INVOLUNTARY EXCLUSIONINWARD FACING EGO

GENTRIFICATION RACIAL BIASCULTURAL APPROPRIATION

COMPENSATION ISSUESINEQUALITY

PREJUDICE BURNOUT

MICROAGGRESSION

AUTHENTIC ENGAGEMENT

ENVIRONMENTAL& SOCIAL

JUSTICE

PLACE KEEPING

INTERGENERATIONAL LEADERSHIP

WORK-LIFE BALANCE EQUITY DIVERSITY

CUT FILL2020 LANDSCAPE ARCHITECTURE

ORGANIZED BY

Can we afford to be stagnant, while the world is changing? The first Open Space unConference for Landscape Architecture

VOL. 2BOOK OF PROCEEDINGS

CUT | FILL 2020, Book of Proceedings Volume 2 2

TABLE OF CONTENTS

JULY 23-24 MEDIA + LINKS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �3CUT | FILL NEXT STEPS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �3PRESS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �3ONLINE EVENTS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �3PANELIST BIOS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �4TRANSCRIPTION: WELCOME + INTRODUCTION � � � � � � � � � � � � � � � � � � � � � � �6TRANSCRIPTION: PANEL 1 “ERASURE” � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �9TRANSCRIPTION: PANEL 2 “HOW CAN WE FIX THIS?” � � � � � � � � � � � � � � � � �15PANEL PORTRAIT � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �23 Justin Garrett Moore � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �23 Steven Lewis � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �23 María Arquero de Alarcón � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �23 Tamika L� Butler � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �23 Austin Allen � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �23 Ulysses (Sean) Vance � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �23THE INVITATION � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �24SPONSORS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �25PROMOTIONAL PARTNERS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �26CUT | FILL TEAM + CREDITS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �27CUTFILL�LIVE � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �28

EVENT SPACE BYORGANIZED BY

Here are some options for staying connected and getting involved� Move your projects forward: Resources and Options for Project LeadersCalendar of upcoming eventsNewsfeed

THE DIRT, “Designers of Color on How to Combat Erasure” August 15, 2020, by Jared Green

THE DIRT, “CUT|FILL 2020: An Unconference on Landscape Architecture”July 15, 2020, The Dirt Contributor

LAND 8, “Cut/Fill: An Open Space unConference”July 8, 2020, by Andrew Sargeant

CUT | FILL NEXT STEPS

PRESS

ONLINE EVENTSIf you are interested in putting on an event online, please contact lucas@qiqochat�com�

JULY 23-24 MEDIA + LINKS

5-MIN� OVERVIEW VIDEODAY 1 VIDEO (FULL RECORDING OF THE OPENING + PANELS + OPEN SPACE)

BOOK OF PROCEEDINGS VOL� 1 EVENT SUMMARY VOL� 2 WELCOME + PANEL TRANSCRIPTIONS VOL� 3 PARTICIPANT NOTES + RESOURCES

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PANELIST BIOS

Justin Garrett Moore, AICPExecutive Director, New York City Public Design Commission

Justin Garrett Moore is an urban designer and the executive director of the New York City Public Design Commission. He has extensive experience in urban design and city planning—from large-scale urban systems, policies, and projects to grassroots and community-focused planning, design, and arts initiatives.

CUTCUTFILL

María Arquero de AlarcónDirector, Master of Urban Design Associate Professor of Architecture and Urban and Regional Planning, University of Michigan

María Arquero de Alarcón’s work advances urban strategies promoting cultural and environmental values in territories under conditions of scarcity. María leads MAde Studio, a research-based, collaborative design practice that offers integrated expertise in architecture, landscape, and urbanism.

CUTCUTFILL

Austin AllenPrincipal, DesignJones LLC and Associate Professor of Practice, School of Architecture, CAPPA, The University of Texas at Arlington

Austin Allen has participated in over 12-years of recovery effort in New Orleans and in Jacmel, Haiti, assisting in rebuilding community, engaging students in related service learning and design projects. He is also a principal in Design Jones, LLC in New Orleans. His interests are in regeneration of disrupted and Caribbean landscapes; urbanism; community engagement and resiliency, disaster recovery, and green infrastructure. Allen also focuses on filmmaking documenting and expressing Cultural Landscapes.

CUTCUTFILL

PANELIST BIOS

Tamika L. ButlerPrincipal and Founder, Tamika L. Butler Consulting and Director of Planning for California and the Director of Equity and Inclusion, Toole Design

Tamika L. Butler is a national expert and speaker on issues related to equity, anti-racism, diversity and inclusion, organizational behavior, and change management. As the Principal + Founder of Tamika L. Butler Consulting she focuses on shining a light on inequality, inequity, and social justice.

CUTCUTFILL

Steven Lewis, FAIA, NOMAC, LEED AP®Urban Design Principal, ZGF Architects and President, Thinking Leadership

Steven Lewis is an architect and a tireless advocate for social justice and diversity within the field of architecture. In April of 2011, he launched “Thinking Leadership” - a consulting practice distinguished by a facilitated approach to collaborative problem-solving.CUTCUT

FILL

Ulysses Sean VanceAssociate Professor of Architecture and Environmental Design, Temple University and Co-Founder of UVXYZI

Ulysses Sean Vance is a registered architect and educator working on the implementation of inclusive design and the architectural characteristics of health equity in domestic and institutional settings. He is co-founder of UVXYZI - a design firm dedicated to visualizing the protocols that service inclusive design agendas and communicating the differences in human capacity.

CUTCUTFILL

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This type of event, based on peer-to-peer knowledge sharing, is what is needed in moments like this when no single one of us has the answer. CEU credits are available for the first two hours of Day 1. We’re hoping that the other hours of unconventional distance learning set the precedent to become eligible for credits in future events such as this. If you find this type of distance learning extremely valuable, please let us know. If you are earning CEU’s, look for the CEU tab in the main room later today, or message us in the chat.

By definition, Cut and fill is the process of constructing whereby the amount of material from cuts roughly matches the amount of fill needed to make nearby embankments, so as to minimize, and here is the key point, to minimize the amount of construction labor.

During this event, you get to raise the questions that you want to discuss� Here are questions on my mind:How can we stop creating our social echo-chambers and build upon other worldviews?When will we erase our individual egos and fill ourselves with empathy?What can we do to cut our dismissive behavior, in order to notice when people are hurting?What are we diagramming and drawing in our construction sets, that is affecting the human experience?How will our field treat the silos sitting tall and alone?When will we realize that someone is not in the room you curated?What will you do to notice this?

