Participative Design&Planning

PARTICIPATIVE DESIGN & PLANNING IN CONTEMPORARY URBAN PROJECTS
Christina Rasmussen Urban Planning & Management, Aalborg University | June 2012
PARTICIPATIVE DESIGN & PLANNING IN CONTEMPORARY URBAN PROJECTS

Christina Rasmussen Urban Planning & Management, Aalborg University | June 2012
TITLE:PARTICIPATIVEDESIGN&PLANNINGINCONTEMPORARYURBANPROJECTS SYNOPSIS
Diplomathesis Author:ChristinaRasmussen Supervisor:HelenCarter Amountofpages:103 Amountofappendixes:1andaCD ProjectPeriod:Springsemester2012 Ended:June14th2012 Complexity and multiplicity are influencing the social and environ mentalcontextofcontemporaryurbanplanning,herebychallenging thepracticesofurbandesignandplanning.Butwithinthecomplex and relational urban context new possibilities of approaches and toolscanbeappliedinplanningcultures. Taking a departure in the authors own background, the research sets out to investigate the values in contemporary urban design basedandprocessorientedtheories,whichaddressthisincreasing complexityofurbanareasandsocieties,thenlookshowthoseval ueswouldinterrelateinthepracticeofurbandesignandplanning projects.Thisaimstobothbridgeaperceiveddesignplanninggap, andexplorethepotentialsofthetwofieldsinterrelations.Theanal ysisthenproposestostudythecaseofDreamhamar,aparticipative and network design process, occurring in Norway. It offers a con creteexamplebothofthecurrentcomplexityofplanningprocesses andoftheinterrelationofdesignandplanninginpractice.Thecase studyisbasedoninterviewscarriedoutwith10actorsofthepro cess. The findings show an extensive use of communication and participation tools and networks as to involve and integrate an in creasing number of local and professional actors. This made the simplificationofdesignandprocessinterrelationspointless.Finally Dreamhamar experience illustrates an evolution of collaborative andparticipativeplanningpractices,tobebuiltoninthefuture.
PREFACE
This project has been conducted from February 2012 to June 2012, in pursuit of graduation in the master programofUrbanPlanning&ManagementatAalborg University.Ittakesapointofdepartureinthecollect ed knowledge and experiences gathered throughout themasterprogram,inordertopresentandreflecton contemporarytendenciesinurbanplanning. I would like to thank Helen Carter for the con structive discussions and supervision. Furthermore I wouldliketothankthefollowingpeoplefortheircon tribution to the project, throughout discussions and interviews: Architects and municipal planners Geir CockandKariNilssenfromthePlanningdepartmentof Hamar municipality; Architect Belinda Tato from Eco sistema Urbano; Architects Ethel Baraona Pohl, Paco GonzalezandNoaPeer;ProjectmanagersKnutSjvold and Sverre Skram Vatne from STEMA Rdgivning AS; CultureanimatorJoannaMikulskaandTeacherAudun Jensen.Iamreallygratefulfortheirhelp,astheirper spectives and inputs have been of great importance fortherealisationofthisproject. Quotes from the interviews conducted in Dan ish/NorwegianandfromDanishandNorwegianlitera ture have been translated freely by the author and markedbya*.Additionallyreflectionsandfindings
appearing in the introduction and conclusions of the reportdonotcontainreferences,sincetheyarebased in the my own earlier experiences or in the present research. Figures and tables appearing without refer encesaremadebytheprojectsauthor.Oneappendix (Appendix A) is appearing at the back of the report, while summaries from the conducted interviews can befoundintheappendixes(AppendixesD1D8)onthe attachedCD. Enjoyyourreading, ChristinaRasmussen
TABLEOFCONTENTS
1 INTRODUCTION 5
4.3. THEORETICALINTERRELATIONSBETWEEN APPROACHES

4.3.1. CORRESPONDING VALUES 4.3.2. INTERRELATIONS IN PARTICIPATIVE PROCESSES
44
44 46
2 COMPLEXITYINCONTEMPORARYURBAN PLANNING 11 3 METHODOLOGICALCONSIDERATIONS 15
5 THEDREAMHAMAREXPERIENCE,ACASEOF PARTICIPATIVEDESIGNANDPROCESS 49
5.1. CONTEXTANDDEVELOPMENTOF DREAMHAMAR
49
3.1. SOCIALCONSTRUCTIVISMANDHERMENEUTICAL EXPLORATION 15 3.2. METHODSFORDATACOLLECTION

3.2.1. DOCUMENT ANALYSIS 3.2.2. EXPLORATIVE CASE STUDY 3.2.3. QUALITATIVE INTERVIEWS
5.2. DESIGNANDPLANNINGVALUESEXPRESSEDIN DREAMHAMAR 56

5.2.1. REACTION TO CURRENT TENDENCIES IN DESIGN AND PLANNING OF URBAN SPACE 5.2.2. SOCIAL DIMENSION IN DREAMHAMAR 5.2.3. APPROACHES AND METHODS 57 58 63
19
20 22 23
5.3. INTERRELATIONSANDINTERACTIONSTHROUGH PARTICIPATIVEPROCESS 68

5.3.1. DESIGN AND PROCESS INTERRELATIONS IN DREAMHAMAR 5.3.2. URBAN ACTORS INTERACTIONS AND NETWORKS IN DREAMHAMAR 5.3.3. MULTIPLICITY OF PARTICIPATION ARENAS 69 73 77
4 CONCEPTUALANDTHEORETICALFRAMEWORK27
4.1. URBANDESIGNAPPROACHTOPLANNING
4.1.1. URBAN ACUPUNCTURE 4.1.2. TACTICAL URBANISM 4.1.3. URBANISM WITHOUT EFFORT
28
29 31 33
5.3.4. CHALLENGES IN THE PARTICIPATION PROCESS AND NETWORK COLLABORATION 81
4.1.4. EVOLUTIONARY AND EMERGENT URBANISMS 35
5.4. OUTCOMESANDBENEFITSOFTHE DREAMHAMAREXPERIENCE
84
4.2. COLLABORATIVEPLANNINGAPPROACH
40
5.4.1. LESSONS FROM THE PARTICIPATIVE PROCESS 84
5.4.2. BENEFITS AND OUTCOMES FOR FINAL DESIGN AND USE 87
6 REFLECTIONSANDCONTRIBUTIONS
6.1. INTERRELATIONOFVALUESANDPRACTICES 6.2. CONTRIBUTIONTOCONTEMPORARYURBAN DESIGNANDPLANNING
91
91
97
7 CONCLUSION 8 BIBLIOGRAPHY 9 LISTOFAPPENDIXES
101
Participativedesign&planningincontemporaryurbanprojects
INTRODUCTION
Thefutureofdemocraticplanning,asproposedbyJebBrugmanninWelcometothe UrbanRevolution,istoallowallpartiestobeinvolvedsothattheycodesign,cobuild andcogoverntotheirsharedadvantage.Hecallsthisacitysystemwhereresidents, communityleaders,investors,developersandprofessionalscocreatethecity. (Johnson,2011)
Globalised professional networks, new technologies, growing collaborative and communicative values, combinedwithagenuineclaimforinclusiveanddem ocratic processes have conducted the field of urban designandplanningtobecomeacomplexwebofrela tions. Complexity and multiplicity are influencing the social and environmental context of urban planning. Increasingnumberofprofessional, organisationaland public actors engage in present urban projects, thus providingdesignandplanningpracticeswithnewtools and approaches inspired from their expertise. The knowledge of urban areas and dynamics, the urban planning expertise, along with the responsibility and power in planning decisions is spreading among a growing public, challenging hereby the role of the planner, his/her practices and responsibility towards the plurality of public interest. Moreover planning cultures and urban governance forms can be interro gated on their adequate incorporation of contempo raryurbancomplexityandmultiplicity.Ongoingeval uation and selfreflection is thus necessary as to as surethatourchoicesandpracticesasurbandesigners and planners are fitting the developments of the ur banreality. This research started out from my own perspec tive, as architect and future urban planner, of two fields,respectivelyurbandesignandplanning,sharing similar values in their objectives and practices, but rarely addressed simultaneously. Two themes mainly spark my interest, with their potential in linking the two disciplines: the focus on productive practices, suggesting that a little strategically applied effort can generate great effects in the urban context, and the focusoncollaborativepractices,withagrowingtrend
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Introduction
in urban planning literature of codesign, cobuild, cogovern or cocreate, such as illustrated by this quotefromtheAustralianDesignReview.Thefirstone takes its basis in my own previous experiences, espe ciallythe4monthstraineeshipatJaimeLernerAssoci ated Architects. Jaime Lerner is probably the most prominentdefenderofurbanacupuncture,whichhe developedthroughhisearlyyearsofpracticeinurban developmentprojectsinthecityofCuritiba,Brazil,and whichhekeepsbuildingonthroughhismanyyearsof practice. The definition of urban acupuncture sug geststhatpunctualurbaninterventionsmadeonstra tegic nodes within cities, can generate a spreading positive outcome for the urban neighbourhood and society.Thequestionabouthowthepointofacupunc turewasselected,howthetacticalcharacterofitwas measured,triggeredmyinterest.Thelatterfocusem anates mainly from my academic background, where previous projects and lecture have introduced me to collaborative and communicative planning, and were followed up by entering online discussion groups and platforms, such as Collaborative Planning Practices and Research, Social Capital Forum and Practice in Participation. With those considerations, the report aimstoplaceitselfintheheatofcurrentdesignand planning discussions, and address the growing com plexity of urban areas and societies, by highlighting
the potentials of collaboration and interrelation be tweenurbandesignandplanning. Two objectives can be formulated for the conse quentresearch:examiningthevaluesandpracticesin urban design and planning which address complexity inplanning,andthenobservinghowthosevaluescan interrelate in a practical case of participative design andplanning.Thosetwoobjectivesarerelatedtothe twoexplorationpropositionsthatframedmyattention tothesubjectandstartedoutthepresentresearch: 1. The existence of a theoretical and academic gap betweenthedesignorientedandplanningoriented professions: Generalconceptionofstrongdifferencesbetweenthe valuesandnormsofurbandesignandplanningexist, whichseemtobebasedonalackofinformationand knowledgeabouttherespectivefields.Thegapmight thus exist rather within the theoretical and academic world. This leads to questions such as: for instance, what advantages can urban design theories bring to theoriesinurbanplanning,maytheybenewperspec tivesormethods?Ifagapexistsbetweenpresentur ban design and planning theories, does it appear as wellinpracticeofeachfield?Frommypointofview, thesocalledgaptendsthustorepresentamarginof unknown or unexploited potentials for enhancing an
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integrated and transdisciplinary approach to urban planning,whichleadstothesecondproposition. 2. The potentials of interrelating values and practices inpresenturbandesignandplanning: It is assumed that the interrelation of the values ex tracted from theories, concepts and experiences in contemporaryurbandesignandplanning,wouldhave a positive outcome for the academics and practition ersofbothfields.Thetypeofoutcomewasnotclear yetthough,butitseemedthatcollaborativeandpar ticipative processes could constitute an appropriate arena for investigating this. This orientates thus al ready the study, and the choice of theories, towards lookingatplanningconceptsandprojectsthatempha sisecollaborationandparticipation,andthatarecon cerned with social and deliberative dimensions in ur ban planning. In general, the assumption is made as well that the mentioned interrelations of values and practices challenge the definition of contemporary urbanplanning,andpossiblyopenupforthoughtson alternative urban governance forms. Though men tioned,thoseconsiderationsonurbangovernanceare notdevelopedinthepresentreport.
Researchquestion Thus the presented study propositions introduce the explorative approach in defining the scope of the re search in parallel with the literature review and the choiceofcasestudy.Theyrepresentthebackdropfor theinvestigation,directingtheattentionandscopeof the study, and indicating its purpose (Yin, 2009, pp. 2829).Fromthisbasis,theresearchquestionemerges asfollowing: Howdovaluesofcontemporaryurbandesign based and processoriented theories address urban complexity, and interrelate with partici pativeplanningpractices? The Dreamhamar participation and network design process will serve as exploratory case study. Sometermsfromtheresearchquestionmightneeda briefclarificationabouttheirmeaninginthecontextof the present report. The word values assumes a long setofrelatedideasanddefinitions.Inthisreport,val ue(s)isconstitutedbyexpressedmeaningsandideals, outliningasetofeitherdescriptiveornormativecrite riadefiningtheessenceofcities,thequalitiesofurban spaces,ofurbanlifeandofprocessesofurbandesign
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Introduction
and/or planning. Further specifications on the term areprovidedlaterinthereport(seeChapter3.1.).Also in the report, the contemporary urban designbased and processoriented theories represent theories and concepts formulated by academics and practitioners reflectingoncurrenturbanchallenges,andhaveelab orated values and approaches to address them. The conceptual and theoretical framework that presents them is constituted by a sample of them, since con stantlynewinputsandreflectionsbuildontheexisting considerations. Then it is important to be aware that otherurbandesigntheoriesexistwhichdonotneces sarilyaddressurbanplanning,ornotasexplicitly(e.g. parametrical design and architecture, which could be appliedtourbandesignandplanning,butnoexamples of such have been encountered in the present re search). Generally the words urban design and plan ningareusedlightlyinthereport,butrefersbackto this formulation as it appear here in the research questionunlesselseisspecified.Thenthetermspar ticipative planning practices refer explicitly to the phase of public participation in urban projects. In the report,participationwillbetheoreticallyconsideredin relationtoacollaborativeplanningapproach.Itisthe arenachosentostudytheinterrelationsofvaluesand practices of urban design and planning, and thus as well the phase studied in the case of Dreamhamar. Finally Participation and network design process is
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thetermusedbytheinitiatorsofDreamhamartode fine the process; this choice of words will become clearerthroughoutthecaseanalysis. The exploration propositions and research ques tionframethescopeoftheforthcominganalysis.The structure of the present report is a linear translation (seeFigure1.1)oftheotherwiseexplorativeresearch approach, characterised by iterative sequences be tweenownwonderings,theoriesandpracticalexperi encesandcasestudy.Firstlyabriefreviewoftheori ginsandimplicationsofcomplexityandmultiplicityin contemporary urban planning will be presented. It appears that the concepts although having been re flected on by different authors keep a degree of elu sivenesswhenitcomestothepracticalimplicationsof complexity, and addressing it in concrete urban pro jects.Followingthischapter,socialconstructivismwill bepresentedastheepistemologicalstancesubscribed in the report and the methodological approach of hermeneuticswillbeoutlinedasbasisfortheinterpre tation and extraction of values from the presented theories and case study. Then the development of a conceptual and theoretical framework will present some urban designbased and processoriented theo ries,astoextractthevaluesofurbandesignandplan ning.Thetheoriesandconceptshavebeenselectedon thebasisoftheircorrespondencewiththeaspectsof productivityandcollaborationindesignandplanning,
mentioned previously. Furthermore most emerged fromonlinediscussionandnetworkplatforms,orhave beenpresentedasinfluencingcontemporaryplanning practices; thus their selection contains a criterion of immediacyandrelevancetocurrentlyongoingreflec tions. The next chapter exposes the case study of Dreamhamar,aparticipativeandnetworkdesignpro cesscarriedoutinHamar,Norway,whereaninterna tionalteamofarchitectshavebeencontractedtoim plement a collective design and planning process. Throughtheperspectivesandexperiencesof10inter viewed actors from the project, the case study will outlinedesignandplanningvaluesandfocusesemerg
ing in this particular experience, and then investigate their interrelations and outcomes. This will illustrate the application and interrelation of design and plan ning values in practice, while also giving the example ofhowcomplexityandmultiplicitycanappearinreal life projects and how various urban actors address themwiththeirrespectivebackgroundsandexpertise. The last chapter summarises and relates the findings ofthetheoreticalreviewandthecasestudyanalysisas to propose some reflections and considerations on contemporary urban planning and outline the contri butionsofthereport.
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Introduction
Figure1.1:Linearstructureofthereport

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COMPLEXITY IN CONTEMPORARY URBANPLANNING
In this chapter, the generally increasing complexity encountered in planning is presented as one of the main points that have triggered the interest into the currentlyemergingtheoriesinurbandesignandplan ning, as well as a curiosity for the forthcoming case. Complexity and multiplicity in cities and urban plan ningappearinthemanyscalesandlevelsofplanning, and in the increasing number and diversity of actors engaginginplanningprocesses.Complexityandmulti plicityaretermsthathavebeenappliedtocharacter isethepresentworldandsociety(Hillier,2008,p.38). These terms emerge for different reasons: mainly as reaction or evolution within certain domains, which seemtogobacktotheoriginsofpostmodernism.The past decades evolution in the perception and repre sentation of our physical and social environment has ledtotheoriseaboutreallifecomplexity;thisresults in the emergence and evolution of theories, such as complexity theory, chaos theory, system theory and actornetwork theoryamong others. Reflections and innovations can be seen simultaneously across fields such as urban planning, information and com munication technology, computer science and math ematics (Hillier, 2007, pp. 4751) (Urry, 2003, pp. 8 15). For example, in the 1960s, the mathematician
WarrenWeaverandtheurbansociologistJaneJacobs bothalreadywerereflectingonthedichotomyofsim plicityandcomplexityintheirrespectivefieldsofstudy (Jacobs, 1993, pp. 558585). Then reactions can be identified, for instance in urban planning, in the at tempt to answer to simplifications of modernistic planning approaches, criticised for being homogenis ing, functionalistic and not responsive to differences (e.g. social, cultural and racial). Todays cities are ra ther depicted as fluid, dynamic, heterogeneous, hybrid, turning the focus onto dynamic relations, processesandflows(e.g.migrations,mobility,physical andvirtualrelations),alsodesignatedasthedynamic, relational view of urban life (Healey, 2000, p. 526) (Bridge&Watson,2000,pp.505508). Those perceptions of the urban reality can find their origin, for example, in the work of philosophers and sociologists Henri Lefebvre and Jane Jacobs. The first describes the complexification of society leading to the complexification of space, time and activities, within the process of urbanisation. The scales of the urban phenomenon challenges our understanding and practices (Lefebvre, 2003, pp. 4546;165169). Then Jane Jacobs, as indicated before, has theorised on cities as being problems of organised complexity (Jacobs,1993,pp.558585).Thecomplexcharacterof cities finds its basis in the many interacting elements andactors,shapingaglobalsetofdynamicsnetworks,
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Complexityincontemporaryurbanplanning
which planning theorists and practitioners struggle to grasp;PatsyHealeyspeaksofthedynamicdiversityof the complex colocation of multiple webs of relations which transect and intersect across an urban area (Healey, 2007, p. 3) (Bridge & Watson, 2000, p. 507). Shearguesforrecognisingtheconnectivitywithinur banareasandtheinterplayofmultipleurbandynam ics(e.g.economic,environmental,sociocultural,polit ical and administrative). Furthermore she sustains a newplanningimaginationfocusedonalesstechnical and rational approach to placemaking, based on the conceptionthatqualitiesofplacesliebothinthesocial resources developing collectively the place quality and place identity, and in the spatial or physical di mension of places (Bridge & Watson, 2000, p. 507) (Healey,2000,pp.525527).Variousdisciplinesengag ingwithurbanissues(e.g.urbaneconomies,societies, environments and governance) provide the resources to address such new conceptions of urban dynamics and place qualities and the consequent urban pro cesses (Healey, 2000, p. 526). This illustrates thus a tendency in urban planning of opening up towards other fields and disciplines, searching for inspiration and resources as to tackle the growing complexity of urbanreality.Itsuggestsaswellanincreasingfocuson communitiesandnetworks,maytheybelocalorglob al, professional or public, as to gather sufficient knowledgearoundtheurbanspacestoplanandman
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age.Inthistask,innovativeandalternativeapproach esareconsideredasawaytoadaptandadjustcurrent planningandgovernancetothedescribedurbancom plexity(Hillier,2007,p.36).Thiscomplexityresultsina multiplicityofstrandsandstakestointegrateinplan ning;thediversityofinterestsgrowshereby,continu ouslychallengingthedemocraticandinclusivenature ofprocesses.Indeedthepublicinterestandcommon good that planners aim to address in their work be comeincreasinglydifficulttodefine,sinceplannersare moreandmoreplanningformultipleinterests.More overtheindicatedviewsoncontemporaryurbanplan ning suggest as well that knowledge about urban space,formsandprocessescancomefromothernon professional contributors and thus challenges urban planners in the definition of their role (Healey, 2000, pp.527528). Jean Hillier proposes a response to urban com plexity and multiplicity through her multiplanar plan ningtheory.Shebasesherpointontheideathatmul tiplicity, connectivity and flexibility can open up for potentialsofanewperceptionofspaceandpractices of planning and governance (Hillier, 2007, pp. 275 276).Sheconsidersplanningandplannersasexperi ments or speculations entangled ina series of contin gent, networked relationships in circumstances which are both rigid (e.g. legally constrained) and flexible, where outcomes are volatile, where problems are not
solved once and for all but which, over the lifetime of a strategic plan, are constantly recast by changing actors,situationsandpreferences,tobereformulated in new perspectives (Hillier, 2008, p. 26). She claims thatalthoughthecontemporaryworldandsocietyare complex and uncertain, and present many fluid and contingent situations, planning decisions have to be taken and projects implemented, even though conse quences and outcomes can be difficult to define. Therefore she argues for a more experimental and sequential approach to planning, where decision making,policiesandplanshaveenoughflexibilityasto allowtoadjusttocritiqueandcorrecterrors:planning becomes thus a speculative and creative, yet struc tured,experimentationinthespatial(Hillier,2008,p. 41).Henceplanningopensupfordealingwithpossibil ities through fragmented decision processes, possibly more sensitive to inclusive and democratic values in planning, than some traditional, technocratic and ra tionalpracticesofurbanproblemsolving(Hillier,2008, pp. 3841). It seems thus important to dig into this multiplicity of actors, knowledge, practices, tools and elementswhichconstitutetherealityofcontemporary cities. Based on the aforementioned, it seems appro priatetoaddressurbancomplexityandmultiplicityat twolevels.Onegloballevelacknowledgesthecomplex relations at stake in urban planning, as a field influ enced by multiple perspectives, hereby reflecting the
heterogeneoussocietyitisplanningfor(e.g.themul tiplex city of Healey1). The other level of local scale interventions,acknowledgesthecombinationofsocial resources and spatial manifestations of places, as be ingthethekeysitesofpublicinteraction,thesymbolic reference points, the design of both neighbourhoods andnodalareaintheurbanfabric(Healey,2000,pp. 526527).Theseperspectivesoncomplexityandmul tiplicity within urban areas and societies call for chal lenging some fixed traditional governance forms and institutions, which Healey describes as embedded in narrow and inflexible approaches (Healey, 2000, p. 527). Of course in such dynamic and relational urban context, planning outcomes can appear uncertain, whichisproblematicforapracticethatgenerallyplans for a certain future outcome (usually in relation with politicalstrategies)(Hillier,2007,pp.4142).However, according to the presented ideas, a general engage mentwouldbeneededastomovethelegacyandcon structive approach from disparate projects to the comprehensiveplanningculture.
The multiplex city is, according to Healey, a much more ade quatewaytoconceiveurbandynamics,planningandgovernance today,ascitiesarenowratherfragmentswithinaglobaljigsaw, thanselfcontainedorganisms(Healey,2000,pp.517527)
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Complexityincontemporaryurbanplanning
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METHODOLOGICAL TIONS
CONSIDERA
Before continuing the reader should informed of the approach subscribed in this research in order to an swertheresearchquestionpresentedintheintroduc tion.Fromthestartonwardthereportpursuesanex plorative approach to the topic. The academic back ground and previous experiences of the author have led to the perception of a gap in the understanding and knowledge between the two fields of urban de sign and planning, and awoken an interest in linking them through the investigation of theories and con ceptsinfluencingthecurrentpracticesofurbandesign andplanning(asmentionedbytheexplorationpropo sitions in the introduction). The report adheres to a social constructivist stance, proceeding then through hermeneutical exploration of assumptions expressed in the research question. Those are developed in the coming section, followed by the description of the qualitative data collection consequent to the episte mologicaloutlooks.
spectives,recognisingthesociallyconstructedcharac ter of knowledge about reality and criticising rational andtechnocraticstancesdrasticallybasingresearchon quantitativemethods.Socialconstructivismreliesthus primarily on qualitative and interpretative approach, recognising the significant importance of language, meanings and experiences in framing the complex, multiple and relational facets of reality (Alvesson & Skldberg, 2009, pp. 1525) (Hansen & Simonsen, 2004,pp.134141).Constructivismcanpresentdiffer ent approaches to knowledge and reality; this report adherestoamoderatekindofconstructivism,which acknowledges the constructed and contextualised character of our knowledge about the societal and humanreality,nottheconstructionofrealityitselfas suggested by ontological constructivism (Collin, 2003, pp. 2324). This relates both to the authors own acknowledgement of the urban realities and to the subjectofthestudy. The attention of this report on values in urban designandplanningandtheinvestigationoftheirin terrelationsinpracticematchthesocialconstructivist outlooks.Indeedvaluescanbedefinedhereassubjec tive and intersubjective2 assertions since they are
2
3.1. Social constructivism and hermeneutical exploration

