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1EXPERIMENTAL LEARNING / PUBLIC REALM AS LABORATORY
Experimental Learning / Public Realm as Laboratory
Arthur Acheson & Marianne O’Kane Boal
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Abstract
This paper focuses on the area of Practice: Advancing New Tools and Models for Public
Space and Placemaking, and also makes reference to the sub-themes of; Emerging tools and
toolkits, Placemaking in small towns and rural settings. In Northern Ireland over the past two
years, we have witnessed the power of ‘civic stewardship’ and ‘action learning’ as a means of
activating underused spaces. There is remarkable potential for experimental learning and
reinforcing the concept of the urban realm as an ideas laboratory. Through experiential
activity we have observed that it is social activity more than aspects of infrastructure that
enliven public space. Connectivity, relationship building and facilitation are the crucial
ingredients for enabling community engagement. Despite street furniture and infrastructure,
an unoccupied empty space, regardless of its aesthetics is greatly limited until activated by
human input. It is not enough to install interactive elements in the public realm, this must be
supported by demonstration and people as activation agents, to show what can be done with
familiar spaces, to encourage us to look again and engage with the overlooked.
To support the argument are three case studies (one relatively macro and two micro); ‘Civic
stewardship through MAG with 22 District Councils in Northern Ireland,’ the award winning
‘Creative Citizens Programme in Ballymena & the Debate Pod,’ and the ‘Yeats International
Architecture Competition in Sligo 2015.’ Through these examples the paper examines the
potential of study visits and action learning in the public sector, power of community arts; a
multi-faceted four month programme in a small borough and a competition for a light touch
temporary intervention on Innisfree Island to be reconfigured for a permanent location at a
third level college. In all cases there are passionate communities of interest who are either
driving, or supporting the longevity of these initiatives to enable a broader reach of a
successful concept.
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Experimental Learning / Public Realm as Laboratory
These case studies examine three very different contexts with contrasting challenges and
opportunities – Northern Ireland, a town and an island. There are ownership and
responsibility issues in the various settings. It can be a process of gentle negotiation to
achieve a balance between council ownership and community need. What has to happen
before community activation of spaces in the public realm? How many local authorities are
happy to share spaces and experiment with their citizens? Stewardship is a simple concept but
it can be difficult for some to understand. It takes a degree of courage, foresight and a
particular perspective on the public realm as shared space in its fullest sense to allow
experimental learning and the establishment of the public realm as learning laboratory.
Through these three examples the paper examines the potential of study visits and action
learning in the public sector, the power of community arts and a competition for a light touch
temporary intervention on Innisfree Island to be reconfigured for a permanent location at a
third level college. In all cases there are passionate communities of interest who are either
driving, or supporting the longevity of these initiatives and enabling a broader reach of a
successful concept.
Civic stewardship through MAG with 22 District Councils in Northern Ireland
L-R Action Learning in Omagh, October 2013 with winter vegetables planted by passers-by. Omagh Academy Students Samba Drumming
with SRC Photography students in background
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Northern Ireland has a population of 1,810,863 according to the 2011 census and this
constitutes around 30% of the island of Ireland’s total population. Until April 2015, Northern
Ireland was divided into 26 district councils. Following the Review of Public Administration
it is now comprised of amalgamated local authorities; 11 councils (comprising 460 wards).
Prior to the Review of Public Administration the Minister for the Arts, Carál Ní Chuilín
invited the Ministerial Advisory Group for Architecture and the Built Environment (MAG) to
invite all district councils to engage with the concept of civic stewardship to enliven public
realm in each council area. Of the 26 councils invited, 22 took the opportunity to welcome
MAG’s involvement. Each district council received an initial study visit where the principles
of civic stewardship were outlined by MAG representatives and a walking tour of the public
realm was conducted to look at potential areas for action learning.
‘The study of space opens up multiple discourse, we can no longer think in a
traditional way about the different roles each protagonist plays in creating and
experiencing the public realm.’ (O’Kane Boal, 2007, p.15) Nathalie Weadick,
Director of the Irish Architecture Foundation.
Over the past two years, we have witnessed the power of ‘civic stewardship’ and ‘action
learning’ as a means of activating underused spaces. There is remarkable potential for
experimental learning and reinforcing the concept of the urban realm as an ideas laboratory.
Through experiential activity we have observed that it is social activity more than aspects of
infrastructure that enliven public space. Connectivity, relationship building and facilitation
are the crucial ingredients for enabling community engagement. Despite street furniture and
infrastructure, an unoccupied empty space, regardless of its aesthetics is greatly limited until
activated by human input. It is not enough to install interactive elements in the public realm,
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this must be supported by demonstration and people as activation agents, to show what can be
done with familiar spaces, to encourage us to look again and engage with the overlooked.
William Snyder defines ‘stewardship’ in his paper, Systematic Civic Stewardship (SCS) for
Societal Renewal (2011)
The term stewardship refers to the commitment to take on an issue of significance to
oneself and others. It is a discipline of active caring—tending to something that
matters on behalf of a broader community. It is oriented to both delivering outcomes
and building capacity. Stewardship entails three fundamental processes:
Learning Addressing complex challenges for which no ready-made solutions exist is
in essence a learning challenge. "Action-learning" combines thinking and doing; it
involves identifying gaps, problem-solving, taking actions, and learning from
experience.