I look forward to hearing what you have to say and the topics that you raise�Now, I would like to hand the mic over to Drew�

11:11 am EST - Introduction by Andrew (Drew) Sargeant

Drew: Good morning, everyone� My name is Andrew Sargeant� I am a founding member and Vice President of the Board of the Urban Studio. I echo Sandra’s comments and would like to thank all the sponsors and attendees for participating on behalf of the Urban Studio� For those unfamiliar, our mission is to advance design thinking for equitable and sustainable urbanism� As designers of color working with communities of color, most notably with 16 plus students in workshops centered around design education� And before I get too far, I just wanted to let you guys know, this isn’t a Zoom background. I want to apologize if there’s any background noise, but I’m actually back in my mom’s garden in the backyard of the house that I grew up in. I’ve been home for a little bit visiting family which has provided a great time to reflect on the factors in the built environment just beyond this fence that has influenced my life, not just in the hobbies that I enjoy but also in the career that I’ve chosen.

I believe that we are all here for a necessary and incredible event� While this conversation initially was centered on the field of landscape architecture, we have been approached by a wide array of allied professionals to be involved in this discourse� We have opened the invitation to all design professionals knowing that to move forward we must have a concerted effort from everyone.

Can we afford to be stagnant while the world is changing? What are the challenges and opportunities for the field of Landscape Architecture as we move forward in this unprecedented time of a global pandemic and civil unrest from racial injustices? I hope that you have thought long and hard about these questions before arriving today�

I’ve been thinking about what to say to you all that hasn’t already been said. As design professionals, we understand that our imagination gives shape to the future� Our creative power manifests in the world and creates change� This same imagination is necessary for the liberation of people, and our role in that liberation�

CUT | FILL 2020 Landscape Architecture took place on July 23-24, 2020 on QiqoChat, an online conferencing platform with Zoom’s video chat function.-------------------------------------------------------------------------------------------------------------------------------------------------Disclosure: The audio and video recording of Day 1 of CUT| FILL 2020 is available on YouTube at this link� This transcription was made by Sandra Nam Cioffi after the event concluded.

Notes on Transcription: (JAZZ) – Refers to moments when Wi-Fi connection was unstable during the event, creating spaces/frozen pauses in the video chat. Steven Lewis mentioned “this format is like jazz. It leaves spaces in the music, and we have to use our imagination to fill them.”-------------------------------------------------------------------------------------------------------------------------------------------------10:30 am EST – Tech Check

[Participants enter the Zoom room with music playing in the background, while a timer is counting down the minutes and seconds until the event is scheduled to begin at 11:00 am Eastern Standard Time]

11:01 am EST - Welcome by Sandra Nam Cioffi

Sandra: Good morning, everybody� Here we are, in a new landscape� Thank you for showing up� We have close to six hundred people registered to take part in critical conversations today. My name is Sandra. I am the principal at Ink Landscape Architects� I am a cultural listener, and an advocate for honest human connections� We are in the midst of a time of great change� This brings challenges as well as opportunities� Personally, I have experienced all emotions from deep despair to incredible hope, which catalyzed the birth of CUT|FILL� I sincerely appreciate your trust as we walk on this new path we are about to build together�

Our collaborators, The Urban Studio, have been tremendous in helping to shape this first Open Space unConference for landscape architects, and much of the funding from this event will go towards their non-profit work. There are four individuals whom I need to recognize and who have been working to give life and identity to this event: Andrew Sargeant with The Urban Studio, Heidi Nobantu Saul, our Open Space Facilitator, Nicole Cohen, Landscape Designer at Margie Ruddick Landscape, and Lucas Cioffi, at QiqoChat.

We have several thank you’s to mention, for whom this event would not be possible. First, thank you to our Understory Sponsor, Anova Furnishings for their very generous donation to support this event� Later today, we ask that you please check out their virtual booth and remember them when working on your projects� Thank you to our Seed Sponsors, Landscape Forms and Permaloc, also for their very generous donations to support this event�

We would like to thank ASLA, Landscape Architecture Foundation, Land8, and the Ecological Landscape Alliance for their promotional support and encouragement�

Finally, we would like to thank the following Supporting Firms who stepped forward during this time to commit to being present and seeing the importance of this event:

CMG Landscape Architecture, GGN, DAVID RUBIN Land Collective, Mathews Nielsen Landscape Architects, Nelson Byrd Woltz Landscape Architects, OJB Landscape Architecture, Reed Hilderbrand, Sasaki, SmithGroup, Stoss Landscape Urbanism, Studio Balcones, SWA, TBG, and West 8�

TRANSCRIPTION: WELCOME + INTRODUCTION

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11:16 am EST - Panel 1 begins

with Justin Garett Moore, María Arquero de Alarcón, and Austin Allen

Justin: Great� Thank you, Drew, for the introduction and for Sandra and the entire team for putting together this great event. We’re all collectively going through a lot right now, and it’s important to have these conversations. I’m Justin, and the focus and kind of start of this conversation, we really did want to take on this theme or thread of erasure, especially as it ties to this notion of the cut and the fill - the labor and the work that it takes to do that� My fellow panelists and I are going to share some thoughts and conversation on that and do feel free to use the chat and leave some threads and thoughts that maybe we can incorporate into our conversation�

So, I wanted to start with this idea of erasure, kind of first with a prompt, you know we have hundreds of people (JAZZ)… maybe it’s an experience with your parents or a place. Drew’s in his old backyard, and just think of something that really means a lot to you from your life experience and let that sit for a second. [Long pause to allow participants to think about the prompt�]

Now imagine that that has been erased. It’s just gone.

This is something that has happened, especially to people of color, to people that have been dispossessed from their land, from their communities, from their power, from their wealth, from their work, from their time, their hearts, their minds, consistently for generations, as long as pretty much anyone can remember�And the thing that is important about erasure is that it takes work to do that, it doesn’t just happen, right, and all of us as design professionals are a part of that work in many different ways. In this conversation, I think we want to kind of think about the many different ways that this happens: the expertise, the skill, the processes, the money, the effort that it takes to change and transform places. But this is also a convening of professionals and people that work in these built environment fields, and I wanted to share my own very recent and very personal version of erasure�

As Drew mentioned, I am Executive Director of a New York City Agency, The Design Commission. We do design review for public projects, and something that I was feeling very empowered and excited to do was to develop work around affordable housing design that’s happening in New York City and generally beyond: the premise that good design can improve outcomes and communities across the city, including communities of color�

So (we) develop this effort, working very collaboratively across many different players and partners, and

With the increased global awareness of racial injustice, we are all being pulled into an essential and complicated discourse around race� The people demonstrating in cities across the world are taking us to task. And we’ve also been forced to pause and think as we’ve been sheltered in place for the last few months knowing that while we may be fortunate to continue our work, many of those protesting injustices are disproportionately affected by the global pandemic. Now is the opportunity to create a new and more just world that has never existed outside our imagination.