Social constructivism has often been seen in reaction to positivism and associated with postmodernist per
Intersubjectivity characterizes the knowledge we have and produce,accordingtoourengagementandperceptionaboutthe worldaspartofacollectivity.Sowhereassubjectivityisdefined according to one individual, intersubjectivity recognizes the
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Methodologicalconsiderations
fosteredthroughthehumanactivityofreflectionand debate, and thus represent how individuals come to create and place meaning to their world (Kitchin & Tate,2000,p.12).Valuesdefinewhatisperceivedas good(usuallyforthecommoninterest),appropriateor ideal;theydonotregulatepracticesinthesameway as norms and rules, but influence individuals acknowledgementsabouttheworldandinformabout the motivation for certain interpretations and actions (Jacobsen, Schnack, Wahlgren, & Madsen, 1999, pp. 8388).Itcanbeconsideredthatvalues,describedas such,canbeexplicitlyorimplicitlyexpressed(e.g.val ueswhicharewrittenorspokenoutassuch,orwhich are underlying actions or the interviewees back ground). The recognition and identification of values grounding professional practices is considered signifi cantfortheunderstandingandcollaborationbetween disciplines, even though values might be diverging or conflicting (Jacobsen, Schnack, Wahlgren, & Madsen, 1999, pp. 8182). In the forthcoming analysis, the ex traction of those values from literature, debates and interviews(seetheresearchmethodsinChapter3.2), andthedeterminationoftheirtheoreticalandpracti cal interrelations between the fields of urban design and planning, calls for the use of interpretation. The
relationalaspectbetweenindividualsandtheirsurroundingenvi ronment as to produce of knowledge and perform research (Hansen&Simonsen,2004,pp.144145).
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interpretative activity situates the researcher within thefieldofstudy(seeFigure3.1),suggestingthat,be ingaswellpartofacommunityandaculture,he/she has some preunderstanding triggering questions to wardsthesubjectofstudy,andwhichconstitutesthe semantichorizon,withwhichwemeetothermeaning fulphenomena*(Hansen&Simonsen,2004,p.122). Interpretationisherebydefinedasthefusionofmulti ple semantic horizons, i.e. between the researchers and the one of the studied text or culture. Finally, based on the prior description, interpretation in re search has been characterised as a dialogue between the researcher and the text or subject of study, through which the researchers understanding devel ops and transforms in a progressive and constructive process.(Hansen&Simonsen,2004,pp.121123).
Figure3.1:Theresearcherandtheinterpretativeactivity
These considerations refer clearly to hermeneutics, where the interpreting researcher moves between preunderstanding and understanding, between the partsandthewhole,whatistobeinterpretedandthe context for this interpretation (see Figure 3.2). Her meneutics constitute the methodological approach pursuedinthisreportandpresentedbelow. Theuseofhermeneutics Theemergenceandformulationofthestudyproposi tions, the explorative stance in developing those into theactualresearchquestion,theselectionoftheories toinvestigateinChapter4(conceptualandtheoretical framework),andthechoiceofthecasestudyoccurred initerativemovements,wherepreunderstandingand understanding,theoriesandcasehaveinfluencedeach other. This relates to the hermeneutical circle (see
figure3.2)andtotheideathattheresearcherallows theempiricalmaterialtoinspire,developandreshape theoretical ideas (Alvesson & Skldberg, 2000, p. 249).
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WHOLE
Newunderstanding
Preunderstanding
PART dialogue
Figure3.2:Thehermeneuticalcircle (basedonHansen&Simonsen,2004,p.122)
Hermeneutics originally meant to contribute in creat ing mutual understanding between two cultures, by meansofinterpretation(Blaikie,2003).Relationswith thepresentreportappearinthepropositionofinter relatingthecontemporaryvaluesandpracticesoftwo fields,suggestingthattwoplanningculturesaretobe understood, respectively an urban designbased and urban governancebased. The use of interpretation, linkedtohermeneuticsanddescribedpreviously,sug geststhattheanalysisandconclusionrelyonthesub jectivity of the researcher, since the process of un
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derstandingtheproductsofothertraditionsorcultures cannot be detached from the culture in which the in terpreterislocated(Blaikie,2003).Thusaccordingto modern hermeneutics, the researcher cannot under stand another culture or phenomenon, unless he/she takes a departing point in his own. This pre understanding influences not only the interpretation ofdataasindicatedbefore,butalsotherealisationof the investigation (e.g. the approach to interviews) (Arler, 2008). In the present research, for instance, premiseslieintheauthorsownacademicbackground and experiences in both architecture and urban plan ning, which have influenced, to some extent, the choice of topic, the selection of theories and case study.Ithasledaswelltoafeelingofunderstanding manyoftheintervieweeswiththesamehybridback ground, while relating to the overall case project and itscontext3.Someauthorshaveaddressedexplorative, interpretative and subjective forms of research with thetermofreflectivity.Reflectiveresearchandanal ysisputsthefocusonasfaraspossible,aconsidera tionoftheperceptual,cognitive,theoretical,linguistic, (inter)textual,politicalandculturalcircumstancesthat
This refers to the skill of empathy, one keycharacteristic of hermeneuticsthatfocusonthecapacitytoshiftbetweenidenti fying oneself with the subjects situation and distancing oneself fromthetopic,inthesameiterativemovementbetweenpartand whole suggested by the hermeneutical circle (Hansen & Simonsen,2004,pp.120121).
3
form the backdrop to as well as impregnate the interpretations(Alvesson&Skldberg,2000,pp.67). Inthiscase,thereadershouldthusbeawareofboth the authors background and the interviewees back ground (see Appendix A), as to understand, or sense, the reason for presented assumptions, forms of ex pressionandinterpretation. Such as described, social constructivism and her meneutics support the use of qualitative research methods. Those are advocated by some theorists in relationwiththeimportanceofareflexivedialogueto setinmotionhardenedtakenforgrantedassumptions which have emerged through collective processes of knowledge(Alvesson&Skldberg,2009,p.31).This has of course an interesting point with regard to the firstpropositionofthestudy(seeChapter1),assuming thatthereportcancontributetobridgetheacademic gapbetweenurbandesignandurbanplanning.
3.2. Methods for data collection

Qualitativedatacollectionhasthusbeenimplemented intheresearch,inrelationtothepresentedmethodo logicalapproach.Thereportcanbeseenasconsisting oftwoparts:onebeingatheoreticalreviewastoex tracttheurbandesignandplanningvalues,onatheo reticalandacademicbasis;thesecondbeingthecase analysisthatconfrontsthesevalueswithpracticalex perience, and investigate their interrelations in prac tice.Whilethefirstpartreposesmainlyondocument analysis, the second part emanates from the analysis of qualitative interviews conducted with actors from thecase.Thesequenceofinvestigationphasescanbe seen in Figure 3.3, indicating also their influence on thereflectionandresearch.
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Figure3.3:Projectdesigndiagram
3.2.1. Document analysis Thetypeofliteratureusedforthedocumentanalysis in the conceptual and theoretical framework differs slightlybetweentheurbandesignandtheurbanplan ning theories. While the latter is based on academic and scientific articles, the first comprehends mostly online articles, written debates and discussions. This illustrates the emergent character of those design basedtheoriesandtheirnoveltycomparedtothecol laborative planning theory. It corresponds with their empirical basis (e.g. planning experiments, onetime projectsanduniqueurbaninterventions,tryoutsand innovativeworkshops)andthecontinuousinputsthat theyaresubjectedto.Somemightquestiontheirlegit imacyincomparisontothetheoriesformulatedwithin thesphereofacademicdebatesandreflections.Their
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presence in recent debates and discussion among planning practitioners and academics through confer ence proceedings, workshops and fairs, as well as online networking platforms and discussion groups such as Collaborative Planning Practices and Re search (Mota, 2012), show the relevancy of those theories,conceptsandexperiencesintheactualityof the urban planning field. This links up as well to the preselection of the presented theories in Chapter4: which were the guidelines or reasons for choosing thosetheories?Theresearchaimstoinscribeitselfin contemporaryoutlooksonurbandesignandplanning, as to outline their interrelations on a relevant time basisforpresenttheoristsandpractitioners.Theactu al and emergent character of those theories is thus one first choice criterion. Then the authors back groundcontributedwithapriorknowledgeofsomeof
the designbased theories and issues that they ad dress, which has led to investigate further into other theoretical or methodological planning approaches dealing with the same issues. For instance the acu punctural or tactical aspect, described by some of those theories, has been a triggering point to the se lection, or their focus on the social dimension and productionofspace.Ingeneralalltheoriesproposeda reflection on the productivity of urban interventions, projects or developments, and the collaborative ap proachthroughouttheirrealisation. Literatureusedinthecasestudycomesfromdif ferent sources (See Table 3.1). Documents and plans from Hamar municipalitys website contributed to
frame the administrative and regulative backdrop of theproject,whileindicatingtheMunicipalitysstrate gies according to urban spaces. Online information, postsandarticlesfromthevariouswebsitesandblogs contributedtodescribethegeneralcontext,evolution and objectives of the Dreamhamar project, from the perspectives of the main curators, i.e. Hamar munici pality,EcosistemaUrbanoandtheartistLlusSabadell Artiga. Documents and sources, such as the booklet Futurehamar(Hamarkommune&EcosistemaUrbano, 2012)ortheonlinepresentationofNoaPeeronThink Commons(Peer,2012),havebeenindicatedbyinter viewees as to complete their answers and perspec tives.
Documentsandplans
Mainwebsites& blogs
Onlinevideosand conferences
Table3.1:LiteratureaboutDreamhamar Differentsourcesusedinthecasestudy BookletFuturehamar(Norwegianversion) Reports,proceedingsandplansfromHamarmunicipality,accessibletheir website Hamarmunicipalityswebsite MunicipalPlanningdepartmentsblog EcosistemaUrbanoswebsite,blogandFacebook LlusSabadellArtigaswebsiteandblog Dreamhamarprojectsblog OneThousandSquarepropositionsblog ThinkCommonsonlineplatformandnetworkforknowledgesharingandvir tualconferences YouTubevideos,usuallyaccessiblefromthedifferentblogsandwebsitesas well
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Documentanalysisinthecasestudyisthusmainlyto describe the context or to confirm or detail some commentsmadebytheinterviewees.Theapproachto the case analysis and the qualitative interviews are describedinthefollowingparagraphs. 3.2.2. Explorative case study Thechoiceofthecasestudybasedresearchisexplor ative and relational (Neergaard, 2007, pp. 3639): ex plorativebecauseitoccurredthroughthesameopen ness for inputs (e.g. from discussions and networking platforms) and iterative movements that motivated the selection of the urban design and planning theo ries,andrelationalbecausethecasehadclearconnec tions to the presented theories in Chapter 4. Indeed thecasestudyappearedinterestingasitencompassed a concrete example of tactical urbanism workshop, developed by some interviewed actors who also had contributed to define the concept of tactical urban ism (see Chapter 4.1). Then when looking into the context for this particular workshop, the comprehen siveparticipativeprocessshowedfascinatingelements andapproachesinthefieldofurbandesignandplan ning, such as an extensive professional collaboration and participation, integrating multiple disciplines and interests, and making this a unique experience to in vestigate.
Casestudyitselfisdefinedasanempiricalinquiry that investigates a contemporary phenomenon in depth and within its reallife context, especially when theboundariesbetweenphenomenonandcontextare notclearlyevident(Yin,2009,p.18).Indeedthecase analysisofDreamhamarshouldcontributetohighlight contemporary tendencies in collaborative and partici pative practices, where urban design and planning values interrelate. Both the time and reallife per spectives are important in the report: the conceptual and theoretical framework contributes to determine currentvaluesinplanning,whilethecasehelpstosit uate them in the reallife practice of planning (e.g. accordingtothevarietyofurbanactors,theirrespec tive background and experiences, their views and ex pectations about contemporary urban spaces and ur banplanning,theadministrativeandpoliticalplanning context).Althoughthevalueswillhavebeenextracted fromtheoreticalreviewbeforethecaseanalysis,their interrelation is rather abstract. The case is thus the reallife illustration of an abstraction (Yin, 2009, pp. 3233).Furthermorethecasestudyshouldenlighten thosesituationsinwhichtheinterventionbeingevalu ated has no clear, single set of outcomes (Yin, 2009, p. 20). The previously presented study propositions introduce the explorative approach to the research from the start onward, but they assume as well that thesocalledinterrelationsofvaluesgeneratebenefi
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cialoutcomesforurbanplanning,bothintermsofthe studiedcase(e.g.qualitiesofurbanplace)andingen eral in terms of urban planning field (e.g. new inputs to academic debates and practical experiences). This constitutes part of the exploration the case study. Fi nallytheresearchmakesuseofasinglecasestudyas to investigate the interrelations of urban design and planning values in practice. With the social construc tivist perspective, generalisation is difficult and inap propriate given the importance of the relational con text for the construction of knowledge (Alvesson & Skldberg,2009,p.11);thesinglecasestudyisthusan example or illustration among others. In the report, the case of Dreamhamar illustrates one way of those mentioned values to interrelate, without defining norms or generalcriteria for their interrelation. How everthisopensupforfurtherexplorationsoncurrent interdisciplinary interrelations and collaborative prac ticesinurbandesignandplanning;maybetendencies could be identified or confirmed through the use of multiple case study. The single case study presents thus an innovative or unique character (Neergaard, 2007,p.21). 3.2.3. Qualitative interviews Theanalysisofthecasestudywascarriedoutempiri cally on the basis of the qualitative interviews with variousurbanactorsfromtheDreamhamarcase.The
definitionandchoiceofthetypeofinterviewtocarry out,andtheirrealisation,weremademainlyaccording to the book Conducting Research in Human Geogra phy,Chapter7.3inKitchin&Tate(2000). WithinthecaseanalysisoftheDreamhamarpro ject,qualitativeinterviewshavebeenusedsequential lywithdifferentpurposes(seeFigure3.3).Firstlytwo keyactors were met through explorative interviews astobuildupanunderstandingoftheprojectandits implicationsforthetwoparts,i.e.thelocalNorwegian planning team and the Spanish designing team. The two interviewees were Geir Cock, architect and land use manager4 in the Planning department of Hamar municipality, who was considered to represent the public planning institution in the project, and Belinda Tato,architectandcofounderofEcosistemaUrbano, who represent here the contracted private designing firm. Those interviews were semistructured, carried outfromarespectivelyDanishandinEnglishinterview guide of around 4 pages of questions related to the process and context of Dreamhamar. The two inter viewguideswereelaboratedhereastoenlightende tails and complete information already accessible on thedifferentwebsitesaboutDreamhamar(i.e.Hamar municipalitysownwebsite,EcosistemaUrbanosblog and website, the projects own blog and various arti
4
TheoriginalNorwegiantermisarealplansjef.
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cles describing or commenting theproject). The sum maryofthetwointerviewscanbefoundinAppendixB andAppendixC. The second round of interviews was carried out with actors, which had been named as especially en gaged in the project, adding interesting perspectives to the discussions that took placeunder the two first interviews. The two first interviews helped thus to frame the questions for this second round (see Fig ure3.3).Theywerestructuredwrittenmailinterviews of 11 openended questions, formed as a question naire divided in the following themes: the interview eesbackground,theirspecificroleandcontributionin the project, their experiences in the process and the followed procedures or methods, and finally the out comes and expectations after Dreamhamar. Those themes correspond to the three themes articulating thecaseanalysis:values,interrelationsandoutcomes. TheinterviewsaretobefoundinAppendixD1D8.The two series of interviews had a subjective character takingapointofdepartureintherespondentsexperi ence and perspectives. In the two spoken interviews, this subjective character was addressed by openness
towards the opinions, perspectives and experiences presented by the respondents, and welcomed gladly information which the respondents might want to share next to the prepared questions. In the written interviews as well the respondents had the liberty of answeringaccordingtowhattheythoughtimportant, ending up in some very short responses from some interviewees and rather detailed descriptions from others. In this second round, 9 actors responded the mail interview, while 4 did not, generally for reasons of work rush; 2 were from the Municipality as well, while2werefrompublicorganisationsorassociations. Table3.2givesthenameandprofessionofthevarious actors of Dreamhamar interviewed throughout the project period. Appendix A presents a further devel opment of this table, detailing the interviewees pro fessionalbackgroundandexperiences,aswellastheir roleinDreamhamar.Thistablewillhelpamorethor ough appreciation of the interviewees reasons for enunciatingcertainaspectsinthewaytheydo,suchas supported by hermeneutical outlooks on interpreta tionoftexts.
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1 ROUNDINTERVIEWS Interviewees 1 GeirCock*
ST
Table3.2:Listofinterviewees,theirprofessionandtheirroleinDreamhamar(*Respondedaswelltothe2ndroundinterviews,writteninterview)
EXPLORATIVEINTERVIEWS Profession|Firm Municipalarchitectandplanner, Landusemanager| Hamarmunicipality Architect| EcosistemaUrbano WRITTENINTERVIEWS Profession|Firm Constructionengineer| STEMARdgivningAS Civilengineer| STEMARdgivningAS Architectandfounder| dprbarcelona(independentpub lishinghouse) Architectandfounder| radarq.net&BeCity Cultureanimatorand eventorganiser Primaryschoolteacher| Storhamarbarneskole LandscapearchitectandPlanning departmentmanager| Hamarmunicipality Architect| OfficeforUrbanInnovation
BelindaTato
Roleindreamhamar ProjectleaderandfacilitatorrepresentingHamar municipalitysPlanningdepartment Localactorandparticipant Projectleaderandmaincoordinatorcontracted byHamarmunicipality Internationalactor RoleinDreamhamar ProjectmanagerforStortorgetandKulturhuset contractedbytheMunicipality Localactor AssistantprojectmanagerforStortorgetand KulturhusetcontractedbytheMunicipality Localactor Onlineworkshopmanager(Tacticalurbanism) contractedbyEcosistemaUrbano Internationalactor Onlineworkshopmanager(Tacticalurbanism) contractedbyEcosistemaUrbano Internationalactor Onsiteworkshopmanager(StoryHamar)con tractedbyEcosistemaUrbano Localactorandparticipant Onsiteworkshopmanager(PlayHamar)contract edbyEcosistemaUrbano Localactor CoordinatingmunicipalplannerfromHamar municipalitysPlanningdepartment Localactor Networkdesignerandfacilitatorcollaborating intheEcosistemaUrbanoteam Internationalactor
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2NDROUNDINTERVIEWS Interviewees 3 KnutSjvold
SverreSkramVatne
EthelBaraonaPohl
PacoGonzlez
JoannaMikulska
AudunJensen
KariNilssen
10
NoaPeer
Itisrelevanttoremarkthatafirstpropositionforthe finaldesignofStortorget(i.e.mainly3Dvisualisations) was published and discussed between the moment thattheinterviewsweresentoutandthatKariNilssen enteredheranswerstotheinterview.Sheistherefore theonlyonementioningthisfinaldesigninherreflec tions.Furthermoretheinterviewsaretheperspectives and experiences of individuals. Nonetheless the case analysisshouldnotbeseenastheanalysisofindividu alities, but rather the identification of design and planningvaluesexpressedmainlyonthebasisoftheir roleandprofessionalbackground. Generalreflectionsandcritiques Somecommentsandcriticalpointscanbementioned in consideration to the use of methods and choice of methodology. Regarding the chosen methods, firstly one could wish that interviews were made with an extended number of actors, given the multiplicity of participants in Dreamhamar. The broad network of international actors engaged in Dreamhamar was a challengehereastogettheoverviewofthismultiplici ty and in regard to the spread geographical locations ofcontributingactors.Forthislatterreason,theuseof SkypesessionwasmadeforinterviewingBelindaTato forinstance.Secondlythechoiceoftypeofcasestudy could have been different (e.g. multiple cases) but thentheoutcomeswouldhavebeendifferentaswell
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(e.g. recommendations based on the experience of several processes of same kind). Then of course the research could have been based on another method ology: for instance doing a discourse analysis or ana lysing the network of Dreamhamarbased on the Act antNetworkTheoryofBrunoLatour.Whilediscourse analysiscansometimesfeelveryclosetothepresent analysis, it would still suggest completely different outcomes, such as the citizens understanding of the process,andthuscontributeforinstancebyinforming about ways of communicating the process out to the public.Thelattermethodologywouldsuggestagreat er focus on the interrelations (both human and non human)withintheDreamhamarnetwork,anditsout come would probably inform rather about the mean ingoftheDreamhamardesignandplanningnetwork, and could for example propose an alternative way of buildingit(Collin,2003,pp.7477).
CONCEPTUAL AND THEORETICAL FRAMEWORK
This chapter aims to outline the values from design based and processoriented theories, hereby extract ing the elements for answering the first part of the research question, i.e. how do those values address urban complexity. Then it explores the possibility for theoreticalbridgingofdesignandplanning.Indeed,as alreadymentionedintheintroduction,perceptionofa gapbetweenurbandesignandplanningexist,proba bly most in academic and theoretical discussions and literature.Inmyperspective,thisgapcanbelinkedto the one mentioned by Philip Allmendinger, i.e. the theorypractice gap in urban planning. He explains how academics develop planning theories for practi tioners to apply in the realworld and justify their approach,whilepractitionersclaimthattheacademic theories have little meaning for practices based on a practicalcommonsense(Allmendinger,2009,pp.23 24). This finds some relevance when looking at con temporary urban planning and design theories: the first is strongly academicallybased and the latter is usually empiricallybased. Furthermore it seems that manypracticingplannershaveabackgroundandedu cationindesignorengineering(e.g.architectsworking
asurbanplanners)andthattheorisingplannersoften haveasocialornaturalsciencebackground.Thiscor respondstotheissueofmultiplicityinplanningandto Ernest Alexanders perspective on the presence of a diversityofpracticesinplanning(Allmendinger,2009, p.12).AccordingtoAlexander,thediversityoftheo riesrepresentsanadvantageforplanningpractitioners (i.e.meantasplannerswitheitherasocialscienceor designbackground),sothattheycanpickandchoose as to develop their own hybrid approach (Allmendinger,2009,pp.2329).Somemightconsider the gap unbridgeable, but a potential in reducing the gapisseeninenhancedtransdisciplinarityandcollab oration,especiallybetweenurbandesignandplanning professionals, since design theories comprehend an empiricallybased nature, and their values seemingly correspondwithplanningvalues. Beforeproceedingwiththeoutliningofthosecor respondingvalues,itshouldberemarkedthoughthat the different planning approaches present diverging ontologies of space. Indeed practitioners might per ceivespaceindifferentways,accordingtotheirback groundorthefocusoftheirwork.Inanarticlespeak ingofdifferentiatedrealitiesorthepluralontologies of reality, Llewellyn outlines five layers or ontologies ofreality(seeTable4.1).
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Conceptualandtheoreticalframework
Table4.1:Differentiatedrealities(Llewellyn,2007,p.57)
Reality 1 2 3 4 5 Physical Structural Agential Cultural Mental
Content Bodiesandobjectssituatedinspaceandtime Institutions,rolesandrulesreproducedbypeople Projectsundertakenbyhumanagents Knowledge,concepts,values,beliefsandideologiesthatarearticu latedand/orwrittendown Thought,feelings,emotions,interestsandmentalconstructsof individuals
Although planning would or should encompass them all, it is plausible to think of the different planning practices as emphasising one or two ontologies over theothers.Forinstance,inthetaskofplanningapub licsquare,alanduseplannerwillprobablyemphasise theconceptionofspaceinregardtoanormativecrite ria regulating the diversity and mixity of functions around the square (i.e. the structural reality in Table 4.1); a social planner will conceive space in terms of social relations in and around it, influencing aspects such as community building or social capital, through the activities on the square for example (i.e. the cul tural and mental realities in Table 4.1); finally the ar chitectandurbandesignermightfocusonspaceasan aesthetical and sensual experience according to the physicalformsandspatialitydevelopedonthesquare
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(i.e. the physical and mental realities in Table 4.1). Urban design and planning would then be influenced bythedifferentontologies.Thiscanbeseenasachal lenge for collaboration between the differentpractic es,butalsoapotentialforurbanprojectsresponding more thoroughly to all perception of space through transdisciplinarycollaboration.
4.1. Urban design approach to planning

