a cohabitation of multitude of these systems. We describe

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these systems by understading the underlaying processes that make the systems work. Urban Gallery
is a methodology that helps us to define, classify and organize these systems on the basis of processes.
We use tools like mapping and diagrams to show and explain them. Through this we are able to
propose new solutions and design new ideas.
Sustainable and resilient urban design also means inclusive approach to take into consideration as
many different publics as possible. In this sense Urban Gallery represent an open platform that can
manage negotiation of different claims and stakeholders on the territory. Through Urban Gallery, we
are defining a new occupation of urban curation through design that is able to handle dynamic
masterplaning in a contemporary fractured civic space of the city.
With this said we could conclude that CHORA CE is arguing for a new profession of curatordesigner within urbanism that is based on understanding of urban processes to propose sustainable
and energy efficient (smart) solutions, framed through the methodology of Urban Gallery that
represents a platform to inclusively and dynamically manage the implementation.
Urban Flotsam: 57
The practices of urban planning and architecture are evolving in the context of an evermore complex second skin. In collaboration with other practices, inhabitants, users,
clients, decision makers, producers and investors, these practitioners help to invent new
urban forms and define the shifts in practice that are required for the management of
these new forms. Urban Curators orchestrate this shift in practice, detect emergent
phenomena, designate cities as metaspaces, form galleries, and curate their contents.

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3. Urban Gallery as a Didactic Methodology

Urbanism is a scale of environment that is different from the architectural scale. It engages our
environment at a particular level where different considerations (ranging from material, spatial and
social, all the way to cultural, political and economic) are present. Our goal is to show to the students
just how interesting and varied urban space is and give them tools like Urban Gallery to structure the
understanding of urban environment. On this basis students are able to make informed decisions and
put forward meaningful propositions.

The Urban Gallery helps us to understand and approach a specific territory in a holistic manner. For
this a predefined structure of four main layers is used. Going through all the four layers a student
touches on 4 main fields that we believe urbanist should be able to operate in. These fields are:
1. Understand what is the condition of a territory and what are current solutions (Database Layer)
2. Propose new and novel solutions for identified problems and opportunities (Prototypes Layer)
3. Inclusively manage and curate development of novel solutions (Scenario Games Layer)
4. Dynamically implement the novel solutions (Action Plans Layer)
By working with these four distinct layers, a feedback between different processes within the urban
design practice can be controlled and managed (for example, how does a set of different stakeholders
affect the Prototype, how does that play against certain urban conditions and what is the relevance of
all the mentioned factors for the implementation and design). This process of a feedback is possible
by navigating the urban gallery.

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Ultimate goal of users navigating the Urban Gallery is to be able to move

between the four layers, assessing referencing and reworking the initial
solution through incremental steps into an optimized result. In this way,
Urban Gallery gives a possibility of constant reference and feedback to the
initial conditions and other elements (i.e. other Prototypes) within the
urban gallery.

For the didactic purposes, each layer is introduced in an individual lecture session followed up by a
workshop session. There are clear Threshold Concepts and Learning Goals that participants need to
learn from each layer in order to be able to progress to the next one. The Learning Goals and
Threshold Concepts are clearly identified and stated for each Urban Gallery element in the text below.
Each description of the element also explains main Data Serialization (numbering, colours needed,
images required). This level of regulation and standardization is needed so that Urban Gallery can be
understood, edited and used by different publics and to assure compatibility and data consistency
across different Urban Galleries.
The described framework gives students the opportunity to slowly acquire the knowledge and go
through the process of reading the space and proposing new solutions. The Urban Gallery structure
works as scaffolding that lets students acquire crucial (threshold) concepts and work their way up the
learning spiral.
The most important part of the whole didactic process is to make students aware of the interconnected
quality of all the exercises and the complex and exciting negotiation process between these different
levels. Urban Gallery shows that even though urbanism is a complex milieu, it is very interesting and
manageable horizon with the help of a good methodology.
What follows is a description of each element of Urban Gallery, its didactic and technical components
and a thorough example-based definition.