We know that creating this new world will be hard work, and I believe most of us want to do that work� Part of this work is coming to terms with failed manifestations of design throughout history and confronting them within practice and academia. Understanding that urbanism hasn’t been good for everyone, and results of urban renewal and gentrification have contributed to the erasure of historical context and heritage from beloved cities and neighborhoods across the U�S� We have assembled a panel of professionals whose work and experience allows them to speak directly to that topic, and if we were to move forward in a more heightened capacity we must understand that the current culture of our firms, the culture of our educational systems, and the culture of our professions cannot come with us� We must focus on the missing critical perspectives not only amongst minority designers but also in the communities which we work and serve� Our second panel will speak to proactive measures in practice and academia regarding the confluence of the pandemic and racial injustice and how design professionals can push forward a more just and equitable future�

Without further ado, I’d like to introduce our first panel.

The first member is Justin Garrett Moore, AICP. He is the Executive Director of New York City Public Design Commission. As a professional, he has extensive experience in urban design and city planning, from large-scale urban systems, policies, projects, to grassroots and community-focused planning, design, and arts initiatives�

Our second panelist is María Arquero de Alarcón� She is the Associate Professor of Architecture and Urban and Regional Planning, and the Director of the Master of Urban Design at the University of Michigan Taubman College. María’s work advances urban strategies promoting cultural and environmental values in territories under conditions of scarcity� She leads her studio, a research-based, collaborative design practice that offers integrated expertise in architecture, landscape, and urbanism.

Last for the first panel, is Austin Allen. He is a Principal at DesignJones LLC and Associate Professor of Practice in the School of Architecture at the University of Texas at Arlington. Austin has participated in over 12-years of recovery effort in New Orleans and in Jacmel, Haiti, and has been assisting in rebuilding community, and engaging students in related service learning and design projects�

If I can ask all the panelists of the first panel to give me a thumbs up. [thumbs up] I will set the timer, and we will begin the first panel for today.

TRANSCRIPTION: PANEL 1 “ERASURE”

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joining us today - I feel like we have to be intentional, because every time we design a syllabus - and we decide what are the sources that we are including, and we are the sources that we are excluding - we are intentionally making choices about the kind of conversations, the kind of practices, the kind of worlds that we want to give access to our students�

Here, I have learned over time, I am very privileged to teaching grad students, which means that they already come with a pretty good sense of what do they want to do in their return to school� How important it is for me to find room to co-create, to co-produce [Justin: yes] this syllabus, this kind of contract that we establish every semester with our students, so that this becomes a process of mutual learning, of mutual construction of knowledge, but also spaces of inclusivity, right? Because it’s not so easy at this very moment in time to have just one way, to have just one voice deciding what are the right conversations, what are the right areas of focus�

With this, I feel like there is an invitation� Your story is, in a way, making more and more clear that solidarity is not enough� This is the moment to take action, to listen, but also to be an ally, to take a position and contribute� I thank these spaces, this moment like today, for that, but also I thank you for all the incredible patience of continuously re-focusing the conversation, to make us see what we don’t see in many instances. I hope we will find many other opportunities to address that including our conversations.

Justin: Thank you, María� I think that this sort of thread of how privilege and awareness and tension needs to connect our work instead of doing what it’s done historically, which is to divide our work, I think is so critical in this moment. I really respect that kind of acknowledgement, so much particularly when you’re in one of the kind of frameworks of power, right, within an institution; and there’s a lot of work to kind of push and challenge institutions to do that�

I know Austin is here as well, and curious to hear some of his thoughts on this work and this conversation�

Austin: I was really excited to be talking about erasure, and just what both of you said in terms of not only teaching, but in terms of the field itself. It’s every day we are confronted with it, and one of the big things a lot of people have heard me talk about over the years is that we do not draw enough from every day-to-day people who have been excluded from what our discipline does, what the field does in terms of - and it goes all the way back to our beginnings in the United States - being a discipline in the field, and it also goes back to the way we constructed the built environment here� We talk about it� I learned it, you know, listening to others, and particularly it crystalized when J.B. Jackson began to talk about how within two to three years, things fell apart in Jamestown�

What became apparent is that the whole slave trade was not just labor� It was a transfer of knowledge and materials from one continent to another, and it was important in that process - as slavery was a part of that - was to deny that knowledge base, and it has impacted the way we see landscape very heavily, and the beauty of the moment is we really can free ourselves from those kinds of erasure processes�

I was mentioning earlier about people like Kofi Boone who looked at South Carolina and sees so much of Africa in South Carolina’s landscape; in this landscape itself. It’s something that the discipline, from the very beginning, had that kind of understanding through Olmsted, when he came through South Carolina. That’s why he spent more time, he was like “What is this? What is this place?”

It was because of the race� It was because of what happened in that transfer of knowledge� We deny ourselves that kind of articulation every day, and it’s not just African Americans. It’s happened with many different groups of people who ended up in the United States.

there is an AIA Conference in New York a couple years ago, and there was a conference panel presentation on all this collective work that we had done around advancing quality affordable housing through the design. (JAZZ) …physically in the middle of the panel we all do our presentations; it’s a great conversation, great engagement, and then the producers of that conference later presented that work online publicly�

So, there’s video, the presentation, there’s description of the panel, and the video is posted, and I was edited out of the video, entirely� I was literally erased�

They cropped the videos so that I didn’t appear in the images. The content, and voices, and the ideas, and the provocations that I was putting forward were edited out, and the remaining white panelists remained, right� They became the record, and the voice of that conversation�

So, the reason that I mention this is because it took work to do that. Anyone that’s edited a video knows this, right. It took work to do that. It took intention to do that. And so it’s just something I wanted to offer as an example; it’s a little example of the many small and different ways, like the death by a thousand cuts, that there’s sort of this taking of agency and power and voice in the work that we’re all doing together in the built environment�

With that I really wanted to open it up to my fellow panelists and María to share some of their thoughts and prompts on this topic of erasure�

María: Thanks Justin, I’m going to jump in because I think your prompt is asking us to be intentional with our decisions, and it’s asking us to be fully charged on how we make choices.