Inthefollowingparagraphs,someurbanplanningthe ories, which have emerged lately from the urban de signfield,willbepresented.Thosetheorieshavebeen developedorintroducedmostlybyarchitectsandde signers, based on their own observations of current urban challenges and transformations, or emanating
from their own practice and views on qualities of ur banspaces,urbanlifeandthefuturedevelopmentof cities. The increasing focus of designers on the urban processes has a saying both in what planning and planning values represent today, and in what are the roleofplannersincontemporaryurbanprojects.Gen uinely a whole set of urban actors and activists, pro fessionalsandnonprofessionals,arecurrentlyjoining the reflections, debates and urban actions, hereby influencing and (re)defining contemporary urban planning. The presented theories will be urban acu puncture, the oldest of all concepts presented here; tactical urbanism, which encompasses many recent emerging urban approaches and concepts; urbanism without effort, a single concept but linking up to the prior ones; and finally evolutionary and emergent urbanisms. Beforeproceedingintothetheoreticalreview,itis relevant though to notify the open use of the word theory in the following sections, used as a starting point to speak of the following design and planning concepts.Wewillseelaterthatthedesignbasedthe ories presented in the first parts of the chapter, are stronglybasedonempiricalexperiencesandobserva tionsandtheirtheoristsarepractitionersandconsult ants, and not academics such as the theorists behind thedevelopmentofthecollaborativeplanningtheory
forinstance.Thismatchestheconsiderationsmadein theverybeginningofthischapter. 4.1.1. Urban acupuncture Threemainnamesappearastheinitiatorsofthecon ceptofurbanacupuncture,ametaphorforapproach ing city planning and design: Jaime Lerner (Brazilian architectandurbanplanner),ManueldeSolaMorales (Spanish architect and designer) and Marco Casa grande (Finnish architect). The first developed the practice of urban acupunctures throughout a set of projects carried out in Curitiba, Brazil, in the years 19601990s (Lerner, 2011 (A)): in his opening speech attheTEDconference,JaimeLernerstatedthaturban acupuncture reclaims the ownership of land to the public and emphasizes the importance of community development through small interventions in design of cities. (Joon, 2010). The second one, Sola Morales, used the idea in several projects, as a possibility of interveningatasinglemeridianpointinsuchawayas toreleasetensionsandtoengendernewenergyflows within the situation, not only in terms of the specific site but also with regard to future developments (Frampton, 2003, p. 76). Finally Casagrande has been developingit,incooperationwiththeNationalTaiwan Universitysdepartmentofsociology,asaparadigmof theThirdGenerationCity,orpostindustrialcity,being a complex energy organisms in which different over
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lappinglayersofenergyflowsaredeterminingtheac tionsofthecitizensaswellasthedevelopmentofthe city (Casagrande, 2010). With focus on environmen talism and urban design, Casagrande defines urban Acupunctureasadesigntoolwherepunctualmanipu lationscontributetocreatingsustainableurbandevel opment, such as the community gardens and urban farms in Taipei (Casagrande & Ruin Academy, 2010). Generally the concept has been related to various theories and inputs: e.g. the Tipping Point aspect developed by journalist Malcolm Gladwell5, the Bro ken Window Theory from criminologist George Kel ling6 and the Barcelona urban revitalisation interven tionsfromthe19801990s,wheretheoriginofcertain developmentoftendenciesorpatternsinurbansocie tiesorareaswerelinkedtoindividualattitudesorlo calisedactions(Shieh,2006,pp.4548). The aims of urban acupuncture are to revitalise the city with the potentials that it already encom
Specific reference is made to observations of individual and collectivebehaviouralpatternsinrelationtotheirsocialenviron ment, pinned down by political scientist Morton Grodzins and developed in the book The tipping Point: How Little Things Can MakeaBigDifferencebyMalcolmGladwell(Shieh,2006,p.45). 6 TheorydevelopedandappliedinNewYorkCityinthe1980sis basedontheobservationthatonelittlevandaliseditemsuchasa broken window has extended effect on the perception of built environment.Backthenthetheorywasmainlylinkedtopolicies and strategies for reducingcrime and insecurity (Shieh, 2006, p. 46).
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5
passes; to sustain urban regeneration with focus on mobility, environmental and social sustainability, in such a way that current actions will have longterm effectsonfutureurbandevelopments. Inordertodo so,thescaleoftheinterventionsandtheirnature(e.g. architectonic, social or mobilityoriented), as well as theirstrategiclocation,issignificantastogroundthe action in concrete challenges and issues, which the concerned city or urban neighbourhood is facing. Ad ditionally the diverse contribution to urban acupunc turerespondtoanobservationoflossoflifequality, identity, feeling of responsibility towards contempo raryurbanspaces,bothfromthepublicsectorand/or the local community. The expected longterm effect liesthusalsoinassuringthecontinuityofthequalities added by the urban intervention and by activating collective awareness and engagement. The small size and costeffectiveness of the interventions is im portant.Moreovernodesignorinterventionisbetter thananyother;whatmattersiscreativityandinnova tion (Casagrande, 2010) (Lerner, 2011 (B)) (Shieh, 2006,pp.4548). Urban acupuncture is thus mainly an empirical lybasedtheorywithnormativeconsiderationsonap proachestourbandesign,planningandmanagement. Although formulated by design professionals (i.e. ar chitects),ithasbeeninspiredbytheoriesandreallife cases from very different disciplines, where actions
andeffectshavebeengenerallyrelatedtotheirphysi cal and/or social environment. This somehow makes urbanacupunctureaprocessorientedtheory,rather than designoriented, although emerging from the field of design. It acknowledges the spatial and social relations within a city and acts out of them. While clearlyvaluingparallelandcreativethinking,itsmeth odologyisvague:howarethosestrategicintervention nodesdefined?Howcantheexperiencefromonecity be translated to another one, given the divergences betweencitiesandculturesallovertheworld?Lerner was politically active in Curitiba when many of those acupuncturalprojectswereinitiated,givinghimthus theauthoritytogettheprojectsthrough.Furthermore the urban acupunctures in Curitiba occurred in an urban and political context which are space and time specific, and thus can make it difficult to apply or translateintootherurbancontexts.TheSpanisharchi tectSolaMoralesusedtheideabutinformationonthe practicaltranslationofhisideaswasnotfound.Finally Casagrande bases his formulation on elusive philo sophicaltermsandexperienceswheretheroleofthe plannerorarchitectisunclear.Thisshouldthoughnot devaluatetheseideasandtheories,buthighlightthat urban acupuncture is a conceptual framework ex pressingessentialvaluesandpotentialstoconsiderin currentandfutureurbandesignandplanningprojects. Thesevaluesaredevelopedinreactiontounreflected
evolution and growth of some urbanised neighbour hoodsincontemporarycity.Theyarethusratherlocal andcontextbased,enhancingtheneedforrevitalising public spaces, while raising the public, political and professional awareness about life qualities, and man agingeffectivelyexistingresources. 4.1.2. Tactical urbanism Tactical urbanism pretends to promote shortterm actions, causing longterm changes in the city. In the reportpublishedfortheopeningoftheTacticalUrban ismSalonofthe28thApril2012,MikeLydondescribes the intention of assembling, under a same term, a growing number of shortterm often selffunded ef forts that were demonstrably leading to longer change (Lydon, 2012, p. v), such as guerilla urban ism, popup urbanism, city repair, DIY urbanism (Lydon, 2012, pp. v, 7). Generally tactical interven tionsarelowcostinitiativeswithanillegalcharacter7. The socalled urban interventionists are architects, planners, product designers, artists, transportation engineers, municipalities departments, community activists and other active members of associations or NGOs,peoplefrombothprivatefirmsandpublicsec tor, representing a new generation of citymakers
Theillegalcharacterassertsthespontaneityoftheurbanaction, ratherthanitslawbreakingaspect(Lydon,2012,pp.942).
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(Lydon, 2012, pp. 942) (Street Plans Collaborative, Collaborators,2010)(StreetPlansCollaborative,2012). Tactical urbanism criticises the largescale pro jectsandtransformationsstillinfluencedbymodernis ticplanningviewpoints.Indeeditperceivesthosepro jects as aiming to control and resolve the numerous currenturbanchallenges,whilefailingtosupportlong termeconomicandsocialbenefitsandtointegratethe citizenscontributionsthroughaprocessofincremen taltransformationoftheirneighbourhood.Insearchof increasing the liveability of urban spaces, tactical ur banismprovidesanapproach[that]allowsahostof local actors to test new concepts before making sub stantial political and financial commitments (Lydon, 2012, p. 1). Tactical interventions can occur for in stanceonparkinglots,culdesacs,vacantlandorun derrated spaces in cities, always with a focus on the human scale of the intervention. They emphasise a deliberate approach to citymaking, established on fiveprinciples:adeliberateandincrementalapproach toactivatechange,theuseoflocalideastorespondto localchallenges,ashorttermcommitmentandrealis tic stake, a lowrisk approach, and the focus on the developmentofsocialcapital,creativityandorganisa tionalcapacityforinstitutions.Tacticalinterventions, or temporary experimentations, should offer the ad vantagetoinformplanninganddesigninordertoas sure the success of the final design, build trust be
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tweenpartners,interestgroupsandlocalleaders;itis presentedasasmallandbeneficialinvestmentinthe futuredesignsandplanningprocesseswithinalocality (Lydon, 2012, pp. 13) (Arieff, 2012). Finally tactical urbanism proposes to connect people in society by means of new technologies. Ethel Baraona and Paco Gonzlez, two architects and researchers in architec ture and urban planning, link thus tactical urbanism up with communitycentred design methodologies8, which argue that tools and technologies can support the building of open organisations and participative actions within a community, in order to give back ur ban spaces to the city dwellers and users. From this perspective, tactical urbanism deviates thus more towards ideas of opensource planning and crowdsourcing approaches to urban design and plan ning(BaraonaPohl&Gonzlez,2011). Tactical urbanism is thus a term used with opennessandflexibility:practitionerskeepbuildingon with the latest innovations and urban experiments, which are carried out by professionals of other disci plinesthanurbanplanningorproactivecitizenshaving a say in the quality of urban life in their neighbour hood.Thus,asurbanacupunctureisaconceptbased on a collection of experiences, tactical urbanism as
8
OpenP2PDesign,developedbyMassimoMenichinelli,isone exampleofsuchmethodologies(Menichinelli,2012).
well is more of a conceptual framework than an aca demic planning theory. In this case, the concept has beendevelopedbyanevenlargerpanelofpeople,i.e. professionals and nonprofessionals of planning. This couldbeperceivedasoneofthesignsofurbandesign and planning opening up to a broader set of urban actors,leavingouttosomeextenttheplanningpracti tioners or challenging them in the definition of their role.Thisissuewillbediscussedlateroninthereport. The proactive character of the actors nonetheless is remarkable in those projects, and in the terminology usedtodefinetheirinterventionascitymaking;this veryactiveapproachtourbanplanningcouldbeinter preted as the clue to what is expected of planning practitionerstoday. However, trying to frame so many concepts and urban planning practices could also be the weakness of tactical urbanism: the risk is that the term be comes a branding mark swiftly applied to any kind of urbanaction,herebyblurringthevaluesandperspec tivesthatitbringstourbandesignandplanning.Inan onlinediscussiongroup,theremarkismadeaboutthe impactofprofessionaltermssuchastactical,onthe publicinclusivenessofplanningapproaches:theydis tances the consumer/client from understanding what isbeingofferedandhowtheycanbeinvolved(Kent, 2012).The objectiveoftacticalinterventionsreveals the double scale of their focus and effect, from the
localandconcreteinterventiontothemoreglobaland general effect on urban governance. They desire in deedtostimulatequalitiesofurbanlifeandrevitalise urbanplacesandneighbourhoods,whileactivatingthe urban actors and dynamising planning processes. The focusbeyondthephysicalproductoftheintervention and the longtime time perspective adopted by the interventionists placea responsibility on the citizens andtheauthority,whoareleftwiththeinputsofthe intervention for future applications. But if the open ness, flexible and vague definition of tactical urban ismcanleadpeopletothinkthatitisnotsomething forthem,asitwassuggestedpreviouslybytheprevi ousquote,theymightjustinterprettacticalurbanism asonemoredebatebetweenactivistsandprofession alsofplanning.Thecommunicationtothepublic,the integration of the concept in local governance and politicalsupportseemthusnecessary,inordertogive tactical urbanism the credibility and legitimacy in order to influence the qualities of and awareness to wardsurbanspaces. 4.1.3. Urbanism without effort Inanarticleanticipatingtheissuesandhottopicsfor urban planning in 2012, Chuck Wolfe, an American environmental and land use lawyer with a degree in regional planning, presents ongoing importance of urbanismwithouteffortandadditionalwaystocon
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ceive of urban opportunity as imminent central themesintheplanningofcities(Wolfe,2011(A)).He positionsthisargumentasaresultofongoingdiscus sionsaboutplacemakingandinterestsinurbanplaces and gathering places, such as squares or street cor ners, and the potentials to come with new ways of apprehending the city. His argument, theoretically vague, is sustained by empirical examples of such ur banopportunitiesorurbanisms:neighbourhoodinitia tivesformovienightswhichtakeoverspacessuchas driving alleys, or the 24hours city which is magnetic andattractive,providingurbanvitalityandquality9to places, all day round (Wolfe, 2011 (A)) (Wolfe, 2011 (B)).ThePlanetizen10referstoWolfesarticle,quoting that planners might try awfully hard () toextol the virtues of the city by proselytizing and debating ideas and opportunities (Urban Insight, 2011). Wolfes ar gument is that places and neighbourhoods already have what is needed to foster better cities, shared placesandtobuildthelocalcommunity,andthepro fessionals debates can thus be excessive. While rec ognising the technical and regulative necessity of
9
planning (e.g. stormwater management and system maintenance, regulations and maintenance of road infrastructure),hestatesthatthisisthephysicalbase for reinventing spaces and generating streetlife with the pedestrian in scale. Therefore he recommends urbanpracticesthatnurtureexistingpotentialsincit ies(Wolfe,2011(C)).Accordingtothisexample,those potentialsseeminglyliewiththeactivationofthelocal communityinneighbourhoods. Urbanism without effort is presented by Wolfe asaformofpracticesinurbanplanning.Itcanhardly beconsideredasatheoryassuch:itsbackboneliesin some empirical observations and experiences, and is mainly a reflection or questioning to current urban planning practices. Furthermore till this day, only Wolfeseemstohaveelaboratedaroundthetermur banismwithouteffort,usingitmoretobrandpractic esandexperiencesthathepersonallyvalues.However referencetohisargumentwasmadebydiscussionand networkingplatformsconcernedwithknowledgeshar ing about urban planning and collaborative practices, and constituted of practitioners and academics. In deedtheconceptpointstocriticalaspectsofcontem poraryurbanplanning,andoffersaperspectiveonthe potentials to be recognised and used in order to re spond to the failure, weaknesses or lack of current public places and urban life in cities and neighbour hoods.Itadheresaswelltothetendencyoffocussing
Qualityismeasuredhereintermsofsafety,spurredbythefour criteriaofmobility,proximity,commerceandinteraction(Wolfe, 2011(B)) 10 Planetizen is an American network and information exchange platform, aiming to gather urban planning news, commentaries, interviews, reviews, etc., to inform professionals of urban plan ning,designanddevelopment.
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on the user of urban space and the important social function of public places. Finally urbanism without effort reserves a technical and regulative post for plannersandprofessionals,seeingthemasthetechni ciansofthecity,adjustingtechnicalandinfrastructural aspects and establishing regulations. The role of the plannerinthisperspectiveisatechnocraticcivilserv ant, facilitating the spontaneous urban interventions ofthepublic. 4.1.4. Evolutionary and emergent urbanisms Two concepts have been gathered here: evolutionary urbanismandemergenturbanism.In2005,aresearch studio from the Berlage Institute, located in Delft in theNetherlands,decidedtoaddressthedensification and complexity of growing and constantly changing cities. This studio was created in relation with Winy Maas publication of the book KM311, in which Maas explains on one hand the challenge of contemporary urbanism as having to respond to growth and muta tionsofcities,andontheotherhandthechallengeof definingthenotionofpublicrealmafterthefailureof the modernistic and idealistic urban visions proposed
11
KM3 (or cubic kilometre) addresses the architects three dimensionalapproachtospace,butextendingthescopeofstudy tothedensity,complexity,enlargedscaleandlimitlesscharacter of nowadays cities (illustrated by the transition from metre to kilometre, the first being the architects usual working unit) (Actar,2012).
bythearchitectsofthe1960s.Heobservesthesearch for various ways of dealing with cities through map ping, parameterising, observing, while avoiding any visionaryproduction.Thisleadseithertoadisbeliefin urbanismandurbantheories,ortotheopportunityof producing new theories. Hence emerges the oppor tunity to include the latest technologies, in this case, modelling programs, to understand and evaluate in teractions and relations in design and processes of urban planning. Environments, and especially urban ones,arehereseenaswebsofcomponentsconstantly in relation to their surroundings. Within those global networks, communication technologies transform the way places are related: the dynamic interaction of componentsandactorsisreferredtoasawaytoad dressthecomplexityofcities(BerlageInstitute,2006, pp.837;4968;141151).Basedonthoseperspectives, Maasandhisstudioproposetodevelopavirtualplat form for simulating interactive urban developments andexploretheirchainreactionsincomplexandglob al urban networks, just like a computer game. Maas recognisesthatthismightchallengetheplannersrole, if computers can deal with all those information in steadofplanners,oritcanbecomeanewmethodfor planners to deal with urban complexity (Berlage Institute,2006,pp.2637). The term emergent can of course be applied to anything newly occurring, and therefore many refer
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encescanbefoundonemergenturbanisms,butnot withthesimilarframework.Nonethelessanothercon tribution to the reflection was found to have quite comparable ideas: Mathieu Helie, a web developer and complexity scientist with a background in eco nomics and interest for urban planning, has used the workofStephenWolfram,acomputerandcomplexity scientist, to address the organized complexity of cit ies pointed to by Jane Jacobs. He comments on the statisticalapproachtourbanplanninginthe19thcen tury,whichreducedcitiestoasetofvariablestoman age, while using the concept of common good to gatherpublicaccept.Heliearguestousethepastles sonsinordertounderstandandtacklebettermodern challenges.Heperceivesthusemergenturbanismas a way to use computational patterns to tackle con temporaryproblems().Itdoesnotprescribeanyspe cificplanofactionforanyparticularplace,butitpro videstheinspirationforanycityonwhattodonextto improveitself(Helie,2012).Desiringtoaddressurban complexity,hereferstocomputationaltechnologyand complexity science as to contribute to a new kind of urbanism: searching for models of complexity and applyingthemishowweturnthenewkindofscience intoanewkindofurbanism(Helie,2012). Thissug geststhattheevolutionofurbanplanningcanoccurin relation to fields, which might seem distant, and em
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phasisestheimportanceoflateralthinkingamongpro fessionals. Those concepts show the extreme standpoint of developing a technologicalassisted kind of urban planning, which some of the previous conceptual frameworkshadbutindicated.Thisexampleofemerg ingplanningconceptisthusprobablyevenmoretech nologicalbased than designbased, but the objective lies again in sustaining and improving planning pro cessesandinmanagingcontemporaryurbancomplex ity. The word process here concerns as well the ur ban development process, and not only the planning or design processes. The focus of the architects and designersfromDelft,althoughbeingstillverycloseto the network perspectives and to the perception of urbanism as an assemblage of interacting elements, seems more turned towards the spatial dimension of urbandevelopment,thanonthesocialdimensionpre sented by previous concepts. Whereas emergent ur banismaspresentedbythewebdeveloperandcom plexityscientist,stillpresentatheorisingandabstract perspectiveoncities;thiscanbesupportedbythefact that no concrete project exist with the application of thiscomputerisedmethodology.Table4.2sumsupthe various theories and concepts encountered in this chaptersofar.

AUTHOR(S)& CONTRIBU TOR(S)
JaimeLerner
Table4.2:Summaryofthepreviouslypresentedconceptualframeworks.(Sourcesarethesameasthoseusedinthetext)
NAME
INSIPIRATION FIELDSTOAP PROACHCITIES
PLACEOF ORIGIN
AGE
Practicedsince the19601970s anduptilltoday Publishedin 2003 Practicedand formulated duringtheur banregenera tionofBarcelo nainthe1980s Published researchin 2010
REFERENCE PROJECT
Numerousur banprojectsin Curitiba
KEYELEMENTS
Combinationofsustain ability,mobility,sociodi versityinurbanrevitali zationprojects
Curitiba, Brazil
UrbanAcu puncture
ManueldeSola Morales
Architecture Urbanplanning Medicinalrefer ences
Barcelona, Spain
Variousarchi tectureprojects
Catalyticaspectofthe interventionforfuture developments
MarcoCasa grande Architecture, design&planning Advocacyplan ning Engineering Eventsandpop upinterventions
UK
Community gardensand urbanfarmsin Taipei,Taiwan
Anarchismandsocial movementsinthepost industrialcity
StreetPlansCol laborative
Tactical Urbanism
EthelBaraona Pohl(dpr barcelona)and PacoGonzlez (radarq.net)
Urbanism without effort
ChuckWolfe
Smallurbanactions withgreatandspreading 20112012,but effect basedonfor Numerouspro Humanscaledurban U.S.A. mertheories jectinU.S.A. interventionsandpeo andmovements pleorientedplaces Sensibletransportation solutions Socialconnectionsand Architecture Onlinework communitybuilding,as Urbansociology shoparoundthe preliminarytodesign (referenceto projectforthe Spain 2011 Newtechnologiesto HenriLefebvre) mainsquarein getbacktherighttothe Opensource& Hamar(i.e. cityandachievedemo networkplanning Dreamhamar) craticplanning Environmental& Neighbourhood Neighbourhoodinitia landuselaw moviesnight Seattle,U.S.A. 2011 tives,occupationofodd Regionalplan andcome andunderratedspaces ning togetherevent
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Conceptualandtheoreticalframework Searchforaresponseto moderntransformations andcomplexityonboth localandgloballevelsby meansof: Computergenerated urbanism(asscenario generation,heuristic device,learningdevice) Informatisationoftime andspace Communicationand networks Searchformethodsto tacklecurrenturban complexity Possibilitytomodel complexityinsimple computations,which wouldmatchcomplexity ofhumanbehaviours andactions Legitimisingoftradi tionalurbanismthrough newscientificoutlooks
WinyMaas(archi tect,urbanistand professor)and Evolutionary BrentBatstra urbanism (PhDstudentat DelftSchoolof Design) WinyMaasand CamilloPanilla (PhDstudentat DelftSchoolof Design)
Architecture Referencesto Darwinsevolu Delft,Nether tiontheory lands Virtualplatforms &ITworld
20052006
Spacefighter platformand game
Architecture Systemtheory
Delft,Nether lands
20052006
Spacefighter platformand game
Emergent urbanism
MathieuHelie (economistand computerscien tist),basedon StephenWolfram (computerscien tist)
Urbanplanning Economics Scientificcom puting Complexsystem research
Canada (andUK)
20022012
(Reflectionand theorising)
Generalreflectionsandcritique This theoretical reviewpresent some recently emerg ing designbased concepts developed with a perspec tive on urban planning processes. As indicated previ ously,thetheoriesarenotfoundedonthoroughtheo retical research and academic debates, such as some urban planning and governance theories. Hence they should be considered as conceptual frameworks12, whichoffernewperspectivesonurbanspaceandval uesinurbanplanning,suchastheintegrationofcom municationandnetworktechnologiesinthereflection about the qualities of urban spaces and life. Their
12
The background for speaking of the terminologies of theory lies in Allmendingers reflection on what is theory? (Allmendinger,2009,pp.1018).
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backboneliesinempiricalobservationsandinacollec tion of single experiences or projects; their formula tion can therefore sometimes be associated with the brandingofaproject,morethanareflectiononurban design and planning. The theorists here do not give anyclearmethodinhowtotransformurbanplanning and design according to the potentials they highlight. Theideaofsprawlingeffectfromasingleurbaninter vention,likeringsinthewater,somehowcanillustrate observed consequences to projects that have been carried out, but the methodology to assure this spreading effect is still unclear when one desires to reproduce the same phenomenon in future projects. Indeed the theorists present concrete examples where planning alternatives have been tried out and had a positive result on the outcome, without outlin ingguidelinesforfutureprocesses.Thisallowsthusto questiontowhichextenttheprocessisimportantfor them,orisitstillthefinalproductthemostimportant resultinplanning.Howevertheprojectsusedasrefer enceandempiricalbackgroundforthosetheoriesare ratherlocalisedandcontextspecific,herebychalleng inganygeneralisation. Additionally the design backgrounds of the au thors and contributors to those theories, as well as thehybridinspirationfieldsindicatedinTable4.2,in dicate some reasons for confusion about contempo rary urban planning field. Firstly urban planning has
beenpartofarchitectureandurbandesignpracticesin thepast,andstillisinmanycountries.Thusarchitects and urban designers occupy themselves also with ur bandevelopment,butitseemsthattheynowopenup more and more to parallel thinking and look into ur ban processes prior to the design, where the user is the keyelement as to give meaning to their task and tothefinal designoutcome.Secondlyurbanplanning as an independent education and academic field can seemforeignforurbandesigners,sincetheyconsider themselvesasplanners;heretheconfusionliesmostly intheignoranceormisunderstandingofthedifference andsimilaritiesbetweenurbandesignandurbanplan ning.Throughthepreviouslypresentedtheories,obvi ouslinkscanbedrawnbetweenurbandesignandur ban planning processes. This project intends to draw onthesepotentialinterrelationsandmakethemmore explicit in contemporary urban planning practices. Next section looks into collaborative planning, which was intuitively identified as a theory and approach with corresponding urban planning values, to which those designbased theories could be related as to bridgethedesignplanninggap,mentionedatthebe ginningofthechapter.
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4.2. Collaborative planning approach

Tworeasonsappearforpresentinganddiscussingcol laborativeplanningastheplanningtheorytobesetin relation with the previously described urban design basedtheories.Firstlyongoingreferencetotheterm collaborative was encountered in discussions and literature about the socalled urban design theories, presentedpreviously;secondlytheauthorseducation and knowledge about collaborative planning ap proaches made evident the theoretical interrelations. The latter is though a personal viewpoint. Moreover thecommunicativeorcollaborativeplanningparadigm
hasanincreasingimportanceandpresenceinthefield of urban planning research and practices (Allmendinger & TewdwrJones, 2002) (Mota, 2012). Collaborative planning is thus one more theory to be investigatedastomatchthepurposeofthisreportto relate contemporary urban design and planning prac tices in the complex context of contemporary cities. The following table present succinctly the main au thors and contributors to the collaborative planning theory, together with the keyelements of the ap proach.ThistablecanbesetinrelationtoTable4.2.
Table4.3:Collaborativeplanningtheory.(Sourcesarethesameasthoseusedinthetext)
NAME
AUTHOR(S)& CONTRIBU TOR(S)
INSIPIRATION FIELDSTOAP PROACHCITIES

Institutionand policyanalysis Urbanplanning Communicative turnandIdeal SpeechSituation (referenceto Habermas)
PLACEOF ORIGIN
AGE
REFERENCE PROJECT
KEYELEMENTS
Collabora tiveplan ning
PatsyHealey, JudithInnes, LeonieSander cockandJohn Forrester
U.K. Canada Australia
Democraticanddelib erativeplanningculture Recognitionofthe pluralisticcharacterof Severalexam contemporarysociety plesinAustralia, Localandglobalinter Sincethe1980s Canadaand relationsandnetworks U.S.A. Communityandcapaci tybuilding Inclusionofthemany stakeholdershavinga sayinurbanprojects

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Collaborativeperspectivesandvalues The socalled communicative turn in planning ap pearedfirstlyinthe1980sasaresponsetotheprevi ous practices of comprehensive or rational planning, whichgeneralscopeconstitutedalimitingbarrierdue to lack of meaningful public debates and mismatch between the public interest and technocratic means of measuring it (Innes, 1996, p. 460). Since then it evolvedintoasetofvarioustheoreticalconceptsput forward by planning theorists such as Healey, Innes and Forrester. The names of planning through de bate,communicativeplanning,argumentativeplan ning, collaborative planning and deliberative plan ningreflectthevariousnuancesincollaborativeplan ning values (Allmendinger & TewdwrJones, 2002, p. 5). In her book Collaborative Planning, Healey devel opsthecollaborativeplanningalternativeasonesug gestion to embed urban governance practices and institutional design in more democratic planning pro cesses,matchingherebycontemporarypluralistsocie ties.Itoutlinesanormativepositionsuggestingshared powerandequalaccesstospeakoutsinplanningpro cesses,basedoninstitutionandpolicyanalysisofpast planning trends (Healey, 2006, pp. 36; pp. 2830). Healey defines planning and policy making as social processes through which ways of thinking, ways of valuingandwaysofactingareactivelyconstructedby participants(Healey,2006,p.29).Thisquotereveals
thus her outlook on planning, emphasising the social andinteractivestrandsofplanning.Hillieraswellhigh lights,inherbookStretchingBeyondtheHorizon,the inherent relation between collaborative planning and urban governance approaches, but with focus on the involvementofinteractivenetworksofsocialactorsin publicagenciespracticesofplanning(Hillier,2007,pp. 3454).Althoughthecollaborativeparadigm,present ed by Healey and Hillier, theorises mainly on govern anceforms,itpromotesvaluesthatcanbetransferred from the urban governance and power spheres to practicesinurbandesignandplanning. Collaborative planning enhances the importance of critical, dialogic and discursive practices within de liberative and democratic planning processes, as to promoteattentiontothevaluesofsocialjustice,envi ronmental responsibility and cultural sensitivity (Healey, 2006, p. 317). Mutual understanding of all stakeholders and their respective interests, equal ac cess to the process and collective decisionmaking as torealisejointbenefitsarethusessentialincollabora tive processes (Sager, 2009, pp. 6869) (Innes & Gruber,2005,p.183).Whereasthetheoriespresented in Chapter 4.1 lack in concrete methodologies or ap plication criteria to translate their values in practice, collaborative planning, with its strong theoretical backbone,hasdevelopedovertimesomecharacteris ticsinherenttocollaborativeprocesses.Abriefoutline
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of those characteristics, based on the main authors and contributors of collaborative planning theorising, can be found below in Table 4.4. The table is not an exhaustive and definitive framework, but outlines someimportantaspectsofthecollaborativeapproach.
Itisthereforenotmeanttoserveasaframeworkfor theforthcomingcaseanalysis,butthemesmentioned here by the planning theorists will be related to the themes presented by the urban design theorists and exemplifiedthroughouttheDreamhamarcase.
Table4.4:ConcretecharacteristicsforcollaborativeprocessesaccordingtoHealey(2006),Hillier(2003),Forester(1999), Innes&Gruber(2005),Sager(2009),Allmendinger&TewdwrJones(2002),Huxley&Yiftachel(2000)andMcCarthy(2007)
Characteristicofcol laborativeplanning processes
supportedby
Spillovereffectsandoutcomes
discussionanddeliberation Strategiesrelatingto knowledgesharingbetweenmultiplestakeholders collectivelearningandmutualunderstanding citizensvalues, coherenceofinstitutionsandpolicieswiththespecif needs&demands icrelationalcontextofplaces(i.e.particularhistory andlocalassets) useofcommunicativeactions,predicatedupon assumptionsofsharedrationalnorms,ofmutualun derstanding/reciprocity,thepossibilityofcommunica Consensusbuilding& tionwithoutconstraintandfreedomfrompowerplays inordertoreachcommongroundofconsensus collectivedecision (Hillier,2003,p.53) making focusonthepublicinterest responsiveness,freedomofspeech,equalopportuni tiesforaction,justiceandbureaucraticneutrality withintheprocess useofnetworksandpartnershipsasactivecoalition Partnerships&impli ofinterests promotetrustandunderstanding cationofallrelevant recognitionofnewcombinationsandarenasfor urbanstakeholders involvementofactors interactionofdiscoursecommunities Distributionofpower understandingofmutualdependencies criticalstancetolistenbeyondspecificpoliticaland &responsibilityinthe culturalissues process transparencyofdiscussionarenaandspeakouts
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coevolutionofstakeholders reflectioninaction
fosteringofcommunityempowerment recognitionofdiversities developmentofdiscursivelocaldemocracybeyond theconfinesofspecificissues(Huxley&Yiftachel, 2000,p.333)
consistencyrelationalaspectofplacesasemerging withinnodesofcrossingtransdisciplinarynetworks enhanceddynamisminprocesses productionofknowledgeinspecialisedfields,con structionofsocialandintellectualcapital institutionalcapacitybuilding planningprocesseswhicharenotdefinedbythe politicalandculturalmajorityonly developmentofmutualrespect