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4. Urban Gallery (UG)

DATA SERIALIZATION
1. ELEMENT TYPE abbreviations of urban gallery are:
UG = Urban Gallery
DB = Data Base
MS = Mini Scenario
OF = Operational Field
IM = Index Map
PT = Prototype
SG = Scenario Game
AP = Action Plan
2. ELEMENT ACRONYM is a unique 4 symbols designation of each element within the Urban Gallery. These symbols can
be Letters (A-Z and a-z, English alphabet) or Digits (0-9 in Arabic writing). Please see details under Data Serialization of
each individual element in sub chapters. General guidance is as follows:
Mini Scenario: DDDD (4 numbers), First two x and y of a quadrant second two a specific number of MS
Operational Field: LLDD (2 letters 2 numbers), LL = Topic Abbreviation, DD = specific number of OF
Prototype: LLLD (3 letters 1 digit), LLL = Title Abbreviation, D = Version of the PT
Scenario Games: LLLD (3 letters 1 digit), LLL = Title Abbreviation, D = Version of the SG
Action Plan: LLLD (3 letters 1 digit), LLL = Title Abbreviation, D = Version of the AP
3. ELEMENT NAME = Element Type [Element Acronym]:
MS [1274] is a specific Mini Scenario
OF [Ag43] is an Operational Field with Agricultural topic
PT [PuC3] is s a third version of a Prototype whose abbreviated name is PuC
SG [TvE2] is a second version of a scenario game that deals with the topic abbreviated in the title TvE
AP [BpT1] is a first version or possible way of proliferation of a project abbreviated in the title BpT
4. CROSS LINKING: Each element within Urban Gallery needs to be Cross Linked. This later assures to navigate and
play through the Urban Gallery. Through we identify and connect other elements within urban gallery that an element
refers to or is referred by.
4. IMAGES for uploading need to be in JPG format and in RGB colour scheme
5. EXAMPLES of usage and deployment of urban gallery and format of individual elements at:
http://www.urban-gallery.net

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DESCRITPION
Through Urban gallery it is possible to holistically design and implement planning projects. From
understanding the site conditions, proposing the solutions to planning the implementation. In addition
it enables a negotiation of different publics that claim involvement or participate in this process. It
enables renegotiation and feedback into the earlier stages to come up with a consensual solution. This
is understood as dynamic planning and negotiation.
The Urban Gallery manages the evolution of a planning project; it forms the incubator for Prototype
projects. It is an interactive planning tool used in dynamic master plans in which Prototype projects
play a significant role to either achieve efficient energy management, link operations of very different
sectors and stakeholders or create a pattern of sustained growth or evolution.
The Urban Gallery is a tool that enables the stakeholders related to Prototype projects to act jointly or
collaborate over longer periods of time, and to develop, monitor and evaluate Prototypes as pilot
projects within an overall plan.
Urban Gallery deals with management in urban space through four distinct layers. It describes it
holistically through the Database, it gives new and novel ideas what to change through Prototypes
and it gives a space for dynamic negotiation and planning through Scenario Games and Action
Plans.
1. Database layer: gather information about a territory, identify problems and opportunities,
2. Prototype layer: propose solutions and novel ideas,
3. Scenario Games layer: negotiate and reformulate the ideas and
4. Action Plan layer: mange and implement the proposed ideas.
These are the four basic layers that are required for an urbanist to engage. Having them wellstructured gives us the opportunity to describe the urban design process to users very clearly and show
in a simple way what is required from an urban scale project.
Within each layer there are individual elements. These elements are cross-linked amongst each other
and affect one another. This creates a feedback loop of negotiation that enables us to constantly
refine the elements and make new ones. For example playing a Scenario Game by acknowledging a
certain Mini Scenario might let us thing about refinement of a Prototype. Through this a new
Prototype can be created and a new Action Plan for implementation of this Prototype can be
envisioned. This in turn can change the initial condition of the Mini Scenario and so on.
On a didactic level, the Urban Gallery structure gives a framework that acts as a reference in teaching,
to see what has already been covered and what still needs to be explained.

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4.1. Layer 1: Database (DB)

Database is the primary layer of Urban Gallery where all the information regarding a specific territory
is stored. From specific stories of places, to policies and technologies that can be used; all are
managed within a structure of database elements called Mini Scenarios and Operational Fields.
Database is a collection of proto-urban conditions conditions that have a potential to become
useful for definition of a new Prototype. These proto conditions are the urban processes that we seek
to describe with Mini Scenarios.
Urban Flotsam: 8
Proto-urban conditions cause change in the incessant flux of the second skin [the city],
to bring about new phenomena that seem to follow lines drawn upon an invisible map a map that prescribes the behaviour of cities.

Identifying and explaining proto-urban conditions can be done in different ways. We are using a
method through which any urban condition can be assessed through four basic processes that are
present in space.