As a woman, as an immigrant for a few years, not anymore, voting this November, I felt at times my voice has been muted, disregarded, or my contributions were not being necessarily welcome� But, you know, what I am also very aware of is that here I am, middle class, European, white, with an incredible privilege that I need to be able to use with intentionality, being fully aware of how the spaces that I inhabit, and the incredible opportunities that the job that I have are giving me can be put to use, can be in a way be intentionally focused on making sure that we are giving visibility and making stories like yours, that are part of your everyday experience, find the space, the time, the right mediums to be communicated and to make us all aware�

I have incredible privilege, as I say, of being in an academic institution that is fully committed to my intellectual growth, and what this has given me is a continuous challenge in which the way in which I design my projects. My research projects are always trying to focus on how can I, how to bring, how to visualize the realities, the everyday struggles of many underprivileged communities that have been intentionally erased, not mapped, are continuously struggling with evictions - and we’ll maybe talk a little bit about that - and doing work in São Paolo, where we work with a lot of communities in the south of the city�

São Paolo is a city that in a way is asking us to imagine. It’s about all the kind of beauty and exuberance, and at the same time a huge amount of the population in the south - people of color and mainly living in incredibly dark conditions - that require us to continue bringing them to the map� Again, this is intentional� These are projects that need to be shaped, need to be framed, and are requiring us to be allied of the many different groups that are already working on the side with many of these communities.

In a way here, I feel like it’s about performing as conduits, so that stories that would be otherwise forgotten, erased, invisible, can find different ways of reaching out and gaining audiences, and in a way educating us� But then at the same time, every time I am working on a syllabus - and I know that a lot of students are

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many leaders in those nations, trying to build and contain narratives on their own� I feel like there is so much that is connecting us, and there is so much need of finding new opportunities for these conversations to happen and this work to be accessible and really reach out to many firms, many younger professionals. Because I feel like what is at stake, as Austin was saying, is that we really need to reinvent new models of practice, and we need to bring a different kind of imagination on how to be able to honor the people and how they construct the landscapes, but at the same time, we need to have them uplift their lives because of how many incredible struggles they are dealing with�

So I think in keeping the conversation in between the highly local, highly specific, and our capacity to reach out and to listen locally, but then at the same time just making sure that we are connecting globally, because the struggles are very similar, and the processes and the policies that continue to erase rights for many communities are so similar, that I feel like we need so much to learn from each other� No need to say how much landscape architecture is a profession, is a discipline, that is very much invested in creating cultural landscapes and creating a really rich set of experiences and connections to the land. I think we have all opportunities to feel energized and optimistic about a better future. Being an educator, I just see the incredible talent and energy that our students are bringing to the classroom, and I can only feel optimistic, even if there is a lot at stake�

Austin: We’re doing it at a time when all these things are happening. The pandemic to me is painful, as horrible, as the deaths are. It’s such an opportunity for us to figure out how to bring health issues, how to look at how we interact in spatial, temporal terms. I’m like, we should be so immersed in this. I see it in the way we talk about what we’re going to do in the fall in terms of teaching. It’s like, we’ve got to struggle through it; that’s what we’ve got to do. We can’t say, “is it going to be like it used to be?” Or, “are we going to go all online?” We know better, alright�

We know that somewhere in between all these things, we have to move forward with, and the excitement is you have all these new students to me who just won’t stay still in the discipline. They’re like, “I’m going to do this, but I’m also going do this, and you know, that’s what I’m going to do.” [Justin shakes his head in agreement and says, “Yes.”] We have to be conscious that the world has shifted in that way.

Justin: Yeah, absolutely. I mean, in the intro Sandra mentioned the silos that we’ve traditionally been kind of forced to operate within, and that has its own way of limiting and constraining the work - that we use the term “the work” [gesturing quotes with hands] - that people need to try to do, and innovation, and agency, and so many different ways, and how best do these disciplines or silos is something that we always have to change … (JAZZ)……

…we have students, we have people from different backgrounds, and understand that we need to have this conversation together, and that’s such an important moment. I do think the situation with the pandemic and black lives matter, explicitly, are forcing people to acknowledge at a more direct and clear way how the world is not built, designed, conceived, operated to the benefit of people and planning. It’s just so blatantly apparent now, and that we all have to find ways to shift that mode that’s incredibly, incredibly broken.

Austin: I absolutely agree, and I look forward to it� In every way possible, I look forward to these kinds of new moves, these new ways of organizing ourselves. Panels like this - the CUT | FILL - I think are going to be, sets the strong response as series of these, as a strong response, as we are navigating, you know, the social distance we have to do and other things that we have to do at this time�

Justin: Right. María, if you have any final comments.

There’s a beautiful small film I used to show students all the time called History and Memory by Rea Tajiri, and it’s about the camps from World War II, the Japanese internment camps. Where she goes in this twenty something minutes, is so important to me, is she talks about the confiscation of property, alright, in a poetic way, but it’s because of what people were doing to the landscape itself. The fact is that in the internment camps, she goes back and looks at them, and these are in the desert, yet all this green growth is happening there, or a particular reason the way wells were being done� We don’t even think about what we have erased on a day-to-day basis.

What I get excited about is you’ve got a whole new set of generation who has the opportunity to really pull back the covers, and let’s get to the serious busines of seeing what’s in front of us.

Justin: I love this� I want to connect and bridge something that came out with what you were just saying, which is in some ways kind of the collective construction of landscape and collective construction of place (JAZZ)…. problematic structures, but along with what María was saying, which I just thought was incredibly beautiful, the construction of knowledge – co-construction and mutual construction of knowledge. I just really enjoy that combination of thought as a challenge to this moment that we’re all in, together now, right. We have to find ways to do that work.

Austin: I agree. I agree completely. I think that we’ve opened up new venues in that way with firms that are just emerging, firms that have been established, the way we do studios, you know. We’re at a major crossroads in terms of higher education, and I think that shift, plus the way the field is organized is just where those kinds of things start to happen� The intentionality, I absolutely agree, we have to just come to this new level of openness and not be afraid of what lays ahead for us, you know� I mean like you said, with your situation, the labor that went into editing you out was probably [Justin laughs with a smile] way more intense than having to deal with what you were saying, you know! [More smiling and laughter from Justin] You know, it’s that reversal of roles in that kind of way, and it’s the international aspect of it too.