Creativity&innova tionindeveloping spatialstrategies
Participativedesign&planningincontemporaryurbanprojects useofinformationtechnologiesandinspirationfrom theinnovativetechnologicalrevolutionsemergingat thesametimeascollaborativeplanning recognitionandactionsinrelationtocontemporary complexityofnetworksandmultipleconceptionsof space
effectivedialogueandcommunication renewedattentiontothequalitiesofplacesforpoli tics,localdwellersandstakeholders
Furthermore Healey has defined some normative cri teriatodeterminethequalitiesofprocesses,andthen the qualities of places, which are collaboratively plannedandshaped.Firstly,thequalitiesofprocesses areevaluatedbythecoherencebetweentherelation al context and the institutional capacity, the con sistency with cultural values, the sustainability over timeandthedevelopmentofsocialorintellectualcap ital (Healey, 2006, pp. 6971). Secondly, the qualities of places result from economic, social, environmental andpoliticalinterrelations,whereallstakeholdersare implicated on a longterm perspective. Qualities of placeswouldconsequentlyleadtoqualityofenviron ments, social justice and economic productivity. (Healey,2006,p.317)Thishighlightsthesequencesof interrelations between urban processes and urban places, which the collaborative planners recognize in theory,butwhichthisprojectregardsasnotintegrat ed to its full potential. Indeed although some practi tioners seem to develop and integrate the collabora tive values in their work, those values have little methodological framework and visibility, leaving it up to the individual practitioners interpretation of what is sufficiently collaborative. This will be illustrated as well through the case analysis, where Dreamhamar canbeconsideredasanexampleofcollaborativeand participativepracticesextendedtotheirextreme. Generalreflectionsandcritique In the critique of collaborative planning, some theo rists indicate for instance that some premises or rec ommendations are simply unrealistic (e.g. the ideal speech situation and fair dialogue); they end up in overlooking noncommunicative actions and factors intervening in the process, and hiding critical power play at stake (Flyvbjerg & Richardson, 2004, p. 50) (Healey,2006,pp.336338).Addingtotheearlierindi cated argument that the integration of collaborative planningvaluesareleftverymuchuptotheinterpre tation and proactive attitude of individual practition ers, questions can be made on how the collaborative stancecanfitintoexistingplanningsystemsandinsti tutions.Thismightconstituteoneofthegreatestchal lenges for the application of collaborative planning,
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and can be interpreted as well in the collaborative planning approaches existing in several experiments butnotreallyimprintingthoroughlyplanningcultures. Allmendinger & TewdwrJones highlight as well some weaknessesoftheparadigmintermsofattractiveness for practicing professionals: its dominant theoretical debateisnotlinkedsufficientlytotherealityofpracti tioners (Allmendinger & TewdwrJones, 2002, p. 5). These latter critiques are also addressed through the present report which studies a case of collaborative andparticipativedesignandplanningprocess,inorder totrytobridgedesignandplanningpracticesinurban projectsandprocesses. Whilethefocusofcollaborativeplanningisclearly ontheprocess,theurbandesignbasedtheoriesmight haveaskewedinterestintheprocess,asitisgenuine lyfocusedtowardsthefinalproduct.Butgiventhelack of practicality of the collaborative theory, and the dominantempiricalbaseoftheurbandesigntheories, itcanbediscussedifthereisapotentialforcomplet ingtheweaknessesofeach,i.e.respectivelythelackof practicallybased reflection and the lack of deeper theoreticalbackground.Thenextparagraphswillhigh lightthetheoreticalinterrelationsbetweendesignand process.
4.3. Theoretical interrelations between approaches

From the presented conceptual and theoretical framework, it becomes clear that many values and focuses correspond between urban design and plan ning theories, i.e. respectively the presented urban designbased concepts and the collaborative planning theory. This illustrates thus the theoretical interrela tionsbetweenthetwopracticesandindicatesthatthe designplanninggapisratherafluidmargin,wherethe delimitation of design and planning tasks is not as clear as expected. The first section presents some themes exemplifying the correspondence between values in the presented design and planning ap proaches. This correspondence is based on overall similaritiesandoverlappingfocusesinthevalues.The simplificationintothemesenablestheauthortomake thepointofexistinginterrelationsbetweenurbande signandplanning,howeveritshouldbekeptinmind thatthoseinterrelationscannotbeperceivedinasim plisticway.Thelastsectionintroducesparticipationas apossiblearenaforthisinterrelationinpractice,illus tratedthenbythefollowingcasestudy. 4.3.1. Corresponding values Generally the presented theories recognise the com plexity and multiple relations characterising contem porarydesignandplanning,bothintermsofmultiple
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urban issues and pluralistic society constituting the context,withinwhichdesignandplanningarecarried out, and in terms of multiple urban actors and com munitiesincreasinglyconcernedwithdesignandplan ningnowadays. Then placemaking and urban processes are re garded in relation to their democratic and inclusive character, suggesting that the process should be transparent,eitheropenforallstakeholdersastopar ticipateactivelyinshapingprocessesandplaces(ona shorttermbasis),oropenandflexibleforincremental overtaking by the citizens and urban dwellers (on a longtermbasis).Thisdemocraticandinclusivevalueis stronglylinkedwithissuesofpowerandresponsibility in planning. Therefore it opens up as well for reflec tionsonurbangovernanceandplanningcultures,chal lengingthepresentpoliciesandpracticeswithinplan ninginstitutions.Althoughitisimportanttobeaware of such reflections and challenges, they will not be discussedhere. The previous aspects lead on to the value focus sing on information, communication and collective deliberation within the process. Complexity and rela tional contexts are addressed by knowledge sharing and coevolution of urban actors, through networks, partnerships and various communities, while demo cratic process and inclusiveness necessitate mutual
understanding and the recognition of multiple back grounds and knowledge. Here technologies can be used as supportive communication and networking tools. Creativity and innovation is commonly well re garded in order to give space for lateral thinking and transdisciplinarity, to experiment alternative ways of addressingthecomplexityindesignandplanningpro cesses, to enhance institutional capacity, to build so cial and intellectual capital and to develop effective strategies, and more. Creative and innovative spaces canbetheplaygroundforthemultiplesynergiesfos tered by networks, partnerships, communicative ac tionsandcollaborationofstakeholders. Finally, how idealistic or vague some theories couldbeperceivedtobe,theystillhaveafocusonthe productivity of design and planning processes, being awareoftheneedtouseexistingandpreferablylocal resources, and attentive to the potential lying within localknowledge,socialandintellectualcapital.Valuing existingresourcescanbeconsideredfromtwoangles: thepotentialsandadvantagestointegratetheminthe processandtheirongoingdevelopment(e.g.commu nityandcapacitybuilding). These values crossing the fields of design and planningillustratethatratherthanaclearfrontier,itis
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a fluid transition that exists between the presented design and planning practices. The report does not rejectthoughthatotherexamplesofdesignconcepts or planning theories might reveal distinct differentia tionpoints.Nonethelesswiththisconceptualandthe oreticalframework,thegapcanbeidentifiedmorein the lack of knowledge and understanding of the two disciplines, than in their concrete focuses and value. As indicated before, a certain confusion exists in the mutualperceptionofdesignersandplannersworking fields. This might be supported by a terminological fuzziness: urban planning tend to be associated regu larlywithtermssuchasurbanism,urbandesign,social planning,landuseandregionalplanning,alsoinexist ing public institutions. This fluidity between the two fields,combinedwithanincreasingsetofactiveurban stakeholders, who are reflecting, debating and acting incontemporaryurbanplanningprojects,revealsboth challengesandpotentialsincurrenturbandesignand planning.Itchallengesthedefinitionofrolesforurban designersandurbanplannersandraisestheambitions fortheplanningcultures.Butitgivesaswelltheflexi bility and margin for developing design and planning withinspirationfromthehybridknowledgeandexper tiseofcurrenturbanstakeholders.Thenextparagraph reflects on a planning arena, proposed by the author as to receive and deploy these design and planning interrelations.
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4.3.2. Interrelations in participative processes The values converge in defining values of good pro cessorproductiveprocess,althoughthearguments for planners occupying themselves with the process arise from different expectations and objectives in termsofoutcome:eitherthecoherencewithademo craticplanningculture,theinfluenceonurbangovern ance and the building of local and professional com munity and knowledge (i.e. qualities of process) are atstake,orthespatialandphysicaleffectonthefinal design,theperceptionanduseoftheproductandits coherence with the social and environmental context (i.e. qualities of place) are promoted. Nonetheless both reasons lead to higher inclusiveness of stake holders and future users in the design and planning process.InthecaseofDreamhamar,thecollaborative processisdefinedasaparticipationandnetworkde sign process or an example of collective urban plan ning (Ecosistema Urbano & Hamar kommune, 2011); both designations reveal this aforementioned inclu siveness. Could it thus suggest that participation can beconsideredasonearenaforthemeetingandprac tical interrelation of presented urban design values and collaborative planning values? It is important thoughtoreflectonparticipationandcollaborationas not directly equal terms: the collaborative aspect of participation will depend on how participation is de fined and carried out in practice, while collaborative
planningcanencompassotherprocessesthanpartici pation. For instance, question can be made on the collaborative value of public meetings, considered in some department as part of public participation pro cedures. The interest in participation in the forthcoming analysisemanatesfromthechoiceofthecase,related tothepresentedurbandesignbasedtheories:indeed, twoactorsofDreamhamarhavecontributedtoreflec tionsontacticalurbanism.Butitisalsolinkedtothe perceptionofparticipationasaplanningphasehaving the potential of increasing the visibility of urban pro cessesforthepublic(i.e.thesamepublicwhothetwo fieldsseektoinvolveinurbanprojects),whilegaining the confidence of the public about the projects on goingintheirneighbourhoodandcity.Thenparticipa tion appears also as a flexible arena where experi mentscanbecarriedoutandwhereprofessionalsand publiccanchallengetheplanningculture,suchasthe planning experiment in Troms. Here planning was paused for one year and subjected to experimenta tionsandinputsfromthelocalcommunity,inorderto adjust the local planning strategies through a general participative effort (Nyseth, Plger, & Holm, 2010). This seems to fit the reactive stance of some of the presented theories and concepts. Finally architects anddesignershaveproposedtodevelopparticipative processesinrelationtonetworkthinkingandnetwork
design:theyconsidernetworkdesignasthecontem porary evolution of participation processes; it takes into account innovative digital tools and the cultural shift mentioned above (Cingolani, 2012). Without diggingintothetheoryandmethodsofnetworkthink ingandnetworkdesign,itsupportstheideaofpartici pation being an interesting arena to engage with the aforementionedcomplexityandrelationalcontextsof contemporary urban design and planning. This was addressed as well through the values of different in putsinthisconceptualandtheoreticalframework.The following case study will illustrate further these con siderations.
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THEDREAMHAMAREXPERIENCE,A CASE OF PARTICIPATIVE DESIGN ANDPROCESS
about art on the main public square of Hamar, launchedbytheMunicipality.

Box5.1:FactsaboutHamar(Hamarkommune,2010(C)) Hamarregioniscomposedoftheneighbourmunicipalities Ringsaker,Lten,StangeandHamar. Hamarcityis theadministrativecapitalofHedmarkCounty. ahistoricalmiddleagecityfrom1152. consideredthecapitalofInlandNorway. locatednexttothelakeMjsa.
ThischapterwillinvestigatethecaseofDreamhamar, aparticipationandnetworkdesignprocessthattook placeinthecityofHamar,undertheurbanregenera tion and planning process instigated around Stortor get, the citys main public square. Before starting the casestudyofDreamhamar,somepracticalinformation aboutthecityofHamar(seeBox5.1)andadescription of the first developments, leading from the initial proposition to the Dreamhamar process itself, seem useful for the reader as to situate the project in its context.Thecaseanalysiswillthenfollow,dividedin three subsequent themes: the main design and plan ningvaluesemergingthroughDreamhamar;theinter relationsofthosevaluesinpracticethroughthemany contributionstotheproject;finallytheoutcomesand benefitsexpectedfromtheexperience.
(GoogleMaps,2012)
5.1. Context and Dreamhamar
development
of
Dreamhamar is the name given to the participation and network design process itself, but it originally emerged from the response to an idea competition
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TheDreamhamarexperience,acaseofparticipativedesignandprocess
Hamarisalittletownofapproximately28000inhab itants, located 120 km North from Oslo, Norway (see map in Box 5.1). At the project start, the mayor of Hamar was Einar Busterud, from the political party By og Bygdelista, which showed increasing success through the different elections since its foundation and up to 2011. It proposes to defend the values of Hamarwithverypracticalmeansandstrategies,based on collaboration and common sense (By og Bydgelista, 2012). No further details will be given on thepoliticalcontextofDreamhamar,butitisinterest ing to consider this aspect with the explicit values of public participation and aspiration for increased col laborative approaches within the Planning depart ment,whichhavebeenformulatedonthebasisofthe political strategies (Appendixes B and D7). Moreover onthenationallevel,theNorwegianGovernementhas apparentlygivenguidelinesonpossibleapproachesto participation(AppendixB). In2010,thePlanningdepartmentlaunchedanin ternationalcompetitionforartonStortorget,themain public square of the city, named Art on the square (Hamar Kommune, 2012). Stortorget is one of three importantpublicplacesinHamar:itischaracterisedby a central position in the city of Hamar and a North South axis, determined by the visual connection be tweenthecathedralandthelakeofMjsa,andbythe gradualslopetowardsthelakeandtheparklyingatits
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bank (see Figures I, II andIII). Currently the square is mainlyaparkinglot,andhasbeenforabout50years now. The main pedestrian street ends up on the squareandlinksitwithotherimportantpublicplaces inthecitycentre(seeFigureIV).Thefunctionsaround andclosetoStortorgetaremainlycommerce,restau rantsandservicessuchasthemainlibrary.Moreover thenewregionalCulturalcentre(i.e.Kulturhuset)will be built on the western side of the square, marking Stortorget with both its architectonic expression and byitsactivities(Hamarkommune,2010,p.1(B))(see Figures V and VI). The square has additionally an im portant role historically and culturally, being for ex amplethemaintradeplacefortheregion,orwelcom ingimportantpeopleandspeakersthroughtime(Ap pendix B). Plans and illustrations can be found in the followingpages.
MAPSANDILLUSTRATIONS
ThefollowingpagesprovidesadditionalmapsandillustrationsofStortorgetanditsphysicalenvironment;3Dvisuali sationofKulturhuset,beingthefutureCulturalcentretobebuiltontheWesternsideofStortorget;andfinallymate rialfromthepropositionofONETHOUSANDSQUARE.
FigureI:ViewofStortorgetfromSouthWest(Hamarkommune,2010)
PageA
Mapsandillustrations
FigureII:PlanofcurrentsituationofStortorget(Hamarkommune,2010) PageB
FigureIII:TheNorthSouthaxiswiththecathedralandthelakeofMjsa
FigureIV:ThemainpedestrianstreetendingupinStortorget PageC
FigureV:3DvisualisationofthenewCulturalcentreanditsspatialrelationtoStortorget(Hamarcommune,2012)

PageD
FigureVI:ExtractsfromthevideopresentationofthecompetitionentryofONETHOUSANDSQUARE: fromonesquaretoONETHOUSANDSQUARE(EcosistemaUrbano&Artiga,2011)
FigureVII:ExtractsfromthevideopresentationofthecompetitionentryofONETHOUSANDSQUARE: whatisONETHOUSANDSQUAREandhowdoesONETHOUSANDSQUAREwork(EcosistemaUrbano&Artiga,2011)
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FigureVIII:MockupsonStortorget,fromOneThousandSquaretoDreamhamar(Jordana,2011)(Hamarkommune&EcosistemaUrbano,2012)
FigureIX:TheBazaarbuildingonStortorget,outsideandinside(EcosistemaUrbano&Hamarkommune,2011) PageF
PreliminaryworkandcompetitionArtonthesquare The project was initiated on the backdrop of the im plementationofanewoccupationplanforStortorget andtheapprovalfortherealisationofthenewCultur alcentreinHamar,whichwillhaveitsfacadesoutto thewesternsideofStortorget.Thoseplansarepartof the general urban regeneration of the central part of Hamarcity.Theoutlineoftheprojectstates:theplan shouldenablethedevelopmentofthesquareasoneof Hamars most important urban spaces, and should organisetheuseandactivitiesaccordingtothediffer enttraffictypes,commerce,services,plannedcultural centre, as well as support both small and bigger
20102011 Initiatingphase withcompetition
events* (Hamar kommune, 2009, p. 1(B)). For that purpose,Hamarmunicipalitytookthestandofhaving artasthemainandbearingelementofthisregenera tion,consideringthattherearebeneficialpotentialsto theearlyintegrationofartinpublicplaces.Nospecifi cations were made in terms of what kind of art was expected (e.g. sculpture, light installation or interac tivepavement).Theselectedprojectisnowfinalising itsdesignphase,withalreadysomedesigndocuments andvisualisationspresentedattheMunicipality,based on the prior creative phase. The final approval will likelyhappenduringthesummer,withpublichearing (see Figure 5.1) (Appendix B) (Hamar kommune, 2009(B)).
Sept.Dec.2011 Creativephase
Jan.June2012 Designphase
Aug.Oct.2012 Public procurement
Dec.2012Nov.2013 Constructionphase
Figure5.1:TimeschedulefortheprojectonStortorget, basedondiagramfromHamarmunicipalityswebsite(HamarKommune,2012)
The start of the project on Stortorget goes back to 200913,wheretheMunicipalCounciltogetherwiththe Planning department desired to reinforce the role of
13
The necessity of an urban regeneration of the square and its surroundings was formulated already in the Municipal plan for thecitycentreof1995(Hamarkommune,2009(A)).
Hamar as regional and inland capital. Intentions such asstrengtheningHamarcitycentre,highlightingwater as a resource and element in the urban landscape, sustaining qualities of social and urban life, enabling meetings and cultural events in the urban spaces, promoting culture for the city and its region, were
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consideredimportant.Theregulationplanfortheuse and activities on Stortorget was developed in close relation to the Cultural centre project and encom passedtherecommendationforanartprojectonStor torget,astosustainthelocalidentityfeeling.Besides the clear and repeated desire to integrate art in the urban regeneration of the square and surrounding area,considerationsweremadeaboutthefestiveand dailyuseofthesquare:Stortogetbeingthegathering placeforthe1stMayandtheNationalday,ormarket place, with alternative parking possibilities, shared spaceandgoodaccessibility(Hamarkommune,2009). FinallytheMunicipalityintegratedtheviewsandopin ionsofvariouspublicandprivaterepresentativesfrom the neighbour municipalities and institutions, youth and activity associations, local business organisations and/or citizens. This occurred through direct contact with the representatives, users survey and users meeting(AppendixB)(Hamarkommune,2010(A)). After preliminary selections, five teams were in vited to enter the competition Art on the square, eachteamofoneartistcollaboratingwithanarchitec ture or landscape design firm: they were two Danish teams,oneSwedish,oneNorwegianandoneSpanish. The winning design was the latter, resulting from the SpanishcollaborationofLlusSabadellArtigaandEco sistema Urbano (Hamar kommune,2010(B)). The jury of the competition was composed of the mayor, two
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politicians, one representative from the business sec tor,onerepresentativefromthePlanningdepartment and two artistic advisors. Furthermore a reference group,constitutedofrepresentativesfromtheregion altouristassociation,theyouthcouncilandHamarcity centre association, represented a sample of users, contributing as well as advisors. Finally the architec turefirmresponsiblefortherealisationoftheCultural centre, as well as local art and culture consultants were asked to assist the jury (BullHansen & Haugen, 2010). Thus it appears that Hamar municipality tried representingandintegratingasmanyinterestsaspos sible in the composition of the jury. The program of thecompetitionemphasisesadistinctive,invitingand surprisinginterventionofhighartisticquality,leavinga lotoffreedomtotheteamstorespondtotheassign mentwithintheframeworkoftheregulationplanes tablished by the Municipality (Hamar kommune, 2010(B)). The municipal architect and planner Geir Cockpointsaswellatthejurysdesiretobeintrigued and surprised, and thus they had no idea of what to expect(AppendixB).TheSpanishpropositionachieved thiswithastartingpointintheMunicipalityspolitical aspirationforpublicparticipation.IndeedtheMunici pality expresses: this art project takes seriously the politics of Hamar about participation, and invites for interaction, activity and engagement across all fron tiers*(Hamarkommune,2011).
Fromartprojecttoplanningprocess TheSpanishpropositionONETHOUSANDSQUAREisbased ontheconceptionthattheforeignartistandarchitects couldnotimposeonedesign,whichwouldonlyreflect their perspectives on urban space, onto the local communityofHamar.Theyconsideredthattherewas anopportunityofengagingthewholecommunityina creative process (Appendix C). The proposition sug geststhustheintegrationofthemanyideasandcon tributionsofboththelocalandinternationalcommu nity, in order to respond most appropriately to the needsanddesireofthefutureusers,orastheSpanish teampresentedit,togiveHamarathousandsquares in one (see Figure VI and VII) (Ecosistema Urbano & Artiga, 2011(B)). The idea is based on the perception that collaborative development of urban spaces and opensource placemaking, by embracing the inputs anddemandsofthecommunityplannedfor,willresult inabetterqualityandmoreresponsivefinalproduct. Butitwillaswellhavespillovereffectsforcitizenem powerment and local community building, for meth ods and skills in future urban designs and processes, for global visibility of Hamar as specific reference for participative public space design, and finally for the branding and media coverage of Hamar (Ecosistema Urbano&Artiga,2011(B)).
Thefinalcontractedprojectwasreducedfrom20 months to a 12months procedure, and the team de velopedthustwoalternativesfortheimplementation ofthecreativeparticipationprocess:eithertheproject schedule was divided equally between the participa tion process and the final design phase, of 6 months each,oritencompassed3monthspreliminarydesign, 4months participation process and then 5months final design phase. The latter was chosen by the Mu nicipal Council because increasing the political confi dence in the project, since the preliminary design wouldallowtohavealookatthecapacityandskillsof the Spanish team to develop a design with creative andtechnicalqualitieswithinthebudget(Appendixes B, C and D8) (Ecosistema Urbano, 2011). The chosen alternativeledthentotherealisationofDreamhamar. Noa Peer, architect working with Ecosistema Urbano on the preliminary preparations of the participation process,describeshowDreamhamarrespondstoevo lution and challenges in our contemporary society, throughcollaborativeapproachtodesignandplanning and through global and local networks of knowledge sharing (Appendix D8) (Ecosistema Urbano & Hamar kommune, 2011). This explains the terms participa tionandnetworkdesignprocesswithwhichtheteam designatestheproject.
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Figure5.2:OutlineforDreamhamarparticipationandnetworkdesignprocess(EcosistemaUrbano&Hamarkommune,2011)
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Concretely Dreamhamar is constituted by onsite and online workshops, events and lectures. The different workshops would have themes, either corresponding toanissue tobediscussed(e.g.technology,seasonal strategies, people, environment and activities) or try ing to reach and engage a certain target group (e.g. childrenandyouth).Furthermoreurbanactionswere organised as mockups or tryouts of possible experi ences and uses of Stortorget (e.g. sharing of toys on the square with Playhamar and picnicking on the square with Creamhamar). Each intervention would haveacoupleofkeyactors,onelocalandoneinterna tional,responsibleforitsrealisation,i.e.thecommu nity activator and the creative guest. Furthermore Dreamhamar initiated a collaboration with the local and regional schools, by means of the governmental program the Cultural rucksack, and invited universi ties and academies of art, craft and architecture to contribute to installations and interventions on the square(i.e.academicnetwork).Throughthe4months process exhibitions and lectures would occur after work hours in the Bazaar building, located on the Southern edge of the square, and which was Eco sistema Urbanos local office and physical lab during theprocess(seeFigureIX).Finallybroadcasting,online debates, Skype meetings, YouTube videos, comments and posts on blogs and websites, happened simulta neously and formed the socalled digital lab, where
researchers,professionalsfromallovertheworldand publiccouldinteractanddiscussabouturbanspacein general and Stortorget in particular. Those different elements of the Dreamhamar participation and net work design process are illustrated in Figure 5.2 (Ecosistema Urbano & Hamar kommune, 2011). With thisnetworkbehindDreamhamar,itisamultiplicityof actors,professionalandpublic,internationalandlocal, whoareengagedintheproject.Theycomewiththeir backgroundandexperiences,whichcontributedtothe versatilecombinationofmanyhybridprofiles. The presented information indicates already the unique example, which Dreamhamar represents in terms of developing a collaborative practice of urban design and planning. The complexity induced by the extended participation and network process seems thoughchallengingthecoherencebetweenthevalues expressedbytheurbanactors,theimplementationof theprocessanditsfinaloutcome.Thisiswhatthecase analysis will examine in this one practical example of interrelatingdesignandplanningvalues.Firsttheval ues emerging from the different contributions in Dreamhamarareextracted;thentheinterrelationsof thosevaluesinpracticeareoutlined;finallyoutcomes andexpectedbenefitsfromthisspecialexperienceare determined(seeFigure5.3).
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Figure5.3:Structureofthecaseanalysis
5.2. Design and planning values expressed in Dreamhamar