Urban Flotsam: 28
A basic set of four processes:
Erasure: the removal of things - is taking things away, making space.
Origination: change initiated at a single point.
in time or space - is a point in time where something new begins to happen, origination
sets something into the realm of the other, it is the basis for reaction.
Transformation: continuous change from A to B - indicates a continuous change
between two states of an object or situation, a change with a beginning and an end.
Migration: things moving through - describes things moving from one point to another,
things that leave and don't return, of which sometimes traces remain.
This basic set of processes enables the schematic articulation of complex urban
dynamics. It is a framing device to filter out emergent phenomena.

To understand these basic processes an exercise is made where participants train the description of
proto conditions through the four EOTM processes.

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E.O.T.M. Exercise

In-studio exercise Students have to describe the playground of elements in the centre through the EOTM processes.
Preparation for fieldwork Mini Scenarios
LEARNING GOALS
This acts as a preparatory exercise for students to learn how to do Mini Scenarios in the field work. It helps to explain how
to read space; what are processes how to identify the processes in space and create a story out of them.
TRESHOLD CONCEPTS
what is a process, EOTM processes, Mini Scenarios
DATA SERIALIZATION
1. Create a blank field with A4 papers
2. Put objects into the field that you find in the room
3. Have two players blindfolded and lead thought he field so they disturb and rearrange the field
4. Describe the processes that were taking place.

DESCRIPTION
Erasure, Origination, Transformation and Migration are four basic processes through which any
situation can be rigorously described. These can be applied on a physical or a test environment.
Before going to the site an exercise of reading the space through the four processes is done in the
studio.
The central group of students create a playground of objects in the space. The playground is disturbed
by winds of change (see Urban Flotsam). After, students describe different situations through the
EOTM processes exercise that are used in Mini Scenarios. This task is repeated by all the participants
in the group - around the circle roughly 15 Mini Scenarios are plaid out.

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Urban Flotsam: 31
Look at this city in motion and describe a sample of it through the process of erasure.
Look at this city in motion and describe a sample of it through the process of
origination. Look at this city in motion and describe a sample of it through the process
of transformation. Look at this city in motion and describe a sample of it through the
process of migration.

The EOTM exercise is an introduction to the Mini Scenarios that are the first on-site exercise. In order
to define sites to visit, a bean throwing exercise is made.

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4.1.1. Bean Throwing

Throwing the beans random sampling.

LEARNING GOALS
Importance of random sampling for a cross-section of an area
TRESHOLD CONCEPTS
specific sites, randomness creates even pattern and order
DATA SERIALIZATION
1. The bean-throwing map represents the frame of the Urban Gallery its totality
2. The printed map of the site needs to be of adequate size so to be able to have a large group of people standing around
throwing beans (at least 4x4 meters)
3. The map is split into sub-frames
4. Maximum number of sub-fames is 10 x 10 in order to serialize the numbering of Mini Scenarios later (see XXXXXXX)
4. X axis of the bean-throwing map is numbered 00, 10, 20, , 90
5. Y axis of the bean-throwing map is numbered 00, 01, 02, , 09
6. A specific sub-frame number is therefore defined by XY giving numbers 00, 01, 02, , 99 where firs digit is the X and
second digit is the Y axes of the initial frame
7. A specific number of a bean site in a sub-frame is arbitrary number defined on-site by the users and can be form 00 to 99
(therefore each sub-frame can have 100 bean sites)

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Numbering of a main Urban Gallery frame territory

Numbering of individual sub-frames and bean sites within territory

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DESCRIPTION
For the actual site visits and Mini Scenarios, firstly Bean Sites need to be defined. Since urban
environment is so varied and diverse it is hard to establish what to sample and where to start. If we
use for example main areas of intensities like subway stations or main streets to understand certain
area, a very one-sided understanding of local conditions arise. Instead of following any logic of what
we need to analyse in the space we rather take as an ordering device random sampling. By having
enough random sampling points, we can create a good enough approximation of a certain urban
territory that can be safely argued represents a cross section of its character. In this way very
prominent and also very localised and obscure situations can be sampled. In each point a Mini
Scenario can be described (see next chapter). This gives a wide spectrum of Mini Scenarios that are
possible. Sometimes the most interesting urban-proto conditions that can lead to good Prototypes are
found in obscured situations that might not look promising right away.
Urban Flotsam: 9
The city as a life form has to be maintained - its evolution sustained. To do so, protourban conditions must be known, their manifestations recognized:
The drone of the traffic disturbs the quiet; the wind blows through the trees, taking the
leaves; lust determines the behaviour of the afternoon exchange dealings - the Dow
Jones is up; fear and desire permeate the night; alarm systems go off. The chat rooms
of the Internet are full of people pretending they are not themselves, other genders.
Memory becomes a toponymy: here was once a church; now only a name remains.