Justin: Yeah, yeah, Maria, absolutely, you’ve done this kind of work globally, and that this is an international problem and conversation, right? I think, you know, the erasure that’s happening real time in so many cities across the globe connects with some of the versions that we see here in the US�

María: Yeah, and what is interesting for me - and Steve is in the second panel, and he will be able to share many more really deep stories about his time in Detroit, engaging many communities – my college is relatively close to Detroit� We are in an arborist, small, comfortable college town, but a lot of the work, and a lot of what we tried to do when connecting with local communities is actually looking at Detroit� It was incredible for me to be able to witness similar conversations this year, as the work that we are doing with partners in Sao Paolo was very much focusing on access to water in many formal communities in the south, when we are talking about washing your hands and basic hygiene criteria, right, to be able to endure this pandemic�

At the same time, citizens in Detroit were once again disconnected from access to water - something that we should consider a basic human right and is now in the process of litigation, because as soon as the emergency goes, many of these households will go back to normal not being able to obtain and not to be able to pay for basic service that pretty much can make your life in the city, your access to the basic right to the city, impossible�

I feel like no matter how much the current political discourse is trying to split us apart, we see many nations,

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11:46 am EST - Panel 2 begins

with Steven Lewis, Tamika Butler, and Ulysses (Sean) Vance

Steven: Good morning. We’re dealing with a few challenges with the technology. Justin you were freezing every so often, and Drew you’re a little choppy, so some of the information that you’re conveying maybe it needs to show up in the chat as well, so resources can be captured that way�

I just jumped in as my nature as a facilitator to begin this conversation, and I’m going to ask Sean and Tamika to join freely� But I did want to say, as we pass the baton from the subject of erasure to our painting a picture of a day in the life, to allow and encourage the participants to walk in our shoes through our stories and experiences, which I think is key to gaining a greater understanding, a broadening of a context through which we judge people and events. As we become educated and that context widens, we have an opportunity to revisit those judgements and look at them in a more complete and holistic and compassionate way� But erasure has a companion� As María was talking, and it occurred to me� Invisibility is the companion to erasure, and sometimes it’s as if we’re Patrick Swayze in the movie Ghost, and we’re swirling around living our lives and no one can see us. As a result, if they can’t see us, then we can easily be erased and there’s no “human” consequence. I just think that that’s part of what has to be rectified; we have to be seen�

I was with the partner, managing partner of the firm, when I gave a keynote back in 2016 in New Orleans, and afterwards we went to a restaurant. As we walked in, there was a black family on their way moving toward the exit. As we passed, I nodded at them as we do, and they nodded back at me. A few steps later, he asked me, “You know those people?” “No,” I said. “I don’t know them, but I see them, and they saw me.” And that’s part of how we make lemonade out of this lemon.

Informal settlements, in my travels to everywhere from Tijuana to Khayelitsha Township in South Africa, and you see these quote unquote “shacks scattered along the landscape,” but if you look more closely, they’re an assemblage of found materials cobbled together with intentionality; still people will take whatever they have, and they will impose their will on it, so that even if its only for them, they have a sense of dignity and self-respect of controlling that environment�

María: I have to say, I want to thank all the participants for the incredibly thoughtful comments that you are adding in there [Referring to the Zoom chat]. I feel like, yes, we haven’t even touched on climate change, or the many climates that we need to be addressing, and how justice needs to be central to all of them� I think, we haven’t talked or even acknowledged the importance of indigenous lands in many of the conversations that we are having right now. I wish we could go back to all your chats; don’t think they are going unread. It’s just you know how much we have to be able to convey. I’m just looking forward to the conversations in the next two days.

Thank you, Justin� Thank you, Austin� For me I have to say, there is a great opportunity in using the digital as a medium, as a conduit, to truly bring more voices and be more democratic and more radically inclusive, in what are the voices we are bringing to share the stories. But I’m also incredibly concerned about losing the opportunity to engage physically with the places and the people that are not just a little square in the screen, so I look forward to what is coming this fall. But I’m also totally invested to figure out ways to balance how to not to lose those connections, because I think they are incredibly important for the profession and the discipline� Thank you, everybody, for all the comments and thank you, Justin and Austin�

Justin: Yes� Thank you, Austin and María�

Austin: If I could, I just want to quickly say that one of the things I hope happens – and María and I have talked briefly on it before – I am excited that there be a conversation around informal settlements, and where we are really in terms of that globally, and particularly as we face it in this country in ways that we have not begun to have a serious conversation here in effort in the way that we have to, particularly during this time of the pandemic�

[TRANSITION TO INTRODUCE PANEL 2]

Drew: Well, thank you so much to our first panel members, and a really great discussion. You can see why we kind of limited it to 25 minutes, because these guys can go for a long time� Of course, a lot of the things that were mentioned in the chat, hopefully will turn into discussion topics for the sessions afterwards for folks to continue to talk about�

I am going to take a moment to now introduce the second panel. The first person on this panel, I’m going to introduce is Ulysses Sean Vance� He is Associate Professor of Architecture at Temple University, go Owls, and he’s the Co-Founder of UVXYZI, design-research consultancy. He is a registered architect and educator working on the implementation of inclusive design and architectural characteristics of health equity in domestic and institutional settings� Our second participant is Tamika Butler� She is the Principal and Founder of Tamika L� Butler Consulting� She is a national expert and speaker on issues related to equity, anti-racism, diversity and inclusion, and organizational behavior and change management. As the principal of Tamika L. Bulter Consulting she focuses on shining a light on inequity, inequality, and social justice�

Last but not least, Steven Lewis is the Urban Design Principal at ZGF Architects and President of Thinking Leadership. He is an architect and a tireless advocate for social justice and diversity within the field of architecture� In April of 2011, he launched “Thinking Leadership,” a consulting practice distinguished for their facilitated approach to collaborative problem-solving�

We ask again that the panelists give me a brief thumbs up that they’re ready to go [Drew puts up his thumb], and I’m going to start the timer and have you guys just jump in.

TRANSCRIPTION: PANEL 2 “HOW CAN WE FIX THIS?”

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my presence - because I don’t exist with a known disability or accepted disability to be in that audience or in that space. But it’s more critically my role that I take in being an advocate for those things that uplifts my position as an architect and academic, to be able to speak above that invisibility, and I try to do that� I always try to shoot above my game� I always try to punch above my weight; however, you want to term it� What I am currently doing to deal with the issue of invisibility - and transversely acknowledgement of things, giving a nod to something - is documenting the physical space and engagement of doctors in Philadelphia, particularly black doctors who are dealing with COVID-19 issues across the city; how we strategize the system that they have to work within, which is usually the parking lot of a black church, or the curb along the street that two days later gets tear-gassed by SWAT; or even understanding what it means, as a sort of future forecasting and thinking, what if the developer in mechanics to put in place, so that these temporary conditions can have a much more permanent way of engaging and establishing new mechanisms for them to work as doctors that we as architects and landscape architects need to be thinking about as a controlling, claiming, marking, holding in space all together� Not necessarily in that order, but at least as something that we’re thinking about.