The interview answers allowed identifying the inter viewees values, based on their own reflections and experiences, or developed through the process. The values are presented in the following order, and ac
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cordingtosomemainthemesextractedfromtheactor interviews.Theyareasfollowing:valuesinreactionto currenttendenciesinthedesignandplanningofurban space, values related to the social dimension high lighted in the Dreamhamar project, and finally values at the basis for approaches and methods used in Dreamhamar(seeFigure5.3).
5.2.1. Reaction to current tendencies in design and planning of urban space Some actors formulated values in reaction to what they considered as failing or lacking in present and past planning practices. They outlined hereby their view on the main challenges and potentials in con temporaryurbandesignandplanning.Oneproblemat icissueconsistsinageneralconcernabouttherepar tition of space between motorised roadusers and pedestrians.ThemunicipalarchitectandplannerGeir Cock mentions much of the townplanning has been focused on infrastructure, cars and buses, as well as thebiginvestments.Someofthesehasthecapacityto transformnotonlythephysicaltownscapebutcanalso have a major impact on the economy and life within thecity.Thespacegiventocarsisconsideredexces siveinrelationtowhatisdedicatedtopeopleandhe argues for turning planning towards the real user (AppendixD1).Thedefinitionoftherealuserinthis caseisnottotallyclear:isitthepedestrianorbicyclist experiencingmoreintenselytheurbanspacethanthe driverinhiscar,orisitingeneralalldwellerandciti zen,herebyalsothosenotusuallyshowingupatpub lichearingsandmeetings?Theurbanplanningmanag er Kari Nilssen points as well at the road and traffic issue,whichiscurrentlybeingthepriorityinplanning, and advocates for planners to establish frames and incentives for multiple use of the city centre. In the
caseofDreamhamar,shehighlightsthusthenecessity of activating peoples consciousness about the use of the square (Appendix D7). Besides those two munici palactors,twocommunityactivatorsexpressaswella desire to refocus the development of urban spaces around activities, divergent uses and experiences of thepublicplaces,forhealthorsocialandculturaliden tity reasons (Appendixes D5 and D6). This introduces theemergence,orreemergence14,offocusonpeople inurbandesignandplanningpractices:herebytheuse ofpublicplaces,theexperiencesandperceptionwith in, their effect on social life and health, their role in the shaping of an identity and responsibility feeling towardsonescloseneighbourhoodandcity.Thiswill bedevelopedfurtherinParagraph5.2.2. Thesecondissueconcernsthebeneficialinterre lations between disciplines as to respond to the in creasing complexity and multiplicity in planning. Sev eral actors expressed an interest in the interrelations either between different aspects within the planning field (e.g. Cocks focus on the connections between landuse,designingandusingpublicspaces),between
14
Thewordreemergenceishereusedtopointatthefactthat thevalues,mentionedinthischapter,orsimilarideals,havebeen developed by planners, architects, sociologists, among other professionals, in previous theories of planning (e.g. Jane Jacobs, Kevin Lynch, Gordon Cullen and Jan Gehl) (Busck, Rasmussen, & Skovsholt,2011).
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planningandtechnology(e.g.Tato,BaraonaandGon zlez focus on opensource technologies and place making)orbetweendifferenttypesofknowledgeand disciplines(e.g.TatoandPeersfocusonthepotentials behind the various professional and public contribu tions) (Appendixes C, D1, D4, D8). It confirms the stance presented by some planning theorists already, aboutrationalpracticesofplanning(focusedonurban functions and infrastructures) recognizing more and more the complex relational systems of influences groundedinvariousdisciplines,whichaffectsthequal ities,useandappreciationofurbanspaces(seeChap ter2).Henceinresponsetothecontemporaryevolu tion of society and practices of urban planning, the Dreamhamar actors seem to agree on the idea that planners should have in focus the people and final user in urban projects and processes, and take ad vantage of networks as a mean to share knowledge andideaswithintheplanningdisciplineandacrossso manyrelatedfields.Towhatextenttheseperceptions are the ones of the individual professionals, or an ef fect of the outlined strategies for extensive participa tionandnetworkdesigninDreamhamar,isnotclear. But it can be considered that the engagement of the different actors in this project, which they genuinely characterise as an innovative and unique experience, reflectadesiretotryoutdesignandplanningpractices inadifferentwaythanthetraditionalone.
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5.2.2. Social dimension in Dreamhamar Mostintervieweespointedexplicitlyattheimportance of the human, social or community dimension in de sign and planning processes, i.e. the importance of having people in focus in the process, design and fu ture use of Stortorget. Considerations present some nuancesbetweenformulatingthenecessityofengag ingcitizensintheurbandevelopment,findingthereal users of public space, empowering the local commu nity and reaching out for the various social groups, stimulatingsocialandphysicalactivitiesinurbanspac es, addressing the historical and cultural heritage of the locals, using the resources inherent to local and globalnetworks,andsoon. Democraticandparticipativeprocess The social dimension in planning, upheld by the Dreamhamaractors,goesinhandwiththedemocratic value present in contemporary Nordic planning cul tures,influencingtheapproachtodesignandplanning processes,andtosomeextent,thespatialexpression anduseofthefinalproduct.Threeoftheinterviewees developedtheideaofdemocraticprocesses:theyare characterisedbyinclusiveness,transparency,openand equal access for all (Appendixes D1, D3 and D8). The municipal architect and planner Geir Cock mentions theimportanceofparticipationinurbanprojects,and thus the necessity to offer an arena for discussion
andknowledgetryingtoreachalsothosewhousually dontparticipateinthesekindofprocesses(Appendix D1).Inhisview,Dreamhamarachievedtocontactand activate more social groups (e.g. immigrants and youth,curiouspeopleandartists)thantheusualpeo ple and representatives engaging in traditional public meetings, by testing out some alternative tools (Ap pendix B and D1). The architect responsible for the preliminary preparation for the participative process advocates to incorporate citizens as active agents in urban development (Peer, 2012). She mentions an extensiveattentiontotheneedsanddesiresofusers, and the reclaim of public spaces for the community, generally endorsed by the younger generations of planner.Hencethefutureusersshouldbeincludedin the creative process, and conditions for dynamising communities and their collaboration about urban is suesshouldbesupportedbyplanners. Thislinkstoanotherpointinsocialorienteddem ocratic planning approach: the support of citizens empowerment, meaning hereby wider distribution of responsibility towards the future public space, and consolidationthelocalcommunity.Thesignificanceof networks, both local and global, becomes an im portant argument and tool in that perspective. Eco sistemaUrbanoforinstancevaluesthepossibilitiesfor connecting diverging inputs and collaborating with variousactors,whichliewithinparticipativeprocesses,
network and opensource technologies. According to theSpanisharchitects,itsustainsthesocialdimension of public places and fosters a final design emerging fromcombinationofpeoplesideasandcontributions. They explain that they are architects, but with an in terest in technology, people and environment, and thattheyaspiretotoconnectpeoplewiththepeople, the peoplewith the environmentand the people with the city (Appendix C). Thus networks and collabora tion with people from other disciplines represent a significant value for the architectural firm, and is re flected as well in their competition entry ONE THOUSANDSQUARE,wherethemessuchasdesignthink ing,digitalnetwork,publicparticipation,cityinter action,activelearning,communicationdefinetheir approach to urban design (Ecosistema Urbano & Artiga, 2011(A)). All themes are not completely clear buttheygiveanideaabouttheirperceptionofurban space and urban planning as something dynamic and interactive.Thisrelatesofcoursetotheinitialproposi tion of designing Stortorget in collaboration with the local community in Hamar, and with the inputs from the international professional community of practi tionersandresearchers,insteadofimposingaSpanish design to the Norwegian locality. Belinda Tato de scribesthesignificanceofconnectingpeopleandele ments in urban design: the way we approach urban design or city design (), it is about social or public
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participation, it is about public space being a social space, it is about technology, also social technology (AppendixC).Thosethreeaspectsofurbandesign(i.e. process, space and technology) connect and interre lateinthedevelopmentofthefinalurbandesign. Hereby the social dimension in the planning process canbecharacterisedasinherentaspecttodemocracy inplanning.Althoughthevalueofdemocracyisnota novelty in the planning culture, its interpretation and implementation might have changed. Reference can bemadetothedemocracycubeinparticipationde sign, presented by Archon Fung, as to situate the in clusiveness/exclusiveness, intensity and authority of thedifferentparticipationforms15(Fung,2006,pp.13 23). Indeed the interviewees and the whole Dream hamar experience seem to aim for open democratic planning and design process, where the enhanced in clusiveness,highintensityofparticipationandcitizens authority towards the final outcome are the objec tives. This relates to the focus on collective delibera tionanddemocracyofthepreviouslypresentedtheo
15
ries (see Paragraph 4.3.1), maybe more idealistic in comparison to traditional approaches in democratic planning(e.g.publichearings). Futureuseofthefinaldesignedspace The social dimension in planning does not only sup posethattheplanningprocessisopenanddemocrat ic,butalsothatthefinalproductisso.Heretheatten tionisongivingspacetopeopleinthefuturesquare, i.e.theintegrationofallsocialgroupsinpublicplaces; peoples mobility and accessibility in the city centre, with focus on the nonmotorised roadusers; users experience and activities on Stortorget and the inte gration of the historical and cultural heritage of the community.Themobilityandaccessibilityofpeopleon the square is especially outlined by the municipal planners, and already appearing in the resource doc uments for the launching of the competition Art on the square (Appendixes B, D1 and D7) (Hamar kommune, 2010(C)). The two project managers com mentgenerallytheimportanceofdurabilityanduseof the urban environment for the citizens: public places need to be used and to offer a gathering point for people. The involvement of local community in Dreamhamar contributed in generating engagement towardsthefuturesquare,andallowedparticipantsto come with their ideas and visions about the final de sign of Stortorget in a creative and positive atmos
The degree of inclusiveness/exclusiveness depends on the selection of types of participants, the intensity dimension de pendsonthemodesofcommunicationanddecisionmaking,and finallytheauthorityandpowerdimensiondependsontheinflu enceofparticipantsonthefinaldecision(Fung,2006,pp.513).
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phere (Appendix D2 and D3). One of the municipal plannersspeaksaswellaboutpeopleinurbanspaces, claiming that they are not present enough in existing public places, hereby indicating that often excessive focusisgiventotheaestheticsoffashionabledesigns insteadofdynamisingthefutureurbanspacethrough multiple possibilities of uses and activities. He states about Dreamhamar that the project focused way moreoncontent,functionsandactivities,thanonde signandmaterialsitcanpayofftohavelessgranit and more activity to generate a function*(Appendix B).ThefinaldesignofStortorgetshouldcomprehenda square adjusted to different scales of social gather ings: either large community meeting for big regional events or individuals enjoying intimate outdoor spac es. In the same perspective, the local teacher Audun Jensen advocates for public areas which offer both socialandphysicaldeploymentpossibilities(Appendix D6). Two interviewees mention as well the cultural andhistoricalheritageinHamarassignificantforthe futuredesign.Thefocusonthecitysheritageinrela tion to the square is aimed both to develop the citi zens feeling of identity, ownership and responsibility towardsthefuturedesign.Themunicipalarchitectand planner Geir Cock is concerned with the square as physical space of historical importance: by the past Stortorget has been a particular regional node for
trade and social life. Today it hosts important tradi tionaleventsandpoliticalgatherings(e.g.celebrations andspeechesof1stMayandNationaldaygatherings) andistheplacewhereimportantpeoplehavespoken. Stortorget serves thus as local and regional identity marker, which the politicians in Hamar have been in terested to reactivate. The argument for investing in thequalitiesofurbanspacesinHamar,andinthepar ticipation process of Dreamhamar, has been partly grounded in the political objective to reinforce Hamars position as regional node (Appendix B). The culture animator and community activator Joanna Mikulska is the second interviewee who is interested in integrating the cultural and historical heritage of Hamarasdesignparameterforthefinalproduct.She defends the potentials in peoples needs, stories and memoriesbothtoengagethemintheprocessandto discuss and discover what it is that attach them to a public place. These stories and perspectives can then beintegratedintherealisationofthefinaldesign(Ap pendixD5). It is remarkable that the qualities of urban space, in thiscasethefutureStortorget,arespecificallydefined according to social and activity criteria, leaving very little space for considerations on the physical envi ronment and aesthetical experience on the square,
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aspectswhichonemightsuggestwouldbeinherentto architectsanddesignerswork.Thebuiltenvironment andphysicalspacehavebeenaddressedthroughsome of the workshops or urban actions (e.g. environment workshop or Painthamar action) but not formulated explicitlyintheactorsresponses.Ithastobesaidthat oneoftheactorswhodidnotrespondtothewritten interview was the community activator in charge of the environment workshop. Nonetheless little infor mation on the websites and blogs develop this physi cal and environmental aspect of the project, in com parison to the greater proportions of considerations aboutthesocialdimension.Woulditsuggestthatthe good process and collaboration is more important than the spatial design, or simply that the good pro cess will unequivocallyresult in agood design? It is always difficult to define what is a good process or design,andthefuzzinessmakesitdifficulttorelateto those terms, although most actors express that the good or positive atmosphere around the process andthenewdesignofStortorgetareessentialsuccess criteria for Dreamhamar. The social dimension pre sentedinthoselastparagraphscanbeonecluetothe questionwhatisagoodprocessordesign?Whilethe social dimension in the process is somehow more ideological, considerations on a social or people friendly design are more practical and concrete: the intervieweesareconcernedwiththeuseofspaceand
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the relation people will develop to the new square. The suggestions are rather normative, about how should Stortorget be redesigned and what it should encompass.Probablytheactorspreviousexperiences haveastakeinthis,butaswellthefactthatsuchrec ommendationswerealreadymadewayearlierbyoth er renown theorists and practitioners in the 1960s 1970s (e.g. Jane Jacobs, Kevin Lynch and Jan Gehl). They have highlighted as well uses and needs for ur ban space, which would enhance the qualities of space, always with the user in focus (Busck, Rasmussen,&Skovsholt,2011). In the case of Dreamhamar, considerations have been made as well on the positive spillover effects expected in relation to the process and the design: theattentiononlocalandglobalnetworksisnotonly servingtheprocess,andherewiththedesign,butalso contributestobuildandsustainthelocalcommunity, inform and share knowledge within the (local and global)professionalcommunityandconstitutealega cyforHamarandthemanyactorsofDreamhamar,in terms of reflections, practices and concrete tools for future collaborative planning and design (Appendix D8). In an online conference, Peer mentions the ne cessity for creating the conditions and deploying tac tics within flexible designs, which can accompany the communitysevolutionthroughtime(Peer,2012).This longtermperspectiveandsuggestedflexibilitycanbe
seen as a response to complexity and multiplicity in contemporary design and planning mentioned in Chapter2.ItrelatestoHilliersadvocacyforflexibility inplanningthatwouldallowtoexperimentandadjust practices to the complex and relational character of urban developments (Hillier, 2008, pp. 3841). Thus Dreamhamar can be seen as one more experiment, buildingonexistingknowledgeandpracticesofpartic ipation and collaboration as to develop urban design and planning (theoretically and practically). The (re newed)focusonthesocialdimensioninplanningand the enthusiasm for social dynamics and resources in planning and designing processes is especially visible amongtheyoungergeneration.Theoldergenerations on the other hand, maybe marked by strategic or pragmatic planning traditions, will be aware of the importance of the social dimension in planning but withonlyfewsuggestionsonmethodsandapproach es.Newtoolsandconceptsaredevelopedandusedby those newer planning generations, such as crowd sourcing, social networks and technologies, which connect people and places and open alternatives for designersandplannerstogetfeedbackontheirwork, toshareknowledge,enhancecommunicationandpar ticipationinurbanprojects,integratemorepeopleand social groups. Some values lie behind those outlooks, practicesandnewplanningtools,andarepresentedin thefollowingparagraph.
5.2.3. Approaches and methods Mainly creativity (as in creative thinking, creative ap proachandcreativeprocess),innovation,communica tion and facilitation have been outlined as values be hind the methods developed in the participative pro cessofDreamhamar.Whilecommunicationandfacili tationareseeminglybasedontheapplicationofinno vative technologies and tools into urban design and planning, creativity is a more elusive value: what is a creative process, what is an innovating approach? Generally, lateral and outofthebox thinking and practices can characterise the attitude of the various Dreamhamar contributors in their approaches and methods. Creativityandinnovationinplanningprocesses Againtheoverallthemeherecanbeseenintwoper spectives: creativity in terms of placing art in public space,orcreativityintermsofattitudeandapproach inplanning.Thefirstlinksuptotheinitialdemandof theMunicipalitywhenlaunchingthecompetitionArt onthesquare(seeParagraph5.1),whilethesecondis reflected in the Spanish teams proposition of art be ingthecreativeplanningprocess. The thoughts behind the competition Art on the squarearelinkedtotheperceptionthatartinurban projectsoftencomesinverylate,buthasgreatpoten
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tial in generating urban qualities and bringing added valuetourbanareas(e.g.surpriseandstimulationfor the senses). The Planning department had the desire tochallengethemselvesandthetraditionalprocessby initiating the urban regeneration around Stortorget with an art project. The Council and municipal plan ners had no clear idea of what kind of entries would resultfromtheirdemand(e.g.sculpture,lightinstalla tionorinteractivesquare)andallowedagreatflexibil ityfortheentries(AppendixB).Althoughexpectations and desires for Stortorget were formulated (e.g. re gionalnode,sharedspaceandactivationofthelocal identity feeling), the benefits and qualities that art shouldbringtotheearlyphasesoftheprocessandto the final square were vague. Belinda Tato mentions the Spanish teams (i.e. architects EcosistemaUrbano and artist Llus Sabadell Artiga) interpretation of the Municipalitysdemand:intheirview,urbanregenera tion is not initiated by an art object or specific urban design. On the contrary it might cause confusion and lack in appealing the local community (Appendix C). EcosistemaUrbanoconsidersthereforethatliveability and qualities of urban places are achieved through complexcombinationandoverlapsofelements,where flexibilityforimprovisingandinteractingisgiventothe users (Hamar kommune & Ecosistema Urbano, 2012, p.7).
The latter can be linked with another intervie wees outlook, mentioning the necessity of establi shinganarenaforcreativityandaframeastofostera good final product (Appendix D3). This refers back to the reflection on what is a good design, developed here into what are the qualities of such process and design. The confidence of the Council and municipal plannersintheprojectofDreamhamar,togetherwith positivecommentsofmostactorsonthecreativeand innovative process, suggest that potentials and quali tiesinurbanspaceswillbeenhancedbysuchplanning process (Appendix B). What those qualities represent is still unclear, although the enthusiasm is contagious andimaginationcouldhelponthewayoflistingsome qualities.Thevaguedefinitionofthosequalitiesraises nonetheless some critical points. Either they are not definedandformulated,accordingtotheflexibleand experimentalcharacteroftheprocess;thisisnotnec essarilyaproblemifthestanceistaken(asitseemsto be)ofstartingupreflectionsandinitiatives,whichare gathered into some lessons and legacy to use for the future. Indeed Belinda Tato speaks of the firms ap proach to planning as to spread seeds, and some of themflourishandothersdont,butwecreatethecon ditionsforpeopletobedifferentafterwards(Appen dixC).Thusitcanbeinterpretedthatcreativity,flexi bility and inclusiveness in the planning process will guaranteegoodspatialandsocialoutcome,whatever
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qualitiesthismayhave.Theothercriticalpointwould lie, in case of the lack of definition of those desired urbanqualities,intheambitionofcreativityaslinking allurbanqualitiesandissuesaddressedindesignand planning (i.e. process, design outcome, environment, social,communitybuilding,cultural,economicandso on).Thewordcreativityseemsindeedquicklyusedas a buzz word to justify many interventions and ap proaches. Itisthenalsointerestingtolookatwhatdefinesa creative process, given the continuous reference madetoitbytheDreamhamaractors.Justasdifficult as it was to determine the urban qualities aimed for throughcreativityandinnovation,thecreativeprocess does not have a precise definition, but through the actors response an attempt can be made to frame whatsuchcreativeprocessencompassesorgenerates. Thetwomunicipalplannersdescribetheupstartofthe creativeprocess:theinitiatingideaofthecompetition toendorseacreativeapproachtoStortorgetemerged inthePlanningdepartmentfromcreativecolleaguesin the Planning department, and had an idea about im plicating the creative voices in the planning process around Stortorget (Appendixes B and D7) (Hamar kommune,2010, p.1(A)).Apartfromtheartistwork ing with Ecosistema Urbano on ONETHOUSANDSQUARE and some partners from the future Culturalcentre, it isnotclearlydefinedwhothosevoicesare;oneofthe
municipal planners describes how the Planning de partmenthadaproactivestanceinchallengingtradi tional planning procedures, and try out new ap proaches by means of new partnerships in the plan ningprocess.Thecompetitionjurystatedaswell:the projectisreallyinteresting,notjustbecauseitcouldbe a good planning method, but because it follows Hamars clearly stated ideals about openness, active participation and democratic processes. One thousandsquare represent a creative practice and an artistic image of those ideals* (BullHansen & Haugen,2010,p.3).Thismightsuggestthenthatthe creative process is open and participative, as to inte grateasmanyvoicesaspossibleandmakeuseofthe existingsocialandintellectualcapitalasaresourceof knowledgeandideasindesignandplanning.Thisleads thus to reflect on the participative process and net workdesigninDreamhamar,sincetheyseemtohave been developed creatively, according to the previous citation. Since participative planning is not something new, what makes it a creative process? The answer seemstobefoundinthetranslationofcomputingand programming technologies into the planning process: indeed from the very beginning, the use of open sourceconceptandnetworkdesignwastheproposed methodforimplementingtheprojectascollaborative designandplanningprocess.Twointervieweesevoke theirbeliefinopensourceandparticipativeprocesses
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as being the best way to know, understand and de sign public space, expressing here the importance and strength of such approach in knowledge sharing and community empowerment (Appendix D4). The architectfromEcosistemaUrbanomentionstheuseof social technologies and social softwares, which can beperceivedastheinnovativeandcreativecharacter to this participative and collaborative planning ap proach(AppendixB).Thisleadstothenextparagraph whichdevelopssomeperspectivesoncommunication and facilitation, considered as important values in a processsuchasDreamhamar. Communicationandfacilitation Information,communicationandfacilitationareterms that constantly appear among the interviewees, as important in their role and contribution in Dream hamar: for example to reach out for a maximum of socialgroups,tellpeoplewhatisgoingonintheircity, interestthemandengagethemintheprojectandthe urbandevelopmentofHamar,activatetheirthoughts and ideas for the future Stortorget and facilitate dis cussionsandknowledgesharingbetweenactors(pub lic and professionals). Belinda Tato mentions the tal ent of communication, which, beyond issues of lan guageandspeech,comprehendstheabilitytoidentify whathastobecommunicated,whichmediatousfor thepurpose,andhowtoreachoutforeveryonewhile
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stilladdressingthedifferentsocialgroupsaccordingto their premises. The aim is firstly to get a reaction, showing the individuals engagement (i.e. public and professionals) in the project (Appendix C). Another intervieweereflectsonthreeaspectsasbeingthekey for public involvement: the use of networks, the effi ciencyofcommunicationandthedeploymentofpro vocative actions (Peer, 2012). Communication as de scribedhereisthusanactiveanddynamicpartofthe process,ifcomparedtocommunicationformssuchas public hearings or traditional open meetings for in stance. In Dreamhamar, the architect and/or planner undertakes a proactive role since he/she incites peo ple to communicate. The use of terms such as com munityactivators,astodefinetheroleofsomeactors intheprocess,alsoillustratesthisclearly(Ecosistema Urbano&Hamarkommune,2011).AdditionallyBelin daTatoadvocatesforafree,inspiringandfunatmos phere in participative and communicative processes, as to make it a pleasant experience for participants (Appendix C). This pleasant aspect is important since time can become an issue: for instance participative workshopsorlecturehappenedafterworkhours,lim itedtimewasgrantedfortheworkshopsandactions, andthewholeprocesswasreducedintimefrom20to 12 months. Communication and participation are thingsthatneedtime;duetotheshortenedprocessin Dreamhamar, people had to react quickly as tocome
with their opinion and influence the final outcome. This has though the positive side as well of avoiding anyfeelingofroutineintheprocess,andlossofinter estfromlocalcommunity(AppendixesBandC). Besides communication with participants, polem icsanddebateinthemediawerementionedbyinter viewees,mostlythemunicipalplannersandlocalpro jects managers. Collaboration existed between the actors and the local newspapers in order to publish articlesaboutworkshopsandeventshappeningonthe square, again with the purpose of informing broadly thelocalcommunity.Butthemediaaswellgavevoice toscepticandcriticalcitizens,throughpublishingneg ativereactionsanddebates.ThePlanningdepartment felt it challenging, but the architect from Ecosistema Urbano recognizes that in an attempt of engaging a widesetofcitizens,notonlypositivereactionscanbe expected. One of the municipal planners explains though that the communication apparatus within the Municipality is now more operational, suggesting hereby that lessons have already been taken in from the process (Appendixes B, C, D1, D3 and D7). Public involvementandopencommunicationisthussupport ing the participative process, but also challenging the legitimacyofurbanprojectsandprocessesCommuni cation appears here as a strategy of balancing be tween gathering the public interest and confidence, andopeningforquestionsandcritiques,inaconstruc
tive atmosphere. Belinda Tato exemplifies this confi denceofparticipants:forinstanceoutsiderscanbring freshnessandmoreopennesstothediscussions,since they are not bound to local debates. They can speak out freely and hereby make other participants feel more at ease when sharing their thoughts and claims (Appendix C). But they can also provoke a feeling of distance,duetothelanguage,theacademicspeechor divergingperspectives(AppendixB).Touseaconcrete example from Dreamhamar, a woman entered one workshopstatingherscepticism,butalsoindicatingto the Spanish sociologist, being the community activa torofthisevent,thatshecametodiscuss,convinceor beconvinced(Hamarkommune&EcosistemaUrbano, 2012, p. 15). The municipal planner speaks of confi dence as the responsibility that Ecosistema Urbano towards the Council and local community, when they implement, as foreign architects and planners, the participative process in such a local place as Hamar (AppendixB). Theopencommunicationandcreativityargumentcan beconsideredtowraporhideuncertaintiesandchal lenges,suchasdescribedbythejury:theprojecthas aseriouspitfallbecauseofitsdependenceonthesuc cess of establishing a good local governance and achieve thenecessary local and global engagement*
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(BullHansen&Haugen,2010,p.3).Ofcourseanypro jecthasitsshareofrisk,butvariousparameterscould have been critical for Dreamhamar: for example, the useofalternativeapproaches,suchascreativeprocess based on opensource and social software technolo gies,orthewidecommunicationstrategies.Outcomes and success can difficultly be measured on those ap proaches;onlythecommitmentoftheactorsandtheir valuescanactasappropriateargumentsforthedeci sionsandprocessinDreamhamar.
5.3. Interrelations and interactions through participative process