The bean throwing exercise needs to produce an even random sample by throwing the beans evenly.
After the beans are thrown, participants need to mark-up all the bean sites and number them
accordingly (see next chapter).
All the bean sites must be marked and numbered in compliance with the Data Serialization. After the
map is adequately marked, it can be cut down into individual sub-frames. These cut-outs are given to
participants for the on-site Mini Scenario exercise.

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Marking the bean sites for later site visits and Mini Scenarios

Urban Flotsam: 23
Playing involves random choices, findings, discoveries. This randomness generates
variety and surprise. Random sampling is the technique of cutting through preconceived
categories to reveal the ways that proto-urban conditions affect specific environments. A
critical mass of random samplings is needed in order to see differences in their
manifestations and to establish trends.

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4.1.2. Mini Scenarios (MS)

Example of a good Mini Scenario. The narrative flows from one process to the next.
LEARNING GOALS
Being able to understand and read space through four generic processes. Purpose of Mini Scenarios is to understand what the
character of the area is; what are the problems and opportunities for later definition of Operational Fields and Prorotypes.
TRESHOLD CONCEPTS
Mini Scenarios as tools how to assess urban space and urban situations. Narrative.
DATA SERIALIZATION
1. Acronym for MS is defined as XYNN (from bean throwing exercise) where
XY = Number of a bean site sub-frame
NN = specific number of this Mini Scenario
2. Images for MS:
- Main image needs to be annotated to correspond to the EOTM descriptions.
- Location Map Image needs to be produced to show the frame number, position and bean-site number
3. Annotation Colours for EOTM Processes
E: RGB = 123, 175, 222
O: RGB = 247, 173, 206
T: RGB = 145, 168, 60
M: RGB = 254, 205, 7
4. Text for MS:
- Descriptions for the EOTM should flow like a narrative (see below: Urban Flotsam 33)

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DESCRIPTION
Students go onto the previously defined bean-site locations and describe them through EOTM
processes creating Mini Scenarios. Individual groups are met in the field at specific times to do a short
Mini Scenario session directly with the group.
Mini Scenarios are a way to familiarizing oneself with the city with its spatial social, cultural and
economic aspects through observation of randomly predefined specific locations. The set of four basic
processes (EOTM) is a framing device that enables filtering and articulation of complex emergent
phenomena.
Mini Scenarios are small narratives of the area, a glimpse into a life of a fragment of the territory.
They can be poetic or scientific but in any case follow the general description structure of EOTM to
create a narrative.
Urban Flotsam: 32
A miniscenario is a schematic description of a sample of dynamic conditions taken at
one point in time and in space. It uses the four basic processes as steps in its
description. It is a small narrative taxonomy.

The Mini Scenario can be carried out on any number of scales. It can describe a city scale (how
infrastructure works, where cars go, etc.), it can describe architectural scale (what is happening with a
building / buildings, the street furniture, etc.) or it can also describe a detail scale (where is a flower
growing, what is happening on a window ledge, etc.)
Mini Scenarios can talk about spatial, social, cultural, economic, policy or any other processes that
can be observed. They can talk about past events current or future events. They can talk about people,
animals, cars, buildings, garbage, energy, information, policies, rules, money, etc. Through Mini
Scenarios we try to get a glimpse into city life.
Urban Flotsam: 11
Immersion in the city with new eyes means walking through it, entering its flux,
encountering emergent phenomena, recognizing them as manifestations of protourban
conditions, sorting them into boxes.

Mini Scenarios are narratives; this means they are by their definition also subjective. The purpose of a
big sampling set is to put each subjective statement in relation to others, hopefully creating a pool of
information that is less subjective.

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Urban Flotsam: 33
We are sitting in a Japanese restaurant somewhere in Oslo. We are eating fish (erasure),
and enjoying it. However delicious, we cannot finish all the fish. After a while the waiter
comes along and asks: 'Are you finished?' 'Yes, thank you (origination). It was very good:
we reply. He then takes the plate away. Back in the kitchen, he throws the fish in a
bucket, the bucket where all leftover food is thrown (transformation). At the end of the
day the bucket is brought outside the restaurant with the other garbage. It is taken
away by the sanitation department (migration).

Students go onto the locations and do the Mini Scenarios. Tutors meet individual student groups in
the field at specific times and work with them on one Mini Scenario field tutorials.
Urban Flotsam: 34
Miniscenarios are written on the page of everyday life. The schematic structure of a
miniscenario links processes to Operational Fields. In the story of the fish we move in a
few lines from user to service to kitchen management to city management. Each is an
operator in an Operational Field. Each is an instigator of processes.