I think for me, this sort of way of thinking resonates, because I‘m trying to unbuild disenfranchisement� I think that’s a thing that I’m also working with, is not just the factor of invisibility that’s perceived on behalf of another group of people who choose not to see - which is something we should unpack as well here - what it means to be invisible is not the fact that I’m absent or like ghosted, I’ve passed on, but rather that a group of people choose not to see� But rather, also, how would we deal with the disenfranchisement that comes to those people who have been unseen? How do we overcome that, and how do we allow for there to be strategy placed for them to feel more comfortable and confident in the conditions that provide health care, that provide education, that provide something more than entertainment, and media, and sport?

Steven: Yeah� Well said� You know, it takes me back� This conversation takes me back to the metaphor that I shared with you guys, as we were chopping it up the other day� What brought me back to it is just the utter brilliance represented in these panelists here, and many, if not all participating in the call� We have a lot to say, and we say it often to each other. Sean and I never met a word neither of us like. We just keep talking, talking, talking. So, I said that the moment you have self-realization as a black person, whether you’re two years old or ten years old, and it’s usually caused by some event, some confrontation, and it jars you out of that paradigm of thinking you’re a reflection of what you watch on television. In my case as a youth, it was Dennis the Menace, or Donna Reed, and those family shows, and we identified with them and then one day something happens and you’re all of a sudden aware that you’re different, and with that awareness comes this notion of two parallel universes: a white universe and a black universe� In that black universe - all of the intellect, all of the good, the bad, and the uglies happening there, just as it is in the white universe - we by necessity navigate seamlessly between those two universes as a way of surviving� When we go to the white universe, we can code-switch, and we can be acceptable, and we can maybe be seen somewhat, and then we’re back in the black universe, and we do what we do there.

When George Floyd was murdered, a worm hole opened up between those two universes, and all the white folks got sucked into the black universe, and for an instant, they saw everything we have seen and we saw� With that, the wall between those universes crumbled, and we’re all in one place right now.

This is our work to move forward� Our work as black people is the work of a Sherpa: to be a guide, not to lead. This is white people’s work to do. Four hundred and one years has to be unraveled, repackaged, reinterpreted, understood, and white people should not be timid or afraid to make a gesture or a statement

So, I think a big part of these early steps, as we start to peel back the layers and look at our current situation, is to see everyone as clearly as we can�

With that sort of preamble, I’ll open it up to Tamika to make some remarks, and then pass it to Sean, and then we’ll get this conversation started.

Tamika: Yeah, thank you� I, you know, that piece about feeling seen is so personal, and we all know the nod, right? Those of us who heard you telling the story knew that he was going to ask if you knew them, as they often ask us.

I think the way that erasure works, and part of why it creates such tension for those of us who inhabit black bodies, or are folks of color, or are folks with a disability, or whatever it may be, I think it is because we are so invisible. We are Patrick Swayze in Ghost, until we’re not. And when we’re not, it’s instant [snaps fingers], often, that we are a threat. And so you go from being seen not at all, to anything you do to challenge, or to add, or to critically think, or to provide feedback, or to run, or jog, or eat skittles, or whatever it may be, makes you visible�

And so, any time you’re talking about built space, and you hear these stories about a black person being shot and white people saying, “Well, we just didn’t think they were from our neighborhood.” And then you learn that, actually, they were from the neighborhood, right? And not that that should matter� Not being from your neighborhood should not mean that I don’t belong here, but it’s that piece around “I’ve been here. I am in your neighborhood, but I’m so invisible to you, until I’m a threat.”

I think when we’re doing this work, when we’re looking at built environment, how do we center folks who, for so many reasons, have gotten used to sliding in and out of spaces invisibly - only seen to those who look like us - and ending, I think, the thing I grapple with is, how do we think about claiming space? How do we think about taking space?

My particular field is transportation, so I think about mobility to stay exactly where we are. Those things all are about built environment�

I am on Tongva land� I am a settler, even though my people were enslaved and brought here� And so, what would it look like if they were able to stay in place? What would it look like if indigenous folks were able to stay in place?

I think as we think about erasure, and as we think about how we (JAZZ) ..fill the space and really move forward, we have to both be thinking about how are we moving, how are we moving freely, but how are we also giving people the right to stay in place?

Steven: Great� You had a few paused moments in there, which leads me to conclude that this format is like jazz. It leaves spaces in the music, and we have to use our imagination to fill them.

Sean, come on in, man�

Sean: Yeah, I’m just going to dive in here. I appreciate being on the call with so many brilliant people.

Just to give a little bit about my own invisibility on these subjects, I’ve been a person who has been working for the last fourteen, fifteen years on topics like universal design and inclusive design, specifically in the artifice of disability design. It’s a very interesting place, because even in that context, it’s questionable -

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Sean: I completely agree with you, Tamika� I think that, you know, another important aspect of that is this sort of discussion of how do you not only mark, but how do you claim, and how do you hold space, and hold space on this very subject? Because I think that critically, I often hear as a black architect how there are no black architects out there of significance, of something that I could think about and see that are important.

And I find that intriguing, you know, I spend a lot of time in multiple states across the United States working over many years - I won’t say how many, but its’ out there, so it’s clear - but I’m reminded of how often black firms, even though they win awards, it’s just still not registering in the medium. I think that the medium, as purported in the 60s, the medium is still the message� The media controls that way in which we understand, philosophically, what we should remember, right? And so, when you have images in the media that sort of purport a position that a particular race is always in the background, is always second-hand the subject of the topic at hand, then you sort of ingrain that within the mechanisms of how you make decisions�

By seeing television and media in a different way, we can then transition that into our professional lives, right? We can understand that, hey, I’m going to mark and hold space differently because it’s already absent; that presence is already absent. I think that’s particularly important in the design fields, right, because I think how we see, or at least how I see my role in academia in filling the void made by erasure, is to really to sort of like ‘be my own consultant on this topic’. So, for example in the design studio, I don’t just talk about traditional tropes of architecture that I always do, Alvar Aalto and open-air systems. I don’t just talk about Le Corbusier versus a variety of other architects from that modern movement�

I also try to posit, what happens if we think differently about the Congress for Urban Affairs, which is often referred to as Siam? How do we think about what if W�E�B� Du Bois had been invited to that conversation, right?

I try to think about, ok, in the current context or light, when they say, “Oh well, you know, there are these really great architect firms like Zaha Hadid or MVRDV that we should be talking about in the design studio,” (instead) I’m bringing up people like Vines Architecture and EVOKE Studio, that I know are doing great work just as much as Phil Freelon, who unfortunately is no longer with us, and was a very vocal person, but we had to keep that message going� We had to keep claiming and holding that space for the discussion of black architects and the media of academia�

And so, I think that is super important when we strategize what the agenda should be for maybe doing something like marking, and claiming, and holding space; it should also include the thought processes that allow us to find joy in talking about ourselves in the mediums that we have that allow that message to be continually out there, that we exist, that we are not invisible, and that we actually characterize a unique perspective on what design excellence is.