The interviewees did not distinguish clearly between thedesignandprocessinDreamhamar,norwastheir hybrid backgrounds something they highlighted in their answers. But they had clearly different percep tions of what design means and what is a planning
process.Theinterrelationsoftheirvaluesandpractic eshavethusbeenextractedfromtheirexplanationon how their role interacted with or contributed to someone elses intervention in the project. Their role and its description was usually defined clearly on its own (e.g. project manager is managing project), but lackedoftentheoverviewonhowitinterrelatedwith other interventions, although the actors were well conscious about the bigger interactive aspect in Dreamhamar(i.e.thediagramofnetworksandactors onFigure5.2).Thefollowingsectionselaboratesfirstly on the interrelations between participative process and the final design, secondly on the interaction of actorsandnetworkswithinDreamhamar,thenonthe multiple arenas of participation and their interaction, andfinallythechallengesperceivedinthisratheram bitious participation and network design process (see Figure5.4).
Figure5.4:StructureofChapter5.3.
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5.3.1. Design and process interrelations in Dreamhamar Beforelookingattheirinteraction,itisrelevanttolook atthedefinitionofdesignandprocess,asformulated by the interviewed actors, usually in relation to their own role in Dreamhamar and to their professional expertise. Genuinely they see no clear line between designersandplanners,whichcanresultfromthefact that the majority of the planning actors are archi tects. For instance, among the municipal planners in Hamar, half of the planning team is composed by ar chitects or landscape architects16, but with their own hybrid background influencing their practice and in terests, and upon which they rely as well for intern knowledge sharing (Appendix B). The incoming team on Dreamhamar (i.e. Ecosistema Urbano and their many collaborating partners) presents as well a great numberofarchitects,whichhavefollowedsomemore social, processoriented or community building paths in their professional practice. Finally the community activatorsandcreativeguestsarecontributorstothe process,withmanydifferentbackgrounds(e.g.teach er,cultureanimatorandeventorganiser,sociologists, biologists and artists) (Ecosistema Urbano & Hamar kommune, 2011). The architect from Ecosistema Ur
16
Theyare2architects,3landscapearchitects,2engineersand2 GISexperts(AppendixB).
bano explains that she would not define any drastic border between the disciplines, and perceives rather someconvergingoroverlappingapproaches,supplying urbandesignandplanningwithavarietyoftools(Ap pendix C). So there is seemingly no clear distinction between design and planning professionals, although thedefinitionsofdesignandprocesscanbediverging. Ingeneralthemunicipalplannershaveamoretechno craticoradministrativeapproach,definingtheprocess in terms of organisation, coordination, collaboration, and keeping the overview and coherence with the municipalandregionalplanningstrategies,politicsand regulations.Forinstancetheurbanplanningmanager expressed her administrative responsibility up until the beginning of Dreamhamar, when the project and its responsibility were contracted out. The Planning department had a significant role in the preparation phase, initiating the urban regeneration process and launching the competition on Stortorget (Appendixes B and D7). The project managers have then a very pragmatic viewpoint on the process, as being the management, organisation and coordination of re sourcesastomatchbudget,scheduleandregulations whilefacilitatingtherealisationof thearchitectside as. The attention in Dreamhamar has especially been onweightinganunusualapproachtowardsformaland legal requirements (Appendixes D2 and D3). The in coming team, gathered around Ecosistema Urbano,
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perceive the whole project as several processes of differentcharacter:thecompetitionproposal,thepre liminary design, the opensource and participation design process, the onsite processand urban actions, the translation process from participation to design, the design development and implementation, and maybemore(AppendixesCandD4).Thusprocessisat least defined in three different ways here, roughly designatedasadministrative,pragmaticandmultiplici tyofprocesses.Thedesignisusuallyperceivedasthe outcome of the process, although the Spanish team andtheirpartnersseedesignasaprocessinitself(Ap pendixesC,D4andD8). Lookingthusattheinterrelationsbetweendesign and the participative process, some actors have re flected on it as transformations deploying along the project. The architect from Ecosistema Urbano refers to transformations that occurred in their view on the projectandtheirtwodesignpropositions,i.e.between the preliminary design and the final design. The first they did as designers, as Spanish, as architects, as outsiders (Appendix C) and in the latter, they try to translate all the inputs from the different workshops, activities and discussions into design guidelines. Meanwhile she mentions as well the physical trans formation of Stortorget, from being a parking lot to becoming again the main square and node in Hamar: this necessitates both a change in peoples attitude
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towards the square and a spatial and functional change for Stortorget and its surroundings (Appendix C). Finally the third transformation is mentioned by thearchitectNoaPeer,intermoflearningandlegacy that the whole project leaves to the community and Municipality of Hamar as to keep on influencing the local planning culture. Those acquisitions are both in terms of approaches and tools to use in participative and collaborative processes, and in terms of design considerationsemergingfromtheextendedparticipa tion process (Appendix D8). In general the intervie wees recognise a clear link between design and pro cessinDreamhamar.Theprocessiseitherseenasan elementonitsown,representingEcosistemaUrbanos creativepropositionforStortorget,orasapremisefor the future design (Appendixes D1, D2 and D3) (Bull Hansen&Haugen,2010,p.3).Thelatterperceptionof the process can be exemplified with some intervie wees, who consider the process as one way to foster thefeelingofresponsibilityandownershiptowardthe future square, and to discover the uses and activities desired on the square. For instance one interviewee expressed the necessity for the future square to be dynamicandtocontinuouslyadapttothecitizensand theirneeds;thisobjectivesupposestofindoutabout peoples needs and to activate the reflection on how such flexibility could be achieved in the final design (Appendixes D1, D3 and D6). As well one actor ex
presses that the design is essentially the product of theprocess(AppendixD3)buthowissuchaprocess integratedortranslatedintothefinaldesign?Thefinal designpropositionwillbesubmittedinJuneaccording totheschedule,thusitwillbedifficulttoanalysehow the recommendations and guidelines issued with Fu turehamar,thereportonthe4monthsprocess,have beenusedinthedesignphase.Butsomeexplanations aregivenbythearchitectfromEcosistemaurbanoon howthedesigniselaboratedonbasisoftheprocess. Sheexplainsthatthepreliminarydesignwasnotused undertheworkshops,astoavoidinfluencingpeoples input.Sheexplainsthatpeoplecamewithideastothe drawing that they will make as architect. The public andprofessionalinputsandideasweregrouped,then discussed internally in the firm and with a smaller groupofactors(i.e.Skypesessionswitharchitectsand municipalplanners)inordertoimplementtheminthe finaldesign(AppendixC). Iflookingattheprocessasacreativephaseonits own, another experience of the participative process can be outlined. Dreamhamar is then the practical illustration of the complex interrelations in planning. Indeed the innovative approach to participation should enhance urban qualities in the final design of public places, while the design acts along the way to try out and continuously experiment with the ideas emergingfromtheprocess(AppendixesD5andD8).In
the case of Dreamhamar, the process continuously developsandbuildsoncollectedinputs,withtheper spective of achieving a peoplesensitive and respon sive design. Some interviewees mention as well the useofdesignalongtheparticipativeprocess,asmean towrapuptheworkshopsandurbanactions,orjust usedlikeamethodtomovepeople/participantscrea tivityandimagination(AppendixesD4andD5).Thus the interrelations appear both through microscale iterative movements between process and design (within the 4months participation process) (see Fig ure5.5) and through the macroscale sequence of planning process followed by the correspondent de signphase(asshowninFigure5.1).Thismatcheswith several interviewees expressing that they were impli catedtosomeextentinbothdesignandprocesstasks (AppendixesD1,D3,D4andD8).Severaluncertainties lie though with the socalled innovative approach to participation,andmanyintervieweesalsomentionthe challengingaspectofDreamhamar,initsnecessityfor flexibility,creativethinkingandengagementfromthe professionals and participants (Appendixes D2 and D6). The jurys declaration about the first alternative, without a preliminary design phase, reflects one of thoseuncertaintiesintermsofdesignoutcome:there is no other guarantee for a product of good quality, than the process itself. On the other hand, there is a confidence lying within the possibility to try out ideas
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in full scale* (BullHansen & Haugen, 2010, p. 3). Thus a lot lies with the quality of the process, which
challenges conceptions and traditional planning ap proachesandintriguesatthesametime.
Figure5.5:processanddesignconnectionsasproposedforOneThousandSquare byLlusSabadellArtigaandEcosistemaUrbano,(Jordana,2011) Page72|103
Generally most considerations on the interrela tionsofdesignandprocesshavebeenonthebenefits of the participative process for the final design. In what way does then design interventions influence process? Two interviewees mentioned earlier on de scribed how the design was used to wrap up discus sions or events in the process (Appendix D4 and D5). Butitisnotclearhowtheydidso.Thedescriptionof thepropositionONETHOUSANDSQUAREmentionstheuse ofmockupsonsite:whiletheS,MandLmockupsare rathereventsofsomekind,theXLmockupcomeclos er to architectonic experiments (see Figure 5.5) (EcosistemaUrbano&Artiga,2011(B)).Eventssuchas the Painthamar action or the realization of chairs for the Stortorget can be perceived as such design fea tures, triggering curiosity and awakening interest for theprojectonthesquare.Forinstanceonecommuni tyactivator,whocontributedtoDreamhamaronlyin the later actions of the process, explains how the Painthamar installation caught her attention and let her feel that something unique was happening in Hamar(Hamarkommune&EcosistemaUrbano,2012, pp.4243).Finallyapersonalcommentonthepossible potentialsbroughtbydesigncanbelinkedinawayto BelindaTatosreflectiononthetalentofcommunica tion (see Paragraph5.2.3). The pictures from the dif ferentworkshopsandeventsrevealaneffortonvisual andvisiblecommunicationofideasandreflectionsby
meansofcolorfulcardboards,modelsandvideos(see Figures IX), which can be considered as part of the designskillsservingtheprocess. 5.3.2. Urban actors interactions and networks in Dreamhamar ThecomplexityofDreamhamarcanbeseenaslinked to the multiple participation arenas (see Figure 5.2), and hereby the various intensities of participation whichtheprocessencompasses.Thisisthoughdirect ly linked with the social dimension of the project of activatingalargenumberofparticipantsfrom thelo calcommunityandintegratinginternationalandlocal experiences through the use of networks. It is thus originally the multiplicity of actors (i.e. activators and participants)whogeneratetheparticularityandcom plexity of the process. Two interviewees explain: simplyweparticipantsandfacilitatorswereanode which belonged to a networked designed process (Appendix D4). So as the values described previously are strongly related to the different actors back ground and experiences, and those actors are the nodesoftheprocess,itisrelevanttoexploretheprac ticalinterrelationofvaluesthroughtheinteractionof theactorsthemselves.Theinteractionofactorscanbe seenontwomainlevels:theglobalone,necessitating theoverviewoftheproject,andthelocalone,inthe differenttimesandparticipationarenas.Thefirstlevel
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can be reflected on most appropriately by the archi tectsandpartnersofEcosistemaUrbanoandthemu nicipal architects: they have been engaged with the projectsinceitsstartandbuildingupthenetworkand participation process. The latter level, on the other hand, can be discussed by the local actors and com munity activators (onsite and online), who entered andengagedsometimesonlyforashortperiod,inthe Dreamhamar experience. Questions such as how did theyperceivetheircollaborationandcontributionac cordingtotheprocessanddesign,andhowconscious were they about their interactions in the bigger pic ture, are here of interest. Then it can be reflected as wellontheinternationalcontributionsinregardtothe localinteractions. Onthegloballevel,thetwoarchitectsbehindthe opensourcephilosophyappliedinDreamhamarmen tion the network culture adopted in Dreamhamar, emphasising that the collaborative and open process contributes to continuous learning through loops of information and knowledge exchange. They consider the consequence and importance of actors interrela tions as means to empower local people (Appendix D4). They describe their relation with other actors as rhizomatic and nonlinear, interacting with partici pants, online participants, the social networks, the architecture firm, and so on (Appendix D4). Another
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architect from Ecosistema Urbanos team, involved in the preparations behind Dreamhamar, explains how thedifferentarenasofDreamhamarandtheirrespec tive contributors (i.e. mainly professional experts, community activators and creative guests) can be perceivedassatellitestoDreamhamar(seeFigure5.2). Her role was to frame the role of the contributors, informabouttheexpectedoutcomesandmethodolo gy, and then communicate as well to the local public theprojectanditssatellitesastostirupinterestand engagementonsite.Sheexplainsthenhowparticipa tion and interaction could be endorsed in different intensities from observing, to following, commenting, actively interacting and actively building the process, such as shown in Figure 5.6 (Appendix D8). Together withtherecognitionofthecomplexsystemsandnet works of agents influencing contemporary cities, Dreamhamarindicatesthetendencyopeningupfora wholenewsetofactors,beyondarchitects,engineers andplannersinurbanprojects.Competencesandide asweregatheredthroughthedifferentactionsonsite and online, and lectures in the Bazaar building gave thefeelingofatemporaryonsiteuniversity.Theinter national network and contributions from academic communities was important in stimulating peoples interestfortheproject(AppendixB).
Figure5.6:IntensitiesofinteractionwiththecontentofDreamhamar(AppendixD8)
On a more local level of interaction, one of the municipal planners mention their direct interaction with Ecosistema Urbano (Appendix D1), but this links up as well to the general perspective of the Planning department and the Spanish firm as being the main coordinating bodies in Dreamhamar. One participant positions her intervention in connection to the work shop with the theme People, to the discussions and
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encountersshemadethere,whichthenledtoformu late the necessity for the workshop Storyhamar which she held as community activator (Appendix D5). The municipal architect and planner mentions how some of those community activators showed a great engagement in the project, becoming hereby keyelements for future developments and projects (AppendixB).Thusfromhavingadefinedintervention, thoseactorsbecomeresourcesforinfluencingcurrent andfutureplanningprocessesonamoregenerallevel. Finally three interviewees mention the administrative and organisational interrelations, describing on one hand the implementation of the process in relation with the municipal architects, local consultants and enthusiasts,andontheotherhandthetransferofthe projecttoEcosistemaUrbano,undertheparticipation phase,andthentothedepartmentoftechnicalman agement and infrastructures, under the design and implementation phase (Appendixes B, D3 and D7). Although the different actors were all aware of the great network that had been established in Dream hamar, they may not perceive it or relate to it, all in the same way. Reflection can draw back on flexibility as value, highlighted in Chapter 4, which addresses and opens up for multiplicity in planning (i.e. in this example,themultipleperspectivesontheinteractions and networks) but also can be challenging for the
meaninganddevelopmentoftheproject,asexempli fiedaswellinthefollowingparagraph. Ingeneral,throughtheinterviews,itbecameclear howthedifferentrolesoftheactorsontheglobalor local level of Dreamhamar, within a public institution or a private firm, engaging personal values or profes sionalvalues,haveinfluencedtheinteractionsofthose actors.Forinstance,thetwomunicipalplannersrefer frequentlytotheworkgroupsandcollaborationestab lished internally within the different municipal de partments at the very beginning of the project: i.e. a managingteam,aprojectteamandareferencegroup. Thosethreegroupsaremeantrespectivelytomanage time and decisions, to advice on planning and tech nicalissues,andtogiveamoreuserorientedfeedback ontheincominginformationandpropositions.Besides those working groups, the current consultancy and projectmanagingteamismentionedintheinteraction that the Planning department had with them under thetransferoftheproject.Thistransferhadapparent ly been problematic due to diverging focus of the ac tors, necessitating greater effort in informing and transferring the values of Dreamhamar. Where the Planning department team had developed a high en gagement in social, participation and network values of the process, the project managing team had more technicalorientedviewsandvalues(AppendixesB,D1 and D7). This can be related to the previously men
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tioned aspect that some actors had the comprehen sive overview of Dreamhamar, while others entered theprojectlateronandforashortertime.Itshowsas well that the interaction of actors in such design and planning process is an ongoing construction and de velopment:itreferstothecollaborativeplanningthe orys emphasis on the coevolution of actors (see Chapter4). Astoachievethiscoevolutionandsmoothinter actions, communication can be advocated again as significant aspect in such open and flexible planning approach and ambitious project. The eventual gaps between the microscale intervention and the com prehensiveoverviewandunderstandingoftheproject cancausemismatchingperspectives,possiblyjeopard ising the final outcome. Sometimes it could feel as if the different interviewees had been speaking of dif ferent projects, instead of the one case of Dream hamar.Asmuchasitillustratesthedifferentlevelsof interactionandparticipation,itquestionsthenecessi tyforsuchcomplexnetworkandprocessdesign.How muchisitworth,ifmaybeonlyfewactorscanmanage theoverviewandfeelthattheircontributionisactual lyinterrelatedtootherinterventions,astoshapethe final outcome? How much can be learned and ex changedinknowledgeandpracticeswhentheinterac tions are not maximised by the participants? One community activator mentioned as well that the in
formation about the process could have been more clearly communicated (Appendix D6), and indeed the descriptionsandreflectionsofoneofthearchitectsin charge for the whole preparation and startingup of Dreamhamarrevealsagreatdealofjugglingbetween the different participants and public in her communi cation and facilitation role (Appendix D8). Finally a reflectioncanbemadeontheinterrelationsofactors notbeingbasedonwhoisdesignorientedandwhois processoriented, but rather on their own hybrid backgroundsandprofessionalvalues. 5.3.3. Multiplicity of participation arenas Most interviewed actors agree on the importance of participativeprocesses,whichisgenerallyperceivedin twowaysinDreamhamar(i.e.participationasprofes sionalcollaborationorassocialinclusionanddelibera tion).Indeedmixingslightlytheconceptsofcollabora tionandparticipation,theactorshavespokenofsup porting professional interaction and collaboration be hind the Stortorget project, as well as enhancing the inclusionofthefinalusersintotheurbanregeneration process and future design. Again the involvement of multiple actors, both locally and internationally, in creases the complexity of the project. The multiple participation arenas can be considered in relation to the intensity, spaces and time of the previously de scribed actors interactions. Intensity of interaction
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and participation refers to the diagram presented by NoaPeer(seeFigure5.6),whilespacesandtimerefer to where (e.g. online debates or onsite workshops) and when interaction and participation occurred (e.g. theongoingpresenceofthephysicallabthroughthe whole process or the temporary gathering during the urban lunch of the Creamhamar urban action) (see Figure 5.7). The definition of participation and the
methods, brought by the various actors, outline high ambition for the participative process: Dreamhamar aimstoreachoutforabroadpublicanddifferenttar get groups (e.g. youth, immigrants, children, locals from the city and dwellers from the region) in many differentways,astoincludeparticipantsbeyondthose who usually would come to public meetings (Appen dixesBandC).
Figure5.7:Examplesofparticipationarenas: theexhibitionandlocalofficeintheBazaarbuilding,theonlinelabandtheCreamhamarurbanaction (Hamarkommune&EcosistemaUrbano,2012,p.44;102)(EcosistemaUrbano&Hamarkommune,2011)
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Firstlythedefinitionsandmethodsforpublicpar ticipationgenerallydiverge.TheMunicipalityhaspar ticipationatthepoliticalagenda,andtheurbanplan ning manager even specifies that participation in the planning process is part of the departments special competence (Appendix D7). The architect from Eco sistema Urbano wonders, if 100% participation is not reached,isitthenreallyparticipation.Thisraiseshigh lytheobjectivesofparticipation,andmightjustifywhy so many participation arenas and methods were laid outinHamar.ObviouslyitisanidealthatEcosistema Urbano works towards and which they use to chal lengethemselvesandthemethods,usedtoreachout for participants and give them the appropriate arena for expressing themselves (Appendix C). The partici pationtoolsmentionedbyBelindaTatocanbeseenin Figure5.2, together with initiatives and cultural pro jects such as the Cultural rucksack, which represent opportunities to include still more participants in the process(e.g.inthecaseoftheCulturalrucksack,itis kids from different regional schools, who constitute the target group). The application of opensource technologies to the planning process brings new or ganising and communicating methods, which support the aim of reaching out for people, and connecting them locally and internationally, beyond the obstacle of distance and culture differences. For instance, the possibility for any local or outsider to interact on the
online blog, the use of mobile apps and online ses sions,suchastheTacticalurbanismworkshop,areall partoftheparticipationdesignandactivationstrategy (Appendixes C, D4 and D8). The experience builds up alongtheprocess,developingandadoptingnewways ofaddressingthefutureusers:forexample,oneactor developed her own urban action, Storyhamar, based onaformerworkshopcalledPeople(AppendixD5). Hence participation occurred on several commu nicationandparticipationplatforms,withthepurpose of increased inclusion around the Stortorget project: onsiteworkshops,urbanactions,onlinemeetingsand discussions, events and lectures, exhibitions, and the media. The socalled participation tools are rather methods or arenas of participation. The term urban actions for instance is defined as such: it is about doing little something that gets some reaction () it could be a communication kind of propaganda, it could be any kind of installation, any kind of strategy to promote people to see, to feel or to react to the space in a different way (Appendix C). This reaction and dynamic benefits local empowerment, meant to makepeopleconsciousandcriticalontheirownenvi ronment and promote future selforganised actions (Appendix C). This attention to local empowerment and community building appears in several inter views. One interviewee mentions the importance of creatingaproductiveenvironmentandbringinginthe
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right resources (Appendix D3). Two others mention the local empowerment achieved through knowledge exchange within the network of actors and participa tion arenas (Appendix D4). Finally some express as well the pleasant and intriguing atmosphere there shouldbearoundsuchaparticipativeprocessinorder toappealtopeopleandinteresttheminthelocalur bandevelopment(AppendixesB,C,D3andD7).Thus participationandinclusioncanbeinterpretedaswhat supplies the community and professionals with the knowledge and activate their feeling of responsibility towardsthefuturedesignandcitydevelopments.Two actorsparticularlyconcernedwiththerealisationofa tacticalurbanismworkshopillustratethisinterpreta tion: they explain their constant in beta position in their work and knowledge capital, meaning hereby thattheyareawareofpossibleameliorationsandbet terproductivitytobeachievedinthevariousactivities. Theyarethusalwayschallengingthemselvesandpar ticipants,bysearchingfornewwaysandtoolstocon tributetoplanningprocesses(AppendixD4). Since process and final design should be related and coherent, one could ask if the span of experi mental workshops, thematic urban actions and many collaboration partnerships, do not cause the loss of overview and herewith jeopardize the red thread be tweenprocessandfinaldesign.Thisissuewasalready addressedregardingthemultiplicityofactorsinvolved
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in Dreamhamar. Again time and communication are keyelementstothefeasibilityoftheprocessandthe productive translation over to the final design: time and communication as to identify the public and di verging groups, time within the workshops as to in formandactivatetheparticipantsinthemostappro priateway,timeandcommunicationastoimplement adequately the inputs into the final design of the square.Meanwhiletheflexibilityandcreativethinking adopted in Dreamhamar can be seen as both chal lenge andadvantage: on one hand, theyincrease the complexityoftheprocess,andthuschallengetheco herencebetweentheprocessanditsoutcome,andon theotherhand,theycontributetobuildupsomekind of resilience in the process allowing it to adjust rela tively quickly to the inputs of the participants. Fur thermoretheactorspresentdivergingfocusesintheir interventionandperspectivesintheparticipativepro cess.Whatisnoticeablethoughisthattheprivateac tors,contractedintotheprojectfromoutside,dispose of slightly greater freedom to experiment ideas than theactorsboundtoapublicinstitution,withitsknow how and procedures. Nonetheless it has to be said again that Hamars municipal planners and politicians were confident and engaged in the project. But Dreamhamar somehow allowed those private actors to confront their knowledge and ideas as to move
traditional participation procedures, such as public meetings(AppendixesB). 5.3.4. Challenges in the participation process and network collaboration The extensive networks and multiple participation approaches in Dreamhamar contribute to a range of challenges.Someareexplicitlypointedatbytheinter viewees,othershavebeenobservedthroughthedoc ument and interviews analysis. It is important to be awareofthosechallengesastobalancethemwiththe expectationsandbenefitsoftheproject,possiblychal lenging the claimed importance of such comprehen siveandcomplexparticipativeprocess. Threemainchallengesaregenerallymentionedby theinterviewees,whicharetime,budgetandcommu nication skills. Time and budget constitute practical aspectsoftheproject,whicharefundamentalforthe concrete implementation and feasibility of the whole project(AppendixesC,D2andD3).Especiallythetwo projectmanagersmentionthechallengesoftimeand budget,whilepointingaswellattherestrictingfeeling such issues might generate with some actors: con tainingtheactorsinvolvedwiththeproject,andasso ciatedwiththecity,wasabigtask,andalsoservedas afrustrationfortheactorsbecausetheymayhavefelt restrictedandcensored(AppendixD3).Thispracticali
tyandfrustrationhavebeenmentionedbythearchi tects from both the Planning department and from EcosistemaUrbano(AppendixesB,CandD8).Thetime issuecanbeseenaccordingtoseveralperspectives:in terms of respecting the schedule agreed in the con tract and matching the schedule decided for the Cul turalcentre(AppendixesB,D2andD3),orintermsof fulfilling the objectives and expectations of the pro cess(AppendixC).Inthefirstperspective,timeismore reflected in relation to the organizational capacity to deal with all the information and engage the teams within the decided schedule (see Figure 5.1) (Appen dixesB,D1andD7).In relationtothelatterperspec tive,theprojectmanagerSverreVatnementionsthat a longer participation would have refined the final productevenmore,andthearchitectfromEcosistema Urbano acknowledges that 4months of participation might have been slightly too short. But Belinda Tato mentionsaswellthetimeneededforpeopleschange of attitude towards urban space. For instance in the case of Stortorget, which has been a parking lot for over 50 years, attracting people to the square, and activatingtheirengagementandfeelingofresponsibil ity and identity towards this place, will necessitate time.Heretherathershortprocess,withpunctualand dynamicinterventions,isconsideredtohaveactivated more quickly the transformation of peoples percep tion about Stortorget (Appendix C). The local teacher
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Audun Jensen points at the importance of keeping participation going and interest growing for Stortor get, through events, up until the implementation of thefinaldesign(AppendixesC,D2andD6).Themunic ipal architect and a community activator call as well for more time during workshops in order to make themmoreeffective,enablingtheparticipantsnotjust to have the ideas but to try them out physically (Ap pendixesB,D1,andD5).Thedifferentperspectiveson time and its significance for the respect of deadlines, thesuccessoftheprocess,orthelongtermcommuni ty activation and peoples engagement, reveal differ ent time horizons. Together with the multiple partici pation arenas, the multiple actors and the multiple knowledge and expertise, it increases the complexity of the process. Once more the project overview and interrelationofactorscanbechallengedbythismulti plicity,causingpossiblymisunderstandingsorconflict ingsituations.Buttheycontributeaswelltoconstruct a project that address and integrate complexity and multiplicityofperspectives. Anothergeneralchallengeexpressedbytheinter vieweesisinformationandcommunication,andhere the media have been a major issue. Dreamhamar wanted to make people react, and with its experi mental approach have stirred up emotions and opin ions;theskepticalonesfoundasuitablearenaforex pressingthemselveswithinthemedia.Theskepticism
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concerned especially the fact that Dreamhamar did notcorrespondtotheinitialdemandofartinstallation on Stortorget, and the artistic community wondered why the artist Llus Sabadell Artiga, who entered the propositionofONETHOUSANDSQUAREtogetherwithEco sistema Urbano, was not present in the development of Dreamhamar. Then another critique was directed towardstheaccesstotheprocessanditsmanyevents: althoughopennessforeveryonewaspromoted,some still felt distant to the initiative and not appealed to participate in the design and planning of Stortorget (Appendixes B, D1 and D3). The Planning department mentionsthatabetterinternalandexternalhandling ofinformation,togetherwithabetterbrandingofthe project, would have reduced the criticism in the local media (Appendix D7). However, national and interna tional media have been supportive of Dreamhamar anditsparticularparticipativeinitiativeandcollabora tive network (i.e. Norwegian architecture magazine, several online articles, exhibition at Pavillon de lArsenal) (Ecosistema Urbano & Hamar kommune, 2011).Additionalcommunicationchallengescanthen be grounded in language and terminology issues: Dreamhamar involved many foreign actors and many researchers with probably a more academic speech (Appendixes B and C). Besides those critical points, Dreamhamar have achieved to position itself as an internationalreferenceforcollaborativeandcollective
urban design and planning. As experience to continu ouslybuildonwithnewinputs,thelocalactorsseem toalreadyaddressthosecritiquesoncommunication: for instance an information pavilion is being built on anothersquareofthecity,andoneofthecommunity activatorsisstayingincollaborationwiththePlanning department(AppendixesBandD6). Finally challenges lie with the management and transferofthegreatamountofinformationgathered throughout the process. On the one hand this man agement and transfer occurred internally to the pro cess: transferring the responsibility between actors (e.g. from the Municipality to the contracted archi tects and then to the contracted project managers) (AppendixesBandD7).Ontheotherhandthetransfer concerns as well the application of the information fromthedesigndatabaseontothefinaldesign:with all those inputs from the different actors and partici pation arenas, the final design should reveal a great responsiveness to this. For instance Skype meetings with the responsible team from Hamar municipality and Ecosistema Urbano are organised once a week, and drawing and brainstorm sessions that are based on the results of the different activities (Appendix C). Thoseresultshavebeengatheredintothedatamatrix, outliningthelessonsfromtheprocess(i.e.conclusions oftheprocess,shorttermandlongtermlegacies)and designconsiderationsemergingfromtheinputsofthe
participative actions, then distributed through the booklet Futurehamar in Norwegian17 (Appendix D8) (Hamar kommune & Ecosistema Urbano, 2012). Alt houghallinputsprobablycannotbeintegratedinthe final product, it might be expected that most will in fluence it somehow. With the complexity and multi plicity inherent to Dreamhamar, question of how it is possible to keep an overview rises? The municipal planners reflections somehow point to that direction aswell,suggestingthattheorganisationwasnotable to take advantage of the full potentials, fostered by Dreamhamar,(AppendixB).Finallytheurbanplanning manager Kari Nilssen, while appreciating the latest proposition for Stortorget, wonders if more elements from the preliminary design should not have been kept(AppendixD7).Thisquestionsofcourseagainto whatextentsuchcomplexprocessdesignisnecessary. Iffocusingonthefinaldesign,onlysomepartsofthe comprehensive process might do the job, although BelindaTatoexpresseshercertitudeaboutthedesign beingbetteraftertheparticipativeprocess(Appendix C). But then if focusing on the democratic aspect of planning itself, and on the objective of community building, local empowerment and knowledge sharing, then the thorough process may be seen as justified completely. Even the municipal architect Geir Cock
17
An English version is currently developed by Ecosistema Ur bano.