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4.1.3. Operational Fields (OF)

Operational Field that deals with Biomass.

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LEARNING GOALS
What are Operational Fields and how they function as tools in urbanism? How users and things engaged with certain urban
situation (explained in Mini Scenarios). Creation of Operational Fields from the on-site visits and Mini Scenarios.
TRESHOLD CONCEPTS
Operational Field, actors, agents and angels
DATA SERIALIZATION
1. Acronym for OF is defined as TtNN
example: Ag45
Tt = Topic (see no. 2)
NN = specific number of the Operational Field (see no. 3)
2. Topics (Tt) of OFs are as follows:
Ag = Agriculture
In = Industry
Se = Services

Ec = Economy
Po = Politics
Cu = Culture

Te = Technology
Ev = Environment
In = Infrastructure
Su = Sustainability

3. Specific numbers (NN) need to be pre-defined when multiple OFs are created in parallel so that the acronyms are not
doubled. Each group has 5 numbers at their disposal within each topic group. There can be a maximum of 20 Groups or
individuals creating OFs simultaneously. The (NN) numbers allotted are as follows:
Group 00: 00 04
Group 01: 05 09
Group 02: 10 14
Group 03: 15 19
Group 04: 20 24

Group 05: 25 29
Group 06: 30 34
Group 07: 35 39
Group 08: 40 44
Group 09: 45 49

Group 10: 50 54
Group 11: 55 59
Group 12: 60 64
Group 13: 65 69
Group 14: 70 74

Group 15: 75 79
Group 16: 80 84
Group 17: 85 89
Group 18: 90 94
Group 19: 95 99

4. Text for OF:

- Description of the OF
- Definition of Actors, Agents and Angels
- Definition of Further research Agendas
- Links to relevant institutions, papers, research tec.
5. Images for OF:
- image of the OF
- diagrams of flows, energy consumption / production, organizations, etc. (what OF does)

DESCRIPTION
After understanding the area through Mini Scenarios; describing proto-urban conditions by
identifying problems and opportunities, Operational Fields are distillations of that knowledge. They
represent a concrete topic identified in Mini Scenarios or a topic that can be proposed on the basis of a
Mini Scenario.
Operational Fields are generic themes that come out of observations, things like like policies,
technologies, infrastructure, improvements, concepts, ideas, important players, etc. Specifically an

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Operational Field can be for example urban agriculture, water management, carbon trading,
underground network, community committee, mobile phones (as a concept), wireless network, etc.
Urban Flotsam: 35
Like emotions, proto-urban conditions contain action-tendencies. These actiontendencies appear in miniscenarios as conflicts, or as simple changes in a common
practice or the use of a common object or space. These tendencies cause ripples in the
surrounding environment. Operational Fields contain the actors and agents that within
their roles articulate the action-tendencies of proto-urban conditions and give them the
potential to unfold. Miniscenarios are like seeds, or narrative seedlings, for scenarios.
The Operational Fields nurture their growth. As seedlings grow, they exfoliate.

Operational Fields link the territory with new possibilities with possible projects that come in the
form of Prototypes.
Operational Field needs a good and in-depth description a research topic that has to be well
documented. In addition identification of Actors Agents and Angels (see Urban Flotsam reference 37
below) is needed to frame how this Operational Field operates. Operational Fields requires definition
of further research needed and reference to relevant current research.
Urban Flotsam: 37
Scenarios need authors, actors, agents and angels.
Authors create plots for scenarios. Plots express their dreams, desires. Different authors
write different scenarios; sometimes, these different versions clash. Authors react; they
strategize; they adapt their scenarios.
Actors play characters with desires within scenarios.
Agents set rules that affect scenarios and the desires played out by the actors.
Angels are symbolic heroes and messengers capable of moving through different layers
of space. They pass from the realm of proto-urban conditions to the domain of the
second skin.

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4.2. Layer 2: Prototypes (PT)

Prototype that deals with Bio Gas and public space.