Steven: This notion of marking, holding, and place, and space, we don’t have time on our little segment to really unpack that, but I think that’s something that we should further explore. Does that mean that as a ruin, metaphorically as inhabited and re-inhabited over time, as patterns change, as white flight happens, as blacks fill gaps, whatever…is it the space itself or is it its inhabitants that claim it and make it black space, for example? I’m just positing that.

Before I go any further, I do want to acknowledge my family, Azurra Cox, has weighed in and she was making a statement about discomfort, and this is something that I talked to you all about the other day as well - becoming comfortable being uncomfortable�

The quick story is 43 years ago I was told that in order for me to continue to live, I had to stick an insulin

for fear that it’s the wrong thing to say or do. If the heart is right, we’re very patient. We’re very loving. We want you to be successful in doing this work, because we will be the beneficiaries of that, as will the entire society and the world for that matter. Four hundred and one years is a long time to unravel, and there’s no flipping of the switch, right. So, this is a life-long endeavor.

I think that the more that people who are not familiar and comfortable in the black environment, the more that we can provide a window into our world, the greater the opportunity for understanding which brings empathy and compassion and caring, which are the fundamental elements of a foundation upon which we can build structures and systems. Without that foundation on an individual level, my contention is that it’s a house of cards, and it will eventually crumble. The only way to get where we’re trying to go is through a learned and gained familiarity and a love of each other�

Tamika, what do you got to say?

Tamika: I totally agree with what you and Sean have said� This idea of whether or not people see our humanity, it’s not because our humanity isn’t there, it’s because folks are making a conscious choice. I think we heard Justin bring that up when he talked about his erasure in the video� The thing that is so harmful and so damaging about these erasures is that it is intentional� So, whenever I have white folks in my life, or I’m speaking on a panel or training and someone’s like, “I just didn’t see it before, but now I know.”

I always catch them off guard, and I said, “Well, you chose not to see it.”And they’re like, “Well, no. I didn’t choose not to see it. It’s just, you know, my kids they go to school, and there’s no black kids,” or “we don’t have kids of color on the soccer team,” or whatever it is.

So when we have this moment where, all of a sudden, white people were told, “Check on your black friends,” and they have to sit and realize they didn’t have any black friends, and so they checked on their black colleagues, and then their black colleagues were like, “Jeremy never talks to me? Why is he…? How did he get…? Why is he texting me?” Right? Because people haven’t done that before, and so part of doing this work is active� You have to decide that you are no longer going to ignore it� You have been sucked in through the worm hole� You do see it, but you also have to acknowledge that you chose not to see it before, and now that you have seen it, what are you going to do, and how are you going to face that it is exhausting? I love being black. We are a people that always find joy. We will always find joy. I always say, if there is a natural disaster, I’m going to find a black woman and follow her, because she’s going to be alright. She’s going to find a way, right. And so, we always find joy, but we also know how exhausting it is to travel between those two dimensions� We also know how exhausting it is to be charged to be paid to design a physical space, and when you get there for your site visit to know and be conscious of how you have to talk, how you have to dress, how you have to make sure that people know you are there to work, not just to be in space. That is exhausting. As people join us in this space, you’re going to get tired. You’re going to make some mistakes. You are going to feel overwhelmed, but how do you actively keep pursuing this work to be antiracist? And that is the real work, as you said. That is white people’s work, because we’re already doing it. We have no choice if we want to survive and live. So, this is really folks’ work to step up and say they are going to do it, and they are going to stay committed�

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I think, you know, I was with a group of women who came together in Salzburg, Austria a couple years ago, and it was public health professionals, built environment professionals, and we talked about coming up with a framework that provided three steps when you want to do this work� One, you have to create a brave space. To your point, being safe isn’t good enough. All the people who have faced oppressions to live their full selves, they have to be brave every day� If you are a black woman and you are having a child and you know the infant mortality rate is higher, it is brave to go to the hospital to have that child� If you are trans, and you are using the bathroom that fits with your gender identity, and you know you may be physically hurt, you are being brave, right? And so, the least folks who don’t face oppression every day could do is be brave� Get out of this desire to be comfortable, to be safe, and be brave, and then you have to confront power and confront privilege� Equity is this buzz word, but you can’t get to equity if you’re not talking about who has power, who’s making decisions, who’s setting culture, who’s deciding who gets what and who gets left out, and then what is the privilege involved. Why are you thinking something isn’t a problem? Oh, because it doesn’t impact you? Then what is that privilege, and how does that privilege perpetuate who gets to use and inhabit and move through space� And so, you have to be brave, and you have to confront power and privilege�

Steven: Great. I think we’re maybe at our time, and I’ll depend on Drew for the time check. If so, we’ll accept both yours and Sean’s remarks as final remarks. If we got another minute or two...

Drew: I would not want to interrupt, Steven, so if you all would like to take a minute or two to close out, feel free�

Steven: I’m just trying to help you out, bro, to keep on schedule. [laughter] It’s a real pleasure to and an honor to be placed in a position where our voices can be elevated and hopefully land on receptive ears and hearts, more importantly. We’ve got a lot to do, and as painful as a lot of this reckoning has been, particularly as it relates to the deaths of black people at the hands of police, there’s also this incredible electricity in the air, one of excitement about this moment. It’s an all hands-on deck moment. We’re at the point where Design as Protest (DAP) and Bryan Lee, are making demands on academic institutions and firms who have to really reckon with where they’ve been, who they’ve been, and where they’re going, and who they will be. And so, this will not go quietly into the night. This is work that we’re lighting a fuse to, and just couldn’t be happier to exhaust myself on this issue right now with my colleagues.

Sean, Tamika, final word?

Tamika: Go ahead Sean� Sean: Go ahead Tamika. (JAZZ)

Steven: Go Sean. Sean’s frozen. You go, Tamika.