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suggests that more channels could be used to reach outevenwider(AppendixB).Nowthatthechallenges have been depicted, the following chapter will elabo rateontheoutcomesandbenefitsfromDreamhamar.
5.4. Outcomes and benefits of the Dreamhamar experience

Thevaluesandfocusesexpressedbytheinterviewees, aswellasthedescriptionsandreflectionsontheinter relationsbetweendesignandprocessinDreamhamar, led to articulate some objectives and expected out comes for the project. They have been expressed ei ther according to the general process, to the single urban interventions under the process, to the future design of Stortorget or to the future benefits for Hamar andits citizens. Additionally they were formu
lated on a very individual basis, according to the ac tors own values and methods. In general the reflec tions on benefits, designoriented and process oriented, are strongly related and overlapping in the interviewees answers. However differences can be foundinthetimehorizonsbetweenoutcomesforde sign and process: while the final design will be re vealedatthelatestinDecember2013,andthushav ing designoriented outcomes coming forth in ashort periodoftime,theoutcomesintermsofprocesshave abroaderperspectiveofinfluencingtheplanningcul ture, equipping the community and the Municipality with tools and lessons from Dreamhamar. Thus two distinctionshavebeenmadewiththenuanceofwhat hasbeenlearnedfromtheprocess,andwhatistaken ontothefinaldesign(seeFigure5.8).
Figure5.8:StructureofChapter5.4.
5.4.1. Lessons from the participative process Generally the interviewees had difficulties outlining outcomesfortheprocessitself.Eithertheywouldre fertothebiggerpicturewithoutgivingconcreteclues
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about where benefits will appear and mentioning ra ther outcomes from the process, or they would keep theperspectiveveryclosetotheirowninputandper sonalbenefits.Thiscanbejustifiedbyeithertheclose interrelationofthesingleinterventionsmakingpoint
lesstotryandexpressoutcomesontheirown,orthe stillongoingstateofthedesignofStortorget,making it too early to clearly define the outcome. However evenifconcreteoutcomesaremaybedifficulttoout line,lessonsandlegaciescanbedrawnfromthepro cess itself, such as illustrated in the booklet Future hamar(Hamarkommune&EcosistemaUrbano,2012, pp. 107127). Indeed most interviewees highlighted the excitement and instructive experience Dream hamarhasbeenintermsofparticipativeprocess,be coming some kind of academy and laboratory for re flecting and experimenting about urban space and processes,fortheinhabitantsofHamaraswell.Here theattitudeofsomeactorsisaswellrelevanttomen tion. For instance, the two architects Baraona and Gonzlez,explaintheirconstantinbetatestphiloso phy, referring to an ongoing evolution of their knowledgeandpracticewitheachprojecttheyengage (AppendixD4).Peerexpressesheraversiontoconclu sions and concluding designs, but rather thinks in terms of legacy and flexible tactics (Peer, 2012) (Ap pendix D8). This exemplifies the openness of the ac tors in engaging in Dreamhamar, both bringing their own knowledge to the project and learning from it. They then carry on the lessons from the experience onto next project and experiment: e.g. what can be amelioratedintheworkshopsortiming,thesequence ofworkshopsandhowtheybuiltononeanother.This
matchesaswellHilliersconsiderationsontheflexibil ityinurbangovernance,allowingtolearnfromprevi oustryoutsastoamelioratethenextexperience(see Chapter 2) (Hillier, 2007, p. 36). This suggests though that the formulated benefits or lessons for those ac torsarehardlydifferentiatedfromtheirpersonalones. The general objectives were to engage and acti vate the public in the future urban development of Hamar, in relation with the strategies and objectives subscribed in the municipal Planning department. In the summary from the initial competition delibera tions, the jury expressed that ONETHOUSANDSQUARE would help increase the consciousness about urban space(BullHansen&Haugen,2010,p.3).Themunici pal architect and the project manager both express the hope that involvement of the local community throughDreamhamarwillsupportpeoplesfutureen gagementanduseoftheurbanspaces(AppendixesD1 andD2).Peopleshouldgettheopportunitytocontrib ute in the definition of urban functions and activities on the public places of Hamar: Geir Cock considers that it has to be easy to become an activator of the square (Appendix D1). The inclusiveness of urban spacesshouldofcoursebeindependentofonespro fessional or social background, and open for all kind andsizeofuses(AppendixBandD6).Onecommunity activator mentions the credibility of the process and projectinpeoplesminds,addressedbytheattemptto
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address the historical and cultural heritage through the process as to integrate it in the final design (Ap pendix D5). Kari Nilssen mentions the enthusiasm generatedinpeoplesmindsregardingStortorget(Ap pendix D7). Another interviewed community activa tor has very personal objectives: I expect to get to knowandmeetmorepeopleinHamar.Iexpecttogive somenewattitudes/perspectivesespeciallyconcerning the meaning of good city life for young people and addsthatthebenefitforthesquareandcommunityis simplythatpeople()willusethesquareandthecity more and more often as a social place in the future (AppendixD6).Thosecommentsontheintegrationof the citizens in the regeneration project of Stortorget and the development of the city emerge from actors whoareaswellinhabitantsofHamar.Theirobjectives and expectations link the project directly to the com munity, and they have used the opportunity of Dreamhamartocommunicatetheirinterest,ideasand knowledge. This illustrates how the project, built on local inputs (besides the international), may benefit thecommunityofHamar. The local public institutions and politicians carry onwithnewtoolsandmethodstouseforfutureplan ning projects as well. In terms of the process itself, Dreamhamar taught the actors about the importance of time in participative processes and about the diffi culties of reaching out for all citizens, although many
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channels of communication and participation were established and used. The municipal architect Geir Cock reflects on the effective use of those resources andthinksthatitshouldbepossibletoreachouteven further(AppendixB).TheurbanplanningmanagerKari Nilssen mentions the need for a thorough evaluation to extract the lessons in terms of methods to use in thefuture:herfocusisdirectedtowardsextendingthe participation and collaboration skills internally in the Municipality (Appendix D7). The municipal architect seesaswellpotentialsforinfluencingtheirownprac tices internally, rather with a focus on internal and external communication: for instance use and coordi nate better their own resources, realise thematic workshops around various urban spaces in the city, organise more lectures and presentations about the urban spaces in focus and urban developments. He alsomentionsthepositivereactionofthepoliticiansto the process, which encourages those considerations and agree on the good source of inspiration existing hereforfutureplanningprocesses(AppendixB). Finally the international actors who have ex pressed objectives and outcomes for Hamar city and community have sometimes formulated them in a vagueway.Usuallytheyarevaluessuchascommunity building,engagingthelocalcommunityandawakening consciousness around Stortorget. Either the formula tions became sharper as they get to understand the
contextandcommunitythroughDreamhamar,orfor mulations staid general and the project seemed to contributemoretothedevelopmentoftheirownval uesandpractices,astotransferthemthusontotheir nextproject.Thefirstcanbeexemplifiedbythearchi tect team Ecosistema Urbano and how their speech evolvedfromgeneralconsiderationsintheproposition of ONETHOUSANDSQUARE to very detailed elements and inputs,whichtheyareimplementingintheirdesignfor Stortorget.Thelattercanbeillustratedfromthearchi tects in charge of the Tactical urbanism workshop, who also defined their in beta position (Appendix D4). It can thus be considered that the international and professional network carries on lessons from Dreamhamaronsitespecific(i.e.designofStortorget) andgenerallevels(i.e.fieldofurbandesignandplan ning). Generally the divergence in benefits and out comes identified by the interviewees goes in hand with their different roles and objectives when engag ing in Dreamhamar, from very personal engagement, to the desire of challenging planning practices in Hamarortolearnbyexperimenting.Thusthescaleof benefits and legacies varies as well from being very preciseanddetailedtogeneralandglobaloutcomes.If verygeneralthemesforthelessonstakenthroughout Dreamhamarshouldbemade,onecouldroughlyout line the focus on social life and activities within the futuresquare,theissuesofcommunicationinpartici
pation, and the knowledge sharing between actors through the extensive networks. None of those are clearly design or processoriented aspects, but take on from both disciplines, as well as other inspiration fields.Thiscouldbeinterpretedasonemoreexample ofthefluidinterrelationsbetweenactors,makingthe simplification of designoriented aspects and process orientedaspectspointless. 5.4.2. Benefits and outcomes for final design and use Ecosistema Urbano is finalising the design phase at thisverymoment,underwhichtheteamhadtoincor poratetheinputsofDreamhamarintothefinaldesign ofStortorget.Onecanaskhowoverviewispossiblein such a complex process with the many inputs from multipleactorsandparticipationarenas.Andthushow isthisprocesstranslatedintoadesign?Arethereno loose ends, or actions enthusiastically initiated but whichrevealstobedifficulttoencompassinthefinal design? The architect from Ecosistema Urbano speci fies that, although they have previously worked with several projects, hereby having tried out separately different tools and actions developed in Hamar, the projectofDreamhamaristhefirstonecomprehending the holistic approach from process to design. This re sults in the final design giving visibility and tangibility totheprocess,andsheissurethatthefinaldesignwill
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be better because of that process (Appendix C). The finaldesigntakesapointofdepartureinthedatacol lected through the process. Every communication channel,urbanaction,workshopandeventhasbeen looked through as to extract the ideas, experiences and inputs, in form of keywords which would feed a summarising design data base. They were then gath ered into a matrix under some main themes, and ac cordingtothetargetgroupswhohaveformulatedthe input.Fromthismatrix,lessonsandrecommendations were extracted to be applied in the future design phase. The whole procedure is based strongly on in terpretation,sinceitgroupsperspectivesandinputsof differentnatureandkind,dependingonthedifferent communication channels or participation arenas where they were formulated (Hamar kommune & EcosistemaUrbano,2012,pp.107127).Althoughthey tried to keep online meetings and informing simulta neously online about the evolution of the design, it results in the whole participative process being sum marised by few actors. It links up to Belinda Tato commentingthatthefinaldesignisstilltheirproposi tion and drawing as architects (Appendix C). It ques tions the red thread of the whole project: might the collectiveandparticipativeworknotbelostalongthe progressive transfers and translations to the final de sign?
What exactly makes the final design better, after such extensive participative process, is difficult to identify, especially since there is no final design yet. Theintervieweeshaveexpresseddifferentopinionson whatarethebenefitsforthefinalsquare.Oneseesit beneficial if the final product is perceived as positive by the inhabitants and adds value to Hamar; this would mean that the process was successful even thoughitwasprovocative(AppendixD2).Accordingto this viewpoint, would the process thus be more im portant than the final design? The urban planning managerKariNilssenappreciatesthebeautifuldesign that responds to many challenges and desires ex pressed by the citizens and users* (Appendix D7). It wasfeltyetthroughheranswerthatshemightregret somefeaturesfromthepreliminarydesignandmaybe wasexpectingsomethingelse.Thispersonalinterpre tationwouldthusleadtoquestioningtowhichextent theprocessismoreimportantthanthedesign:indeed some actors cannot detach themselves completely fromthefinalproduct.Theassistantprojectmanager isconcernedwiththecoordinationandintegrationof the new activities with the new Cultural centre and other surrounding buildings on the square, and with the connection between existing elements on the Stortorget and the participation process (Appendix D3). He is the one of the few interviewees being ex plicitabouttheintegrationofthefinalprojectwiththe
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physical surrounding of the square. The municipal ar chitect Geir Cock sees beyond the physical design of the Stortorget, and mentions the spillover effects of theprocessanddesignrealisedthroughDreamhamar. Heconsidersthattheprocesswillcontributeinraising awareness of the use of the public places in Hamar, speaking of both Stortorget and other squares and public places. He explains that indeed everything is closely linked together in urban spaces, many ideas from Dreamhamar can be transferred to other urban spaces and hereby focus on coherence between the public places in Hamar (Appendixes B and D1). These different perspectives highlight changing focuses be tweenconsideringtheprimacyoftheprocessorofthe finalproduct. Again the international actors have some more vague considerations on the physical outcome. For example Baraona and Gonzlez express that the net workbasedprocesscanonlyresultinanoutcomebe ing greater than the simply sum of the nodes (Ap pendix D4). The architect from Ecosistema Urbano speaks of creating a space that can be a catalyst for new ways of using urban space. Furthermore in rela tiontotheobjectiveofhavinganinclusiveprocess,the finalsquareshouldaswellwelcomegroupsandactivi tiesenablingthespontaneoususeofthesquare,thus necessitating that the design is flexible enough to re ceiveallvariousgroups,differentactivitiesindifferent
formsandtimeortheday.Inthisperspective,Belinda Tatospeaksaboutsomeloosedecisions,somethings open for people (Appendix C). But as to evaluate those assumptions and expectations about the final design,wewillhavetowaituntilthenewStortorgetis designed,implementedandinuse.
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REFLECTIONS TIONS
AND
CONTRIBU
6.1. Interrelation practices
of
values
and
This chapter wraps up the case analysis by relating it firstly to the conceptual and theoretical framework developed previously, then by placing the outlined observations in the general context of contemporary urbandesignandplanning.Herebytheresearchques tion will thus be answered and contributions of the study to the planning field will be outlined. It is rele vant to remark that the simplification inherent to a summary is challenged by the complexity and multi plicity, identified and addressed by the theories, and illustrated in Dreamhamar. Attention will thus be drawntoelementswhichhavebeenidentifiedassig nificant among the values of the presented theories and current practices, and which frame the evolution of collaborative and participative planning, possibly intoanewplanningparadigm.
The following table sums up the keyaspects (i.e. val ues, reflections and experiences) outlined in the case study of Dreamhamar, and places them in parallel to thevaluesandfocuses,extractedfromthepresented urbandesigntheoriesandcollaborativeplanningtheo ry (see Table 6.1). Aspects from the case study of Dreamhamar (see right column in Table 6.1) can ap pearinrelationtoseveralthemesfromthetheoretical review (see left column in Table 6.1), and each could be detailed more subtly. The table is thus not the comprehensive representation of all corresponding elementstobefound,butisratheralistexemplifying thepresenceofsimilarfocusesinacademicandtheo retical literature and in practice. The different points will be clarified below the table, though emphasising on the lessons from Dreamhamar, since the themes and values extracted from the theories in Chapter 4, have been summarised previously (see Paragraph 4.3.1).
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Reflectionsandcontributions
Table6.1:Correspondingelementsbetweenconceptualandtheoreticalframeworkandcasestudy
Valuesandfocusesextractedfromthetheories (seeChapter4) 1 Complexityandmultiplerelations Multipleurbanissues Pluralisticsocietyandrelationalcontexts Increasingmultiplicityofactors 2 Democraticand inclusiveprocesses Shorttermbasis:collectivedesignandplanningprocesses Longtermbasis:citizensempowermentresponsibilityinplan ning
3 Information,communicationandcollectivedeliberation Knowledgesharingandcoevolutionofactors Useofcommunicationandnetworktechnologiesandtools
4 Creativityandinnovation Transdisciplinarityandlateralthinking Flexibilityforexperimentation Effectoninstitutionalcapacity,socialandintellectualcapital
5 Existingresourcesandproductivityofdesignandplanningpro cesses Integrationintheprocess Ongoingdevelopmentandlongtermeffectsforthecommunity
Keyaspectsextractedfromthecasestudy (seeChapter5) Participativeandcollaborativeapproachanduseofvariousnet worksinthedesignofthefuturesquare Differentperspectivesonparticipationanddifferentparticipa tiontools Multiplicityofinteractionsandparticipationarenas Focusonthepresenceofpeopleinurbanspaces,ontheiractivi tiesandusesofthefuturesquare Socialinclusionandinvolvementofthewidelocalcommunityin thedesignofthesquare Seeminglylessfocusonbuiltenvironment Positivespilloverforcommunitybuildingandlocalempower ment Inspirationfromsocialtechnologiesandsocialsoftwares,useof manycommunicationchannelsandtools Communicationandfacilitationtoactivatepeopleandshare knowledge Understandingofpublicinterest,confidenceandopenness towardscritique Variousintensitiesofparticipationandinteractions Flexibilitytoadjusttoinputsandtoaccompanythecommunity Experimentationandchallengingoftraditionalpracticesof participation Integrationofcreativeinputsandideas,creativevoices Creativeprocesses,positiveandconstructiveatmosphere aroundtheprocess Identificationanduseofculturalandhistoricalheritageforthe finaldesign Knowledgesharingbetweenprofessionalsandpublic,through differentlecturesanddebates(onsiteandonline) Developmentofsocialandintellectualcapital,outlineoflegacy oftheprocess Useofglobalandlocalnetworks

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Complexity and multiplicity in planning (see Chapter 2) were detected as keyelements addressed by the values extracted from designbased and pro cessoriented theories in Chapter 4. The case of Dreamhamar illustrates those academic and theoreti cal reflections, both in terms of multiplicity of actors and participation arenas, but also in the complexity generated by the manynetworks used in the process and the various participation tools and approaches triedoutduringtheprocess.Theconsequenceofthis complexityandmultiplicityisprobablymostvisiblein the interviewees perspectives on their interaction withotheractorsandtherelationoftheirowncontri bution to the comprehensive network and process. The case showed that, while some kept the overview and general meaning between the various interven tions,reflectingontheircontributionaccordingtothe bigger picture and the general objectives of the pro ject,somealsohadaveryfocusedandindividualper spectiveontheircontribution.Anotherclearexample of the challenge of complexity and multiplicity in Dreamhamarappearsinthetranslationofthecollect eddata.Indeedgiventheamountandmanytypesof inputs from the multiple communication and partici pationchannelsusedunderDreamhamar,theintegra tionofallinthesingledesignofStortorgetseemsim possible,oratleastextremelychallenging.Theoutlin ing of lessons and legacies for the community and
MunicipalitysPlanningdepartment,besidesfittingthe aimofdeployingcollectiveandcollaborativeplanning in Hamar, can be perceived as tactic to integrate the many inputs on a longer time horizon. This would le gitimise that some inputs are not directly applied in thedesign,butleftforlateruse.Thuswithintheframe of complexity and multiplicity in urban planning, the interrelations between design and process in such a project is bringing interesting potentials of network ing, community involvement and building, addressing the complex and plural reality of contemporary cities and societies. However the interrelations themselves cangetcomplex(e.g.widthofnetwork,multiplepar ticipationarenaandpractices)andthusalsochallenge urban projects in keeping track of the red thread through process, design and further urban develop ments.Thislastreflectionisinterestingtoconsiderin parallel with the characteristic of some of the urban designbased theories presented, which believed in productive urban planning processes producing out comesfromasmalleffort.Itseemsthatinsomecases, planningprocessescangetcomplexinawaythatthe effort is maybe greater than the outcome. But in Dreamhamar some interviewees did reflect on the result of the process being more than the sum of all inputs(AppendixesCandD4). The value of democracy and inclusiveness in planning processes is clearly practiced and exempli
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fied in Dreamhamar. Throughout the process, local and international participants have been involved in theestablishmentofthedesigndatabaseforStortor get, by communicating ideas, expectations, stories, reflectionsandexperiencesabouturbanspace.Local ly, communication channels and participation tools and arenas have been deployed in order to integrate as many people as possible, from as many social groupsaspossible.Thiswasintendedasthefinalde sign of Stortorget should be able to welcome all citi zens and groups, and respond flexibly to their desire andneedsintermsofuseandactivitiesonthesquare. Furthermoretheprojecthadaclearaimofenhancing the social life and capital around Stortorget, and equipping the Municipality and community with les sons to apply so as to reach out for as many partici pants as possible in future projects as well. The at tempt to develop and maximise the democratic and inclusive character of the process, also through the establishment of networks and alternative delibera tion forums (onsite and online), again can be per ceived within a close interaction of actors. It is not clear how design and process practices concretely in terrelated here, but the different actors interacting through Dreamhamar, each with their respective background and knowledge, made the participation andnetworkdesignpossible.Theyenabledtheexper imentation of ways to extend the democratic and in
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clusivecharacterofplanning,withfocusespeciallyon the social dimension of the process and final design product. The interrelation is thus extensive and fluid, going beyond process and design, and is aimed to servethesocialqualitiesofurbanlifeinHamar. Information, communication and collective de liberationwerepresentedinthetheoriesasbasisfor knowledgesharingandcoevolutionofactors.Several theories promoted the use of new technologies and tools as to enhance or maximise communication and networking between urban actors. Dreamhamar is an examplewheresuchtechnologieshavebeentriedout in order to integrate greater and wider networks (i.e. localandinternational,comprehendingindividualpar ticipants, professionals, researcher and experts from different disciplines and places). In relation to the democratic and inclusive character intended by the process,opensourcetechnologiesandsocialsoftware have been applied onto planning as to increase the numbers of communication and participation forums, herebyreachingoutforanincreasednumberofpublic and professional participants. The multiplicity of fo rumsansweredthedesiretoproposedifferentintensi tiesofparticipation,builttheunderstandingandcon fidence between curators of the project and locals, andshareknowledge(consideringthattheexpertsare not only the professionals, but also the locals with theirspecificunderstandingofHamar).Againthemul
tiple communication and participation forums at temptedtoaddressthemultiplerealitiesandperspec tivesaboutStortorget,urbanspaceandplanning.Pro cess and design interrelations are yet again indicated through the interactions of the professional urban actors; they contributed to the project by designing the communication tools in collaboration with other professionals from the Dreamhamar network, thus interrelating their respective knowledge and experi ences. Creativityandinnovationstandsforanapproach to planning with an open mindset allowing flexibility and lateral thinking, to combine knowledge, tools, practices in different ways. Experimentation across disciplines is thus important in order to develop new practicesandpathwaysinplanning,andcontributesto build institutional capacity with the development of socialandintellectualcapital.ONETHOUSANDSQUARE,the proposition behindthedevelopmentofDreamhamar, presentsitselfasacreativeprocessandcreativeinter pretation of participative approach to design and planning.Thetransdisciplinarityhereisclearlydetect able through the three previously presented themes. Dreamhamarpresentsitselfasanexperienceorsetof laboratories, enhancing hereby its experimenting and explorative character, but is also the summarising of several previous experiences carried out by Ecosiste maUrbano,throughtheirpastprojects.Itproposeda
flexible and open approach that adjust and adapt to inputs, while leaving as well some decisions open for the people and users, in a constructive atmosphere. This creativity and flexibility can be interpreted in termsofresilience,allowingtheprojecttoaddressand adjust swiftly to the complex and multiple nature of citiesandurbanplanning.Thecreativeandinnovative characterofDreamhamarstandsaswellforthedesire of challenging participation practices and somehow maximisingthemindesignandplanning.Thedepicted tendencyofbothurbandesignandplanningtohavea specialinterestinthefinalusermakesparticipationan idealarenafortheinterrelationsofthetwodisciplines, andthemoreactiveinvolvementofdesignprofession alsintheprocessisalreadyadevelopmentofthepar ticipationprocessitself. Finally the promotion of existing resources and productivityofdesignandplanningprocessesisara ther concrete value and recommendation from the presented theories. Either it concerns local physical resources (i.e. physical and built environment) or so cialresources(i.e.socialandintellectualcapitalwithin thecommunity)tointegrateinplanning.Thelocalex istingresourcesaddressedinDreamhamarseemtobe mainly the social resources, such as indicated for ex ample by the use of workshops on historical and cul tural heritage, the activation of local groups and or ganisations, the integration of the local and regional
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schools through the governmental program Cultural Rucksack, and the use of networks and lectures to sharetheknowledge.Itisthusthesocialandintellec tual capital which is mostly at stake. However men tionshavebeenmadealsooftheimportanceofwater asafeatureinthelocallandscapeofHamar,andStor torget,andworkshopswithfocusontheenvironment and seasonal qualities of the location have been car riedout.Whiletheproductivityofthedesigncouldbe measuredinitsspatialadequacywiththelocalinputs and environmental characteristics, the productivity of the process would be measured in the longterm ef fects and lessons sustaining the development of the localcommunity,anditssocialandintellectualcapital. Butagaintheinterrelationsofprocessanddesignare soclosethatsimplificationwillalwaysbeundermining nuances in the conclusions; for instance the physical interventions, such as mock ups under the process (e.g. under the urban action of Creamhamar), can as well participate in building social capital. Finally the productivity factor can lead back to the metaphor used by Belinda Tato of spreading seeds: some will generateanoutcomeorlegacy,somenot.Theprocess wouldbeproductivewhenthemajorityofseedsleave legacies,whichisdifficulttomeasurerightnow. The previous paragraphs correspond to the main valuesoutlinedinChapter4andidentifiedinthecase ofDreamhamar.Assuchtheyarenotnewvalues,but
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they have evolved according to the complexity and multiplicity characterising contemporary cities and urban planning. For example, the democratic and in clusivevalueshavedevelopedinusingnewcommuni cation and participation tools as to reach further out forparticipantsandintegrateanextendednetworkof public and professionals; this enabled the design and planning process to respond more closely to the plu ralityofstakesinurbanareas.Thentheinterrelations of designbased and processoriented values have beeninvestigatedandexemplified,especiallythrough theinterviewsofactorsinDreamhamar.Thehowof those interrelations could not always be identified as clearlyasexpectedinhowdesignandplanninginflu ence each other in the participative process: for in stancesomeactorsexpressedthebeliefinadifferent and better design due to the Dreamhamar process, but the concrete justification would have to wait for theimplementationofthefinaldesignandathorough evaluation of the whole process. Furthermore what canbeperceivedasdesignandprocessinterrelations isratherfluidandflexible,andappearsinsmallerscale throughout Dreamhamar (e.g. mock ups in the pro cess, communication skills in 3D models, and the ex pected community building after the process and de signarefinalised).Thiscanbejustifiedintheinterrela tionsofdesignandprocessinthiscaseasbeinginnate to the initial proposition ONETHOUSANDSQUARE and to
the hybrid background and interest of the urban ac tors.Thissummaryandtherelatedreflectionsconsti tute the basis for some concluding remarks and con siderations about contemporary urban design and planning. The research and findings will be set in the globalperspectiveoftheurbanplanningfield,hereby highlighting the contributions made with the present report.
ciesinurbandesignandplanning,markingtheevolu tion of participation and collaboration and possibly outlininganewparadigminplanningpractices. In terms of designplanning gap, the report high lights the primacy of interrelations between urban design and collaborative planning. Although urban designandplanningtheorieshavedifferentbasis(i.e. respectively empirical and academic), they present correspondingvaluesandoverlappingfocusesinterms of how practice should respond to the contemporary reality of cities. The interviews of urban actors in Dreamhamar illustrate as well that the perception of space,andthesignificantelementsofspace,canvary dependingontheirhybridbackground,herebyreflect ingdifferentontologiesofspace:forinstance,itcanbe consideredthatthecommunityactivatorbehindSto ryhamar focused strongly on cultural reality of space. But those differences did not prevent Dreamhamar actors from interacting and letting their respective knowledge and experiences influence the project on Stortorget.Thusitseemsthatonelessoncanbetaken from Dreamhamar in terms of bridging design and planning: the organisation of communication and in teractions in different intensities, moments and ways contributed to an extensive participation, benefiting fromtheexpertiseofdesign,planningandotherfields. The general transdisciplinarity and interactions achieved through the comprehensive network and
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6.2. Contribution to contemporary urban design and planning