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LEARNING OBJECTIVES
Understanding the connection between Mini Scenarios, Operational Fields and Prototypes. What are Prototypes and how to
ccreate them.
TRESHOLD CONCEPTS
Prototype as design. Prototype as a hybrid novel idea.
DATA SERIALIZATION
1. Acronym for PT is defined as TTTV where
TTTT = abbreviated title / name of the Prototype
V = version of the Prototype
2. Text for PT:
- main description
- BEFI texts (detailed breakdown see below)
3. Images for PT:
- collages showing the usage and performance
- plans and sections, scale 1:50 and 1:200
- Organizational diagrams, graphs of process flows, energy flows, product flows, etc.
(detailed breakdown see below)

DESCRIPTION
On the basis of Mini Scenarios and Operational Field, an idea is formed what are deficiencies and
opportunities in space. On basis of this a hybrid novel idea can be put forward in a form of a
Prototype that addresses many problems at the same time. For example, a Prototype would be a smart
public space that in addition to being a public space caters for social inclusion between local
population and government and creates energy for sustainable development of adjacent real-estate.
Prototypes are new concepts, ideas and innovative projects that enable the reorganisation of existing
processes and the initiation of new ones. Prototypes are designs as well as organisational structures
that link different processes to create higher levels of efficiency, quality or control.
Prototypes are processual machines, this means that Prototypes work on a basis of organizational
laws and concepts that derive from embedded processes, for example processes related to energy
efficiency or sustainability. A Prototype organizes different processes and links them in a new way,
for example to enable a city to become more energy efficient as a whole.
To understand Prototypes and their inner mechanics the dynamics of the processes have to be mapped
out. Further, the dynamics of the intertwining of the processes has to be understood. Through
diagramming of the processes we begin to understand what are the requirements and parameters of
certain Prototypes. This later helps us to define constraints and design guidelines for implementation
and proliferation of the Prototypes on an actual site. Through diagramming we can understand and see
the workings of the Prototype, however a design component is needed to implement it and make it
physical.

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Prototypes are represented and explained in four chapters, making sure the description touches
physical, cultural, economic and ecologic aspects. The chapters below are called BEFI. Each chapter
has a textual description and visuals (images) that have to explain the textual part.
Branding: concept / idea of the Prototype.
text: - added value of Prototype - how can you pitch it
- problems / opportunities that Prototype is addressing
- innovation of the Prototype
- improvements that the Prototype brings
image: - a collage that explains the above concepts in one composite image
- birds eye view or close up view mixed with diagram
Earth: spatial organisation of the Prototype.
text: - design of the Prototype
- organization and function on different scales of the city
image: - plans and sections in 1:50 and 1:200
Flow: dynamics of the Prototype.
text: - systems of the Prototype and how they work
- how are the systems connected
- energy flow change in the city because of the Prototype
- process flows, energy flows, product flows
image: - diagrams explaining the above
Incorporation: management of the Prototype.
text:

- what / who is needed to make the Prototype possible

- how do stakeholders, users, Operational Fields interact
- involved users, stakeholders in the delivery and management of the Prototype
image: - diagrams explaining the above
This version of BEFI chapters is used for a more design-based, energy efficiency orientated
Prototypes. In general, Prototypes can be any thing that orders things in a new way; in that sense
Prototypes can be policies, products, agendas, laws, etc. A more generic version of what BEFI stands
for would be the following:

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Urban Flotsam: 55
[omitted]
Branding contains conditions of naming, marketing, identity creation, cultural
production, memory, remembrance, creating values and communicating these values,
images and imaginary conditions, narration and scripting.
Earth contains conditions of the land, waters, air, natural processes,
ecological issues, biodiversity, but also land and land ownership, territory, and rights
concerning the surface of the earth, spatial organization.
Flow contains all processes that create flows through the Urban Gallery: exchange of
money, traffic, displacement of people, goods, information, mobility, waste, sewage, the
economy of a site.
Incorporation includes political actions and constellations, institutions and
institutionalization, community formation, organizations of various kinds, groups, legal
bodies, legal actions.

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4.3. Layer 3: Scenario Games (SG)

Scenario Game with 5 rounds working with 2 Prototypes

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LEARNING OBJECTIVES:
What means a feedback information how to make Prototypes better through proliferation on site. How to re-iterate the
Prototypes through informed feedback of the stakeholders and players of the Scenario Game. How to steer and mediate
conflicts on the playing board.
TRESHOLD CONCEPTS:
Curation, management, Proliferation and feedback.
DATA SERIALIZATION:
1. Acronym for SG is TTTV where
TTTT = abbreviated title / name of the Scenario Game
V = version of the Scenario Game
2. Name for SG element in Urban Gallery is then MS [TTTV], example: MS [PtR2]
3. Five players are needed, one for curation and one for each of the EOTM processes to play
4. Curator is steering the game by introducing and bringing in Urban Gallery elements
5. Game is played in rounds, where the players draw their decisions on a map
6. Each player uses a different colour crayon to distinguish the processes
7. Curator needs to hold a log of what is happening each round and how the Prototypes are changing
8. Each round needs to be documented a photo needs to be taken that corresponds to the curators log
9. A playing board is needed where a scenario can be played
10. Playing cards are needed (MS, OF, PT or AP). Any variety of card setup is possible.