Tamika: I would just say, thanks to the organizers of this conference. It’s always so humbling to be part of something with heavyweights and folks I admire, like everybody on my panel and the first panel. Then for the folks watching, especially for the students, you are going to constantly be told that there’s not a place for you in this work, and there is a place for you. All of us are testament that there’s a place for you, and you have a right to, again, move through space as you see fit until you find where you want to be, and you also have a right to stay in place�

needle in my arm, and overnight my life changed. I had to do that. I didn’t look forward to doing it, but I did it willfully every day, because that was how I was going to be ok and survive� And 43 years later, this is a very integral part of my life�

So, when we talk about getting on this path, this path is not one that has exit ramps, necessarily. I mean, it just has cliffs on either side of it that you can fall off of. But the path, when you’re on it, is a righteous path that changes your paradigm, and who you are, and how you live your life from this day forward� So, this is not something that we’re going to address with some prophylactics or some therapy, and then we’ll be ok when we get off. This is a life-long commitment to open your eyes to see. You’re getting a little window into it as we have these conversations, and we all - which is kind of funny as panelists - have so much to say each, that we could take eight hours of the day, and Tamika and Sean and myself would just be still talking eight hours later� You all would be sleeping, and we would still be talking� I think that idea of what is a welcoming space that we black people and all people might not have to think about in terms of whose is it� It just is, and we all inhabit it equally�

Sean: I think, Steven, to that point, we have to acknowledge that that’s not something that can be designed with the perspective that is typically talked about, which is involvement of the black community, but rather should be spoken from the point of engagement. The difference between the two - between involvement and engagement – is that involvement is something that is done to a black community, from the perspective of outside designers; engagement is something that is done with them�

I think that when we transition in how we talk about what are our roles are as designers - whether I am a landscape architect, an architect, or urban designer, all of the above – it should be a matter of engagement that allows people to participate in what we’re doing, and seeing themselves reflected in the work that is part of the outcome. In other words, they are not invisible in the naming plaque, they’re not invisible in the work itself� Their name should be there, so that their children can see their presence as well� And so, the people become part of the space; they’re never absent, one from the other, and I think that that’s this analytical misconception� There’s an intersectionality that’s talked about commonly right now, and I find that intersectionality is a new term but are old term, because there’s also interdependence, and a realization that interdependence fundamentally is what designers must work towards� Understanding that people are not separate for analysis, that they live together, that they overlap� I shop at ACME, so does somebody else who might not have the same point of view, but we intersect commonly� We cross paths, and that is what the design should be about� It should be about the intentionality of that intersection, and not just thinking about it, but the action of it: one that proposes something forward to fix our discomfort, so that we can find commonality, and intersectionality, and interdependence, properly�

Tamika: I think, as you said, that takes being ok with discomfort, right? I always tell people as a transportation planner, the intersection is where the action happens, right? So, when you think about intersectionality, and when you go out to a site, and you see people are dying at this intersection, what can we do? Do we extend the walk sign? Do we extend the curb? Do we do this?

We can, as professionals, be like, “You know what? This is just complicated. Let’s just go mid-block and put in a parklet�” Like, maybe we should put in a parklet, but we still have to solve why there are tons of crashes and collisions at the intersection� So, people have to be comfortable with that discomfort that when you get to the intersections of things there’s conflict, there’s friction, and there’s struggle, and that is hard.

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And so we have to support each other, and there will be many cuts, but together finding mentors, finding community, we will be able to move forward and to fill our hearts and our spirits to do this work that is our ancestors wildest dreams�

Steven: Thank you� Sean are you back?

Sean: I am. I think that I want to encourage one basic thing for people, because I think that for me, it’s always the same thing, and that’s to continue to shine a light. Whatever that light may be - to realize that you have power and activity in the work that you do - know what that intentionality is for, be conscious of that, and move forward with that. So, if It’s something as simple as diagramming, know what the effects are of that diagram on a variety of things. Look outside of the places where it’s obvious and shine a light on places where it’s not. Ask questions. Continue to ask questions on being where the engagements are of that work and how can you begin to affect things that are previously not seen, and just to continue the other side of whatever it is that you do. That’s a very important thing. It’s an important narrative of inclusion and how we see others who cannot be seen as an important mechanism for what we have as designers. I’ll save more for the panel�

Steven: Great. Thank you both, and again to the organizers. This is a wonderful discussion.

Drew: Wow. Thank you to both sets of panel members. Extremely engaging discussions. I admit, you know, I was having trouble keeping time, because I was really involved with what you guys were saying�To the participants, know that this is, again, something to whet the appetite� It is now up to you all to continue to discussion in the subsequent breakout rooms. I am going to transfer the floor to Heidi Nobantu Saul, who is our Open Space Facilitator, who will now guide you through how we’ll be working together over the next two days and the rest of today.

12:16 pm EST – Panels End and the event transitioned to the Opening Circle.

Justin Garrett MooreUrban Designer and Executive DirectorNYC Public Design Commission

María Arquero de AlarcónDirector, Master of Urban Design Associate Professor of Architecture and Urban and Regional PlanningUniversity of Michigan

Austin AllenPrincipal, DesignJones LLCAssociate Professor of Practice, School of Architecture, CAPPAThe University of Texas at Arlington

Steven LewisUrban Design PrincipalZGF Architects

Tamika L. ButlerPrincipal and FounderTamika L� Butler Consulting

Ulysses (Sean) VanceAssociate Professor Architecture and Environmental Design, Temple UniversityCo-Founder, Architect, UVXYZI

PANEL PORTRAIT

Panel 1: “Erasure”

Panel 2: “How can we fix this?”

CUT | FILL 2020, Book of Proceedings Volume 2 24

THE INVITATION

INVOLUNTARY EXCLUSIONINWARD FACING EGO

GENTRIFICATION RACIAL BIASCULTURAL APPROPRIATION

COMPENSATION ISSUESINEQUALITY

PREJUDICE BURNOUT

MICROAGGRESSION

AUTHENTIC ENGAGEMENT

ENVIRONMENTAL& SOCIAL

JUSTICE

PLACE KEEPING

INTERGENERATIONAL LEADERSHIP

WORK-LIFE BALANCE EQUITY DIVERSITY

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PANELISTS Justin Garrett MooreUrban Designer and Executive Director, NYC Public Design Commission

María Arquero de AlarcónDirector, Master of Urban Design Associate Professor of Architecture and Urban and Regional Planning, University of Michigan

Steven LewisUrban Design Principal, ZGF Architects

Tamika L. ButlerPrincipal and Founder, Tamika L� Butler Consulting

Ulysses VanceAssociate Professor Architecture and Environmental Design, Temple University, and Co-Founder, Architect, UVXYZI

Austin AllenPrincipal, DesignJones LLC and Associate Professor of Practice, School of Architecture, CAPPA, The University of Texas at Arlington

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PHOTOGRAPHY IN NETWORKWORKING ROOMS PROVIDED BYSahar Coston-Hardy

Sandra Nam Cioffi, PLACUT | FILL CreatorPrincipal Ink Landscape Architects, PLLC

Andrew SargeantCUT | FILL Organizing Partner Founding Member & Vice PresidentThe Urban Studio

Heidi Nobantu SaulCUT | FILL Open Space FacilitatorDesigner & Facilitator Open Space Technology

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