Through the analysis, an attempt was made to frame boththeoreticallyandpracticallytheinterrelations of designbased and processoriented values addressing the challenges of complexity and multiplicity in con temporary planning projects. Those values were ex tracted from selected theories and concepts, which are part of current reflections and discussion in the fields of urban design and planning. The practical ap plication and interrelation of those values were then investigatedthroughtheexampleoftheDreamhamar case. The report contributes here by making parallel between design and planning perspectives, as to bridgeaperceiveddesignplanninggapthroughtheo retical and practical interrelating values and focuses. Then the report exemplifies the complexity in design and planning processes and practices. Finally the two latter contributions result in the outlining of tenden
communication tools in Dreamhamar have contribut ed to link the different phases of the project more strongly, and relate the process with the finaldesign. Howeverthecomplexityoftheprocesscanchallenge the overview and red thread in the project, even the perceptionofthefinaldesign,whichisexpectedtobe coherentwiththeprocess. With Dreamhamar, the present report offers a concrete example of complex design and planning process, outlining among other aspects the multiple communication and participation tools, the various actorsandtheirrespectivevaluesabouturbanspace, and the subtle interrelations between design and planning (which were not as clearly differentiated as firstly expected). From the initial description of com plexity and multiplicity in urban planning, it shows how cities have become laboratories for experiment ing tools and approaches addressing and adjusting to thecomplexificationofsocietyandspace(seeChapter 2).Severaltheoristshaveprovidedthetheoreticalre flections about the nature of urban complexity and multiplicity,andhowtoaddressitinplanning.Among thosereflections,valuessuchasproductiveprocesses and designs, and collaborative approaches seem to drawatendencyinhowcomplexityandmultiplicityin citiesshouldbeaddressed.Themultiplicityofactorsin Dreamhamar(i.e.publicandprofessionals)broughtto theplanningprocessnewinspirationandexpertiseas
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to tryout tools and practices. But this increased as well the complexity of the design and planning pro cess, hereby challenging the role of the planner and designer in urban projects. Indeed the multiple inter ests at stake in contemporary planning suggest that the expertise and resources lie with the locals, the community and professional networks, rather than withtheindividualpractitionerorplanninginstitution. What would then be the role of designers and plan nerstoday?ThecaseofDreamhamarappearstoindi cate an evolution towards extensive facilitation and communicationroles. Finallyitisremarkablethatthepresentedtheories and the extracted values do not present any revolu tionary novelty. Indeed they still position themselves against modernistic planning practices and adopt val ues that were formulated already in the 19601970s by other planning theorists; they could be thus per ceivedasoldwineinnewbottles.Butlookingatthe background of their authors, and linking them up to the approaches observed in Dreamhamar, it could be argued that they propose an evolution of planning values,accordingtotimeandthelatesttechnological evolution. They use social technologies and software todevelop,forinstance,thevalueofdemocraticplan ning. Indeed given the complexity and multiplicity of contemporarysocietyandurbanworld,onecaneasily perceivethegrowingpluralityofgroups,culturesand
interests. Thoughts behind networks, crowdsourcing, opensource technologies, social software, for in stance,canbetranslatedtocollaborativeplanning,in ordertoenhancecommunicationandparticipationin projects. In my perspective, the described values and toolscontributetotheevolutionofparticipationand collaborationpracticesinplanning,respondingtothe contemporary urban complexity and possibly aiming towardanewparadigmofparticipationandcollabora tion, based on increased transdisciplinarity and com municationbymeansofsocialandnetworktechnolo gies.Thiscorrespondsaswellwiththereflectionsona possibleneworreorientatedroleofthedesignerand planner towards facilitation and communication. Still Dreamhamar represents one case among others, and to define the latter suppositions would need a more thoroughevaluationofseveralcases.
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CONCLUSION
relationsinpracticeassumetoaddressthesametwo attentions. ThusitappearsthroughChapter2,thatcomplexi ty and multiplicity in planning is a challenge for con temporaryurbanprojectsandpractices,butthatthey provide as well the basis for addressing current plan ning culture and contemporary urban governance forms: for instance, could values of democracy and deliberationinplanningbeappliedtoawiderextent, now that the public interest becomes increasingly plural and that planning integrates a greater number of voices and stakes? Can values of communication, participationandcollaborationbecarriedoutinprac tice with inputs from other or new disciplines? The multiplicity of urban actors and issues results in the planning process being perceived as a sequence of experiments that aim to adjust to urban realities in a flexible and incremental way. While reflections and practices are developing answers to this complexity andmultiplicity,asshownintheconceptualandtheo reticalframework,planningcultureandurbangovern anceseemtonothavetakenonthechallengeyet.This reportdoesnotprovideanyrecommendationsashow theyshoulddoso,butillustratesthetendencythrough the theoretical review and offers an example of an extensive participative and collaborative design and planning project, which appears to address the com
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As the world and knowledge about reallife evolve, gainingincomplexityandmultiplicity,theurbanplan ningfielddevelopsaswellinordertoaddressandad just to relational spatial and social realities. Since the start of the phenomenon of urbanisation and up till today,citieshavebeenreflectedonandusedaslabor atories for practitioners as to carry out visions and ideas about how to address most adequately the on goingevolvingurbanrealityandsociety. Theresearchsetouttoinvestigatethefollowingques tion: How do values of contemporary urban design based and processoriented theories address urban complexity,andinterrelatewithparticipativeplanning practices? Two propositions constitute the basis for the exploration undertaken throughout those pages. The first proposition concerned the perception of a designplanninggappresent,especiallyintheacadem ic world. The second proposition suggested that the interrelationofurbandesignandplanningvaluesand practices comprehends interesting potentials as to addresstheaforementionedurbancomplexity,within participative processes. Indeed literature and discus sionsintheplanningfieldhaverevealedtheincreasing attentionofacademicsandpractitionersonproductiv ity and collaboration in planning. The bridging of the designplanninggapandthehighlightingoftheirinter
Conclusion
plexity of planning, while strongly relating design and process. Throughout the conceptual and theoretical framework, a selection of urban designbased and processoriented theories have been presented and studiedastoextractthevaluesthattheypromoteas to answer the contemporary realities of cities. They representamomentuminurbandesignandplanning, enhancing democratic and inclusive collaboration; hereby they address the multiplicity of actors, the productivityofplanningefforts(bymeansofusingthe relational character of urban contexts and local re sources),thecreativityandflexibilityinprocesses,and theapplicationofsocialandopensourcetechnologies inplanningsoastoenhancecommunicationandpar ticipation.Thewholedepictedtendencyhasgenerally agreatfocusonthesocialdimensionofplanning,ac knowledging that the knowledge about urban areas and dynamics lies not only with the planning profes sionals, but also with experts from other fields and with the local community. It appears thus that the designers and planners role is challenged by the recognition of this multiplicity of actors and knowledge.Furthermorethedesignerandplannerare positionedaspartsofthecomplexandrelationalsoci etyhe/sheplansfor,andnotasleadingprofessionals (such as they might appear in modernistic planning). Hence the framework highlighted similar and corre
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sponding values and practices for urban design and planning,butnocleardifferencesinvalues.Theback drop of the respective theories and ontologies of ur banspacecannonethelessbediverging,butthesecan beseenaspotentialswithintheinterrelationofdesign andplanning,astointegratemoreperspectivesabout urbanspaceandrealitieswithinplanning. The case study of Dreamhamar offers a practical exampleofthepreviouslydescribedplanningmomen tum in planning, by illustrating the interrelation be tween design and planning process in practice, the interactions within the multiplicity of urban actors, andthegeneralcomplexityofurbanprojects.Dream hamar revealed the impossibility of simplifying the project into design and planning contributions: the process benefited from a comprehensive network of actorsandmultiplecommunicationchannelsandpar ticipation arenas, meant to activate a broad segment ofthelocalpopulationandgeneratedynamicsessions of reflection, discussion and experimentation about urbanspace,andtheplanninganddesignofthefuture mainsquareinHamar.Themultipleactorsinvolvedin Dreamhamar can hardly be categorised in designing and planning actors: both designers and planners are mostly architects with different backgrounds. People fromthecommunityandexpertsinmanyotherdisci plines than urban design and planning entered the processaswell.Hencetheexpectationofdetermining
values and practices clearly related to design or pro cess, and look at their interrelation on the project of Stortorget in Hamar was an impossible simplification, due to the projects high complexity. Interrelations betweenvaluesandpracticeswereoutlinedfromthe individual stories and professional experiences of the 10interviewedactors,whohavecontributedatdiffer ent levels and in different intensities in this specific process.Theexperimentingandexplorativecharacter of Dreamhamar suggests that it is an experience to buildonwithfutureprojectsandexperiments. The report has thus outlined urban designbased andprocessorientedvaluesincontemporaryplanning theoriesandpractices,whichaddressurbancomplexi tyandmultiplicitywithcorrespondingandoverlapping focuses.Itappearsthatsomelessonsabouttoolsand approachescanbemadeastosupportthepossibilities for interrelation of disciplines and coevolution of ac tors, as well as to integrate current urban complexity and multiplicity in contemporary and future planning practices.Theyaremainlythedesignanduseofglobal and local networks, the many communication chan nelsandparticipationtoolsthatincreaseprofessional and public inputs, and a certain open and flexible mindset as to adapt and adjust to ideas and inputs andintegratingthemthroughoutthedesignandplan ning process. Dreamhamar showed as well that such
extensiveandcomplexcollectiveurbanplanningprac tices can challenge the translation of the process in puts into the design phase, but expectations can be formulated on an outcome adequately answering the communitysneedsanddemands(i.e.shorttermout comeinformofthefinalphysicalsquare)andsupport ingthelocalselforganisationandempowermentasto keep on deploying collaborative and participative planning practices in future urban projects (i.e. long term outcome in form of community building and in fluence on the local planning culture). The observa tionsandlessonsmadethroughthisreporthavecon tributed in highlighting the possibilities for bridging thedesignplanninggapformulatedatthestartofthe research,andforcoevolutionofdisciplinesandprac ticesincontemporaryurbanplanning,aswellasillus trating the complexity, also in practice, faced by cur renturbanproject.Whilerecognisingthatsomevalues and lessons might be the reformulation of existing reflectionsonurbanplanningpractices(maybewitha slightly different nuance), the presented theories in planning and the Dreamhamar experience might sug gestthedevelopmentofanewparadigminparticipa tionandcollaboration,astoaddressurbancomplexity and increase transdisciplinarity in urban design and planning projects, while relating more closely the phasesofurbanprojects,fromprocesstodesign.
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Llewellyn,S.(2007).Casestudiesanddifferentiatedrealities.QualitativeResearchinAccounting&Management,4(1),5368. Lydon,M.(2012).TacticalUrbanism2:ShortTermAction,LongTermChange.USA:StreetPlansCollaborative. McCarthy,J.(2007).Partnership,CollaborativePlanningandUrbanRegeneration.Hampshire,U.K.:Ashgate. Menichinelli,M.(2012,May18).openp2pdesign.org.RetrievedMay18,2012,fromopenp2pdesign.org: http://www.openp2pdesign.org Mota,J.C.(2012,April12).CollaborativePlanningPractices&Research.RetrievedApril12,2012,fromFacebook: http://www.facebook.com/groups/collaborativeplanning Neergaard,H.(2007).Udvlgelseafcasesikvalitativeundersgelser(2nded.).Copenhagen:Samfundslittteratur. Nyseth,T.,Plger,J.,&Holm,T.(2010).Planningbeyondthehorizon:TheTromsexperiment.PlanningTheory,9(3),223247. Peer,N.(2012,March28).CommunitiesCreatingSpaces(video).RetrievedApril27,2012,fromThinkCommons,Ambient IntelligenceNetwork:https://thinkcommons.org/sessions/communitiescreatingspaces Sager,T.(2009).Planners'Role:TornbetweenDialogicalIdealsandNeoliberalRealities.EuropeanPlanningStudies,17(1),65 84. Shieh,L.(2006).UrbanAcupunctureasaStrategyforSoPaulo.SoPaulo:UniversityofSoPaulo. StreetPlansCollaborative.(2010).Collaborators.RetrievedMarch28,2012,fromTheStreetPlansCollaborative:BetterStreets, BetterPlaces:http://streetplans.org StreetPlansCollaborative.(2012,March28).TacticalUrbanismSalon:About.RetrievedMarch28,2012,fromTacticalUrbanism Salon:http://tacticalurbanismsalon.com UrbanInsight.(2011,September12).Urbanismwithouteffort.RetrievedMarch22,2012,fromPlanetizen: http://www.planetizen.com Urry,J.(2003).GlobalComplexity.Cambridge:PolityPress. Wolfe,C.(A)(2011,December29).Sixtrendingurbanistthemesfor2012.RetrievedMarch22,2012,fromMyurbanist: urbanismevolving,withlawinmind:http://www.myurbanist.com/archives/8267 Wolfe,C.(B)(2011,September26).Exploringsuccessofthenighttimecity.RetrievedMarch22,2012,fromMyurbanist: urbanismevolving,withlawinmind:http://www.myurbanist.com/archives/7301
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COVERILLUSTRATIONS
DreamhamargatheringonStortorget.FromHamarkommune,&EcosistemaUrbano.(2012).Futurehamarboka:Historienom Dreamhamarprosessen(Bokversjon1.0).Hamar:Hamarkommune. OneThousandSquaresketches.FromJordana,S.(2011,March27).ONETHOUSANDSQUARE/LluisSabadellArtiga+Ecosistema Urbano.Retrieved0508,2012,fromArchDaily:http://www.archdaily.com/122860/
LISTOFAPPENDIXES
AppendixA:TableoftheInterviewedDreamhamarActors AppendixB:InterviewwithGeirCock(seeonCD) AppendixC:InterviewwithBelindaTato(seeonCD) AppendixesD1toD9:Writtenactorinterviews(seeonCD)
APPENDIXA:TABLEOFTHEINTERVIEWEDDREAMHAMARACTORS
ThefollowingtablepresentstheinterviewedactorsinrelationtothecasestudyonDreamhamar;itsumsuptheir educationalbackground,theirinterestsandfocusses,previousworkareaandcurrentpost,aswellasashortdescrip tion of their role in and around the participative process of Dreamhamar. Additionally supplementary information andcommentsbytheintervieweesthemselvesillustratestheirroleandengagementinDreamhamar.Thegroupingis notbasedonexistinggroups;theyareeitherbasedonthetypeofinterviewtheyparticipatedin(e.g.GeirCockand BelindaTato)oronsimilaritiesfoundintheirrolesorgeneralapproachtoarchitectureandurbandesignandplan ning.Theusedsourcesaremainlytheindividualinterviews(AppendixesB,CandD1D8),thebookletFuturehamar (Hamarkommune&EcosistemaUrbano,2012),theofficialcompetitionlaunchdocumentfromHamarmunicipality (Hamarkommune,2009)andinformationgiventhroughcorrespondencewithsomeoftheinterviewees(Cock,2012) (Peer,2012).Othersourceswillbementionedinthetableitself.
TableA1:Dreamhamaractorsinterviewedfortheproject
Interviewee
GeirCock
(AppendixesB&D1)
Localactor
Experience,background&post Graduation:architectfromBergen Interest:connectionbetweenlanduse,the conceptofurbanlifeandthedesignanduse ofpublicspace Previouswork:privateandpublicsector,with designofhousesandurbanplanning,and withurbanrenewal Currentpost:landusemanager(arealplan sjef)andresponsibleforregulationplansfor severalurbanspacesinthecitycentre,inthe PlanningdepartmentofHamarmunicipality. AlsoleaderofHedmarkandHinterlandArchi tectAssociation(HedmarkogOpplandAr kitektforening).
RoleinDreamhamar
ProjectleaderintheMunicipalitysinternal projectteam,fromthelaunchingofthecom petitionanduptillthetransferoftheproject managementtoEcosistemaUrbano. Memberofthejuryofthecompetition KunstforStortorget Participantandfacilitator
Graduation:architectfromMadridand London Interest:multiplecollaborationpartners withinfieldsofurbanplanning,urban innovation,urbansociology,opensource planning BelindaTato Workandcurrentpost: (AppendixC) Internat.actor freelancepracticeinthecompany EcosistemaUrbano,establishedin2005,with professionalpartnerJoseLuisVallejoMateo professoratHarvard 78yearsofexperiencewithurbanactions anddiverseurbanplanninganddesign experiences
Maincollaboratorinthecompetitionteam, constitutedbyEcosistemaUrbanoandthe artistLluisSadabellArtiga MaincoordinatorbehindDreamhamar participationandnetworkdesignproject Maincuratorandrepresentativeof EcosistemaUrbanoonsite,duringthe participationphase
These two actors have been interviewed as keypersons in the Dreamhamar process. Their role in Dreamhamar among the upstarting team (i.e. Cock from Hamar municipality and Tato from the Spanish company Ecosistem Urbano)makesthemaswelltheactorswiththebestorbroadestoverviewonthisproject,bothintermoftimeand involved actors. Both have been present and shown a great engagement in the diverse activities throughout Dreamhamar,butwithdifferentknowledgeofandrelationtoHamar.Aspartofthemunicipaladministratingteam fortheprojectonStortorget,hisroleundertakesthefacilitationoftheprocessandthecoordinationofitwiththe Municipality.Hedescribeshimselfasaguidewithlocalknowledge,abletogivefeedbacktoEcosistemaUrbanoand pointatchallengingissues,andhascontributedbothasparticipantandfacilitatorintheprocess. KnutSjvold
(AppendixD2)
Localactor SverreSkram Vatne

(AppendixD3)
Localactor
Graduation:construction,planning,project managementanddevelopment Currentpost:projectmanageratSTEMA Consulting Graduation:civilengineer Previouswork: sustainablebuildings projectmanagementsince2011 Currentpost:ass.projectmanageratSTEMA Consulting
ProjectmanagerforStortorgetandthe Culturalcentre,linkingtheMunicipalityand otheractors
AssistantprojectmanagerforStortorgetand theCulturalcentre,facilitatingbetween architectsandvariousconsultants
These two actors are rather part of the implementing team. They are the two project managers attached to the project of the Cultural centre and were thus early involved in the project of Stortorget. They both insist though mostlyonthetechnocraticaspectsoftheirroleandbeingsupportiveoftheimplementationofthedesign. Graduation:architectinGuatemala Interest: variousnetworksandcollaborativeresearch platforms,e.g.radarq,EcosistemaUrbano, theUrbanRelationalLaboratory,Domus,MAS Context,BeCityandQuaderns EthelBaraona Responsiblefortheorganisationofthe citizenengagedinbottomuplocalurban Pohl Tacticalurbanismworkshop,basedonopen (AppendixD4) processesinBarcelona sourcetechnologyandtheories Internat.actor Workandcurrentpost: practicefromBarcelonasince1998 writing,teachingandresearch founderofthepublishinghousedpr barcelona,withherprofessionalpartnerCsar Reyes Graduation:architectandurbanistinSevilla, andcitymanagementinCatalonia Interest: memberofZZZINCCultureresearchand innovationandfellowatZEMOS98 citizenengagedinbottomuplocalurban processesinBarcelona Responsiblefortheorganisationofthe PacoGonzalez (AppendixD4) Workandcurrentpost: Tacticalurbanismworkshop,basedon Internat.actor foundedofradarq.net,anopenstudioand opensourcetechnologyandtheories researchplatforminarchitecture,cityand networks founderofBeCity consultantprofessorandtutorinCityand urbanplanningmanagement,atthe universityofCatalonia
Graduation:architectfromParisandIllinois Interest: individualandsocialdimensioninterritorial andurbanplanning potentialsoftechnologyinthepracticeof architectureandtheinterrelationofpeople designplanninginterrelationinpractices Previouswork: NoaPeer variousexperiencesinfieldssuchasinterior (AppendixD8) Internat.actor design,architecture,projectmanagement andurbandesign differentprojectssuchasapartment renovation,socialhousing,publicbuildings andpublicspace competitionwork Currentpost:freelancearchitectworking fromParis,specialisedmostlyindeveloping planningprocesses Responsibleforthedevelopmentofthe conceptslaidoutunderthecompetition proposal,herebyimplementingtheproposal, whichcomprehends: researchontheexistingsocialgroups, institutionsandimportantpoliticalandsocial figuresinHamar establishthemethodologyofthe participationprocess(e.g.definetheroleof thecommunityactivatorsandcreativeguests, definethethemesoftheworkshops, investigatethepotentialofintegratingthe culturalrucksackprogram,definesome communicationmeansandchannels) informcitizensandhiredprofessionalsand communicatetheprojecttotheparticipants upsumtheresultsoftheparticipation process
PeerispartoftheEcositemaUrbanoteamandthetwootherswerehiredastohelpwiththeimplementationofthe network behind the participation process. Baraona and Gonzalez state that Ecosistema Urbano asked us for integrate ideas outside the box from the online workshop participants to enrich the whole process and hereby innovatetheusualprocedurewithdifferentapproachesbasedonnetworkculture(AppendixD4).Peersgeneral engagementwithvariousprojects,basedonabottomupapproachandanextensiveinclusionofthefutureusers ideasandneedspresentaswellaninspirationandexperienceforimplementingDreamhamar. Graduation:Culturalstudies,Culture animationandTheaterinWarsaw,Poland Interest:influenceandimportanceofpeople andtheirhistoryinarchitectureandurban planning Previouswork:urbandesignandculture animationprojectsinPoland,engagingthe localcommunityintoinvestigatingitshistory.
JoannaMikulska
(AppendixD5)
Localactor
Communityactivatorandresponsiblefor theurbanactionStoryhamar Contributedtotheurbanaction Creamhamarandpeople
AudunJensen
(AppendixD6)
Localactor
Graduation:teacher Previouswork: teacherinOslo schoolyardplanninganddesigning Currentpost:primaryschoolteacherat Storhamarbarneskole
Communityactivatorandresponsiblefor theurbanactionPlayhamar Contributedtotheworkshopactivities
MikulskacomesfromPolandbutlivestodayinHamarandisthereforeconsideredasalocalactorinDreamhamar. Besides she was a participant before being a community activator. Jensen grew up in Hamar. The two actors inputsareactivatingtheHamarcitizens,butalsoactivatingthelocalandinternationalprofessionalcommunity,in addressing significant aspects in the experience of urban space. Both have been described as very engaged and enthusiasticactorsinDreamhamar. Graduation:landscapearchitect Interest:multipleparticipationandgood processes,withabackgroundinlandscape planning Previouswork: municipalplanninginseveralmunicipalities projectmanagementexperience Currentpost:urbanplanningmanager (byplansjef)since2008andresponsiblefor theinternalcoordinationandcollaborationof thePlanningdepartmentwithother departments,inHamarmunicipality.
KariNilssen
(AppendixD7)
Localactor
Mainprojectcoordinatorfromthe Municipality,workingespeciallyonthe internalcoordinationofmunicipal departmentswithDreamhamar Responsibleintheadministrativeand organisingteamestablishedfortheprojecton Stortorgetatthelaunchofthecompetition
She describes her role and tasks in formal and logistical terms, both in relation to Dreamhamar and the overall planningprojectsinHamar.Herroleliesmostlyinthecoordinationandfacilitationbetweenlocalpublicactorsin Hamar.Sheexplains:thecitycentreandurbandevelopmentareonmyagenda,andparticipationamainvalue* (AppendixD7).SheparticipatedinDreamhamarbothasindividualandasprofessionalplanner,havingtheinternal coordinationresponsibilityandmarketingtheproject.

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PARTICIPATIVE DESIGN & PLANNING IN CONTEMPORARY URBAN PROJECTS

PARTICIPATIVE DESIGN & PLANNING IN CONTEMPORARY URBAN PROJECTS

4.3. THEORETICALINTERRELATIONSBETWEEN APPROACHES

2 COMPLEXITYINCONTEMPORARYURBAN PLANNING 11 3 METHODOLOGICALCONSIDERATIONS 15

3.1. SOCIALCONSTRUCTIVISMANDHERMENEUTICAL EXPLORATION 15 3.2. METHODSFORDATACOLLECTION

5.2. DESIGNANDPLANNINGVALUESEXPRESSEDIN DREAMHAMAR 56

5.3. INTERRELATIONSANDINTERACTIONSTHROUGH PARTICIPATIVEPROCESS 68

5.3.4. CHALLENGES IN THE PARTICIPATION PROCESS AND NETWORK COLLABORATION 81

4.1.4. EVOLUTIONARY AND EMERGENT URBANISMS 35

5.4. OUTCOMESANDBENEFITSOFTHE DREAMHAMAREXPERIENCE

5.4.1. LESSONS FROM THE PARTICIPATIVE PROCESS 84

5.4.2. BENEFITS AND OUTCOMES FOR FINAL DESIGN AND USE 87

7 CONCLUSION 8 BIBLIOGRAPHY 9 LISTOFAPPENDIXES

Thefutureofdemocraticplanning,asproposedbyJebBrugmanninWelcometothe UrbanRevolution,istoallowallpartiestobeinvolvedsothattheycodesign,cobuild andcogoverntotheirsharedadvantage.Hecallsthisacitysystemwhereresidents, communityleaders,investors,developersandprofessionalscocreatethecity. (Johnson,2011)

COMPLEXITY IN CONTEMPORARY URBANPLANNING

3.1. Social constructivism and hermeneutical exploration

figure3.2)andtotheideathattheresearcherallows theempiricalmaterialtoinspire,developandreshape theoretical ideas (Alvesson & Skldberg, 2000, p. 249).

3.2. Methods for data collection

2NDROUNDINTERVIEWS Interviewees 3 KnutSjvold

CONCEPTUAL AND THEORETICAL FRAMEWORK

Reality 1 2 3 4 5 Physical Structural Agential Cultural Mental

Content Bodiesandobjectssituatedinspaceandtime Institutions,rolesandrulesreproducedbypeople Projectsundertakenbyhumanagents Knowledge,concepts,values,beliefsandideologiesthatarearticu latedand/orwrittendown Thought,feelings,emotions,interestsandmentalconstructsof individuals

4.1. Urban design approach to planning

INSIPIRATION FIELDSTOAP PROACHCITIES

Architecture Urbanplanning Medicinalrefer ences

Catalyticaspectofthe interventionforfuture developments

MarcoCasa grande Architecture, design&planning Advocacyplan ning Engineering Eventsandpop upinterventions

Community gardensand urbanfarmsin Taipei,Taiwan

Anarchismandsocial movementsinthepost industrialcity

Urbanism without effort

Architecture Referencesto Darwinsevolu Delft,Nether tiontheory lands Virtualplatforms &ITworld

Spacefighter platformand game

Spacefighter platformand game

MathieuHelie (economistand computerscien tist),basedon StephenWolfram (computerscien tist)

Urbanplanning Economics Scientificcom puting Complexsystem research

4.2. Collaborative planning approach

AUTHOR(S)& CONTRIBU TOR(S)

INSIPIRATION FIELDSTOAP PROACHCITIES

Collabora tiveplan ning

PatsyHealey, JudithInnes, LeonieSander cockandJohn Forrester

U.K. Canada Australia

Characteristicofcol laborativeplanning processes

fosteringofcommunityempowerment recognitionofdiversities developmentofdiscursivelocaldemocracybeyond theconfinesofspecificissues(Huxley&Yiftachel, 2000,p.333)

Participativedesign&planningincontemporaryurbanprojects useofinformationtechnologiesandinspirationfrom theinnovativetechnologicalrevolutionsemergingat thesametimeascollaborativeplanning recognitionandactionsinrelationtocontemporary complexityofnetworksandmultipleconceptionsof space

effectivedialogueandcommunication renewedattentiontothequalitiesofplacesforpoli tics,localdwellersandstakeholders

4.3. Theoretical interrelations between approaches

THEDREAMHAMAREXPERIENCE,A CASE OF PARTICIPATIVE DESIGN ANDPROCESS

about art on the main public square of Hamar, launchedbytheMunicipality.

5.1. Context and Dreamhamar

Aug.Oct.2012 Public procurement

5.2. Design and planning values expressed in Dreamhamar

5.3. Interrelations and interactions through participative process

challenges conceptions and traditional planning ap proachesandintriguesatthesametime.

Figure5.5:processanddesignconnectionsasproposedforOneThousandSquare byLlusSabadellArtigaandEcosistemaUrbano,(Jordana,2011) Page72|103

Figure5.7:Examplesofparticipationarenas: theexhibitionandlocalofficeintheBazaarbuilding,theonlinelabandtheCreamhamarurbanaction (Hamarkommune&EcosistemaUrbano,2012,p.44;102)(EcosistemaUrbano&Hamarkommune,2011)

An English version is currently developed by Ecosistema Ur bano.

5.4. Outcomes and benefits of the Dreamhamar experience

6.1. Interrelation practices

3 Information,communicationandcollectivedeliberation Knowledgesharingandcoevolutionofactors Useofcommunicationandnetworktechnologiesandtools

4 Creativityandinnovation Transdisciplinarityandlateralthinking Flexibilityforexperimentation Effectoninstitutionalcapacity,socialandintellectualcapital

5 Existingresourcesandproductivityofdesignandplanningpro cesses Integrationintheprocess Ongoingdevelopmentandlongtermeffectsforthecommunity

6.2. Contribution to contemporary urban design and planning

Wolfe,C.(C)(2011,September12).Isurbanismwithouteffortthebesturbanismofall?RetrievedMarch22,2012,fromMy urbanist:urbanismevolving,withlawinmind:http://www.myurbanist.com/archives/7125 Yin,R.K.(2009).CaseStudyResearch:DesignadnMethods(4ed.).USA:SagePublications.