DESCRIPTION
The Scenario Game is a tool for participation; to bring different opinions and expertise together
being those in terms of players (stakeholders in area) or elements of urban gallery (Prototypes,. What
SG does is create an environment where we can reconcile confront different claims on the territory,
think about how to settle claims and adapt them so they can function together.

Scenario Game plaid out at Xiamen Workshop, (London MET 2009-10 studio trip to China, Xiamen)

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Scenario Game is played as a sequence of events that might occur in a certain urban condition. The
scenario played describes a hypothetical development of events in order to test and develop design
ideas, Prototypes and define what potential projects might be. In combination with unique players,
Mini Scenarios and Operational Fields the choreography gives an idea what the problems and
potentials are. This helps to refine, improve and evolve Prototypes and Action Plans.
It is a rule-based plan for developing and advancing possible scenarios of urbanization, a
type of game structure. The game suggests a mode of planning based on temporal structures
that evolve independently and yet may intertwine with fruitful effects. This requires players,
acting both in the city and at a distance. Both model and game are based on an understanding
of as many different proto-urban conditions as possible.
the graphic map provides the game-board for playing out a range of urban futures. Identified
players and actors are brought together to try to work out complex urban issues within an
open-ended generative structure. Diverse forms of negotiation are promoted as the survival
strategies of each player unfold and become interwoven with others in reaction to changing
interests and situations.
(Corner, J. (1999) The Agency of Mapping: Speculation, Critique and Invention)

Scenario Game is played with playing cards on a playing board. The playing cards are the elements of
the Urban Gallery created so far (MS, OF, PT, AC). The playing boards represents part or the whole
territory of the Urban Gallery. Depending on the scale of the map different ideas and problems can be
discussed, different Urban Gallery elements can be used an different experts and publics can be
included. Each player (being from a different public) brings to the table a different set of expertise,
knowedge and desires that critically influence the course and outcome of the game. This is crucial for
the re-iteration and improvement of existing Urban Gallery elements (playing cards) and / or creation
of new ones.
Scenario Game is played by four players and curated by the fifth. In a sequential order, each player
initiates a process in space on the basis of presented cards by the curator. The processes have to fall
within a predefined process group (EOTM ). First player always initiates Erasure process, second
player always initiates Origination process, and so on (refer to xxxx chapter for definition of EOTM
processes). The game is cyclic; after one round of EOTMs is finished, a new one starts. There should
be in order of 4 10 rounds. Use first rounds to start a narrative (import narratives form MS and OF).
Use later rounds to re-define the Prototypes.
The curator sets up an agenda that he / she would like to achieve. This agenda should not be disclosed
to the players. At the beginning of each round curator can explain what has happened and what are the
conditions through which he can influence the players and steer the game into the direction of his
agenda. Curator also gives directions for the next round and introduces the playing cards for that
round. He can introduce or change the elements during a specific round as well.
An example of the Scenario Game game flow:

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1. Curator defines the agenda (does not reveal it!)

2. Curator needs to steer and manage the game play by introducing MSs OFs and PTs.
3. Players use MS. OFs and PTs and create a scenario; making better versions of the elements or
making new ones.
4. First use the MSs and OFs to set up the narrative of the game (approximately 2 rounds)
5. Respond to the created narrative with introduction of Prototypes.
6. Develop and evolve Prototypes through the responses.
7. Think about Action Plan for the implementation of the Prototypes.
8. Curator records each step of the game (photographs and text) and records what cards were played
and what was the deveopment of scenario.
9. Create a new reworked Prototype, Action Plan, etc.
10. Add the new Prototype, Action Plan into the Urban Gallery

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4.4. Layer 4: Action Plans (AP)

LEARNING OBJECTIVES:
How to orchestrate all the elements of the Urban Gallery into a cohesive action plan to manage and create a dynamic master
plan. How to show development of a prototype throughout time with all the necessary players and stakeholders.
TRESHOLD CONCEPTS:
Curation, management, Proliferation and feedback.
DATA SERIALIZATION:
1. Acronym for AP is TTTV where
TTTT = abbreviated title / name of the Scenario Game
V = version of the Scenario Game
2. Name for AP element in Urban Gallery is then AP [TTTV], example: AP [FnT2]
2. Text for AP:
- main description
- text on implementation and proliferation of prototype with
3. Images for AP:
- master plan showing the development of proliferation
- plans and sections, scale 1:1000 and 1:10000 (or size to fit the whole Urban Gallery frame)
- Graphs that show the production or lowering of energy throughout the time

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DESCRIPTION

Action Plans are distillations and refinement of ideas developed through Scenario Games. In Scenario
Games we were trying to create a scenario that gave interpretation to form a Prototype. In Action
Plans a similar approach is taken, only here a precise plan of implementation and proliferation of the
developed Prototype is shown.

Action Plans can be plans to implement any kind of a Prototype; from architectural projects to a
policy. Action plan needs to show when and where do specific actors and agents come into play to
develop the Prototype further. It also needs to show how does the Prototype develop and proliferate
on a larger scale so to create an Incubator.
In terms of energy efficiency, Action Plan needs to show what would be the energy consumption with
and without the implementation of the prototype. The energy curves should show projected educated
guesses on the basis of research of the prototype and operational fields. They should show
sequentially through time how much the proliferated prototype would lower energy demands or lower
energy consumption on the city-wide scale.

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5. Terminology:
Urban (adjective)
Origin: Means "characteristic of city life" derived from Latin word urbanus that means "of or
pertaining to a city or city life" or as a noun, meaning "city dweller". The from urbs (genitive
urbis) "city," of unknown origin. The word gradually emerged in this sense as urbane became
restricted to manners and styles of expression.
Incubator (noun)
Origin: To incubate was first used in 1640s, "to brood upon, watch jealously" (which also was a
figurative sense of Latin incubare); 1721 as "to sit on eggs to hatch them," from Latin
incubates.
Contemporary use:
1: an apparatus by which eggs are hatched artificially
2: an apparatus with a chamber used to provide controlled environmental conditions especially
for the cultivation of microorganisms or the care and protection of premature or sick babies
3: an organization or place that aids the development of new business ventures especially by
providing low-cost commercial space, management assistance, or shared services
In reference to 3: Business Incubators are programs designed to support the successful
development of entrepreneurial companies through an array of business support resources and
services, developed and orchestrated by incubator management and offered both in the
incubator and through its network of contacts.
Prototype (noun)
Origin: From Medieval Latin prototypon taken from Greek prototypon "a first or primitive
form," properly neuter singular of prototypos "original, primitive," from protos "first" + typos
"impression".
Contemporary use:
1: Prototype is an original type, form, or instance of something serving as a typical example,
basis, or standard for other things of the same category.
2: A Prototype is an early sample or model built to test a concept or process or to act as a thing
to be replicated or learned from.
3: Prototype is a first full-scale and usually functional form of a new type or design of a
construction.
Metaspace (noun)
A space transcending ordinary physical space, such as cyberspace.
The conceptual space occupied by metaobjects.

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Feedback (noun)
Feedback is a process in which information about the past or the present influences the same
phenomenon in the present or future. As part of a chain of cause-and-effect that forms a circuit
or loop, the event is said to "feed back" into itself.
Gallery (noun)
A collection; an assortment.
Stakeholder (noun)
Project stakeholders are those entities within or outside an organization which:
- sponsor a project, or
- have an interest or a gain upon a successful completion of a project;
- may have a positive or negative influence in the project completion.
Examples of project stakeholders include the customer, the user group, the project manager, the
development team, the testers, etc.
Stakeholders are anyone who has an interest in the project. Project stakeholders are individuals
and organizations that are actively involved in the project, or whose interests may be affected
as a result of project execution or project completion. They may also exert influence over the
projects objectives and outcomes. The project management team must identify the
stakeholders, determine their requirements and expectations, and, to the extent possible,
manage their influence in relation to the requirements to ensure a successful project.
System (noun)
Origin: from Greek systema "organized whole, body,". In this form first used in 1610s as "the
whole creation, the universe".
Contemporary use:
A system is a set of interacting or interdependent components forming an integrated whole or a
set of elements (often called 'components' ) and relationships which are different from
relationships of the set or its elements to other elements or sets.
Process (noun)
Origin: Meaning "course or method of action" is from mid-14c.; sense of "continuous series of
actions meant to accomplish some result"
Contemporary use:
Unifying principles which operate in many different systemic contexts.
Urban Incubator (concept)
A city scale place where something new is cultivated.

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Urban Prototype (concept)

New thing that is cultivated in the incubator.
Urban Gallery (concept)
A meta space where urban dynamics are managed.

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