Connecting Stewardship of a collective challenge depends on connecting those who
can contribute to defining and addressing it. The process entails building
relationships, trust, and collaborative capacity among diverse stakeholders.
Aligning Translating stewardship into action requires enough alignment among
stakeholders to engage their energies productively toward a shared vision that respects
both their diversity and the urgency of the goal. Aligning fosters learning and
collaboration among civic players (as individuals and as organizations at various
levels), both within and across localities.
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All three processes are essential to effective stewardship; without one, the other two
will go astray or simply fail…Their interdependence makes stewardship both difficult
and catalytic.
In Northern Ireland the Ministerial Advisory Group has spent two years working on ‘Civic
Stewardship’ informed by its definition (Acheson, 2013, p.8).
Civic stewardship has been defined by the Social Capital Group in Cambridge,
Massachusetts as “active caring for people and places”. Civic stewardship is not
design, but it can be designed and can also inform design. It is purposeful, but does
not need to wait for big plans or big projects; it can begin anytime and keep going
sustainably. Civic stewardship can inform plans and projects while improving
people’s quality of life as soon as it starts.
When we read the attributes of ‘placemaking’ as it is defined by Project for Public Spaces in
New York, it is important to note that place in terms of the public realm is defined by people
and not buildings and infrastructure. It is stated that ‘placemaking is; community-driven,
visionary, function before form, adaptable, inclusive, focused on creating destinations,
flexible, culturally aware, dynamic, trans-disciplinary, context-led, transformative, inspiring,
collaborative, sociable.’ Placemaking transforms place from a passive concept to an active
realm. For PPS, place is personified, it is active, an agent of change and influence. It is for its
citizens and enlivened by them. Without people as creative agents within a given place, it is a
non-place, an empty space, a negative zone. (PPS website, What is placemaking)
In terms of tools for ‘action learning’ in Northern Ireland, MAG employed a range of planned
and unplanned activities that grew out of the study visits in each district council. Council
officials and MAG representatives were encouraged to lead by example in demonstrating the
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concept of shared space in the public realm. Blackboards were created in towns to feature
events and activities – freestanding or a long painted wall. Hours were spent in underused
spaces engaging with passers-by and asking what they would like to see in their town. Street
games were tested. Planned activities were arranged – an urban photography project with a
nearby college, organic gardening and planting of winter vegetables. Pedestrians were invited
to engage and the majority had never planted anything before. A local school activated
various spaces through samba drumming. One of the key lessons MAG learned was that
people like to feel welcome in their public realm and the simplest gesture of having a place to
sit for as long as desired was missing. MAG brought a table and chairs to study visits to
engender this sense of welcome and the impact of having a place to sit was remarkable.
People felt inclined to engage with the process and enjoyed the sociability factor. This could
almost be seen as the first rule of engagement in civic stewardship and it is universal in
placemaking practice at this stage.
It all started with the chairs. By simply placing some movable furniture in Harvard
Yard in 2009, the University took the first steps in what would eventually become a
long-term activation of its outdoor campus space. With just this small, temporary act
of placemaking, the change was dramatic and immediate. (PPS, 22 Mar 2015)
The idea of a revolution in placemaking and public realm activation beginning with
temporary placement of chairs is somewhat remarkable but this is the essence behind the
Harvard concept of ‘lighter, quicker, cheaper,’ and urban experimentation. It is effective
because it is subtle, inviting and unexpected. There are positive associations and connotations
with placing chairs; a temporary device it can be taken away when desired, an invitation to a
pedestrian to rest spontaneously and unexpectedly in an outdoor setting, a civic picnic where
a passer-by can sit to eat lunch, a symbol of shared ownership of public realm in a seat
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available to any citizen. It is also delightful in that it becomes a natural curiosity prompt. Just
as in Lewis Carroll’s Alice’s Adventures in Wonderland allowing the protagonist’s
engagement with her surroundings prompted by messages in her dreamscape, Alice’s ‘eat
me’ and ‘drink me’ becomes ‘sit on me’ and the chair is personified as a welcome friend in
the public realm. As we walk around our towns and cities the casually placed chair is
refreshing and it arouses our curiosity but also makes us smile. It is only through engaging in
the practice of civic stewardship and observing the interaction of people that the power of this
one prompt can be fully appreciated.
Following a day of action learning in Omagh County Tyrone, Feargal Harron, MAG Expert
Advisor commented on the simplicity of this device of civic stewardship
‘…as an architect and knowing the wider context I was amazed by the potential of
simple intervention of an activity into an existing space that was under-utilised. I was
very impressed by the simple beauty of what a chair can do! Both in providing
comfort to somebody who wants to use that space but also how it makes that person
look from onlookers. It has totally changed my opinion on the potential of street
furniture and the flexibility of what that can do. There areas don’t need so much
strategic infrastructure projects to regenerate them, but a little thought on their actual
use.’ (Acheson, 2013, p.4).
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Creative Citizens Programme in Ballymena and the Debate Pod
L-R Debate Pod Discussion, Ecos Park, March 2014. ‘Exploration IV’ by Donnacha Cahill outside school in Ballymena. Presence
unexplained to students.
Ballymena is a large town in County Antrim with a population of 29,467 people. The
borough has an area of 200 square miles and a population of 64,044 according to the 2011
census. It is in this context that the Creative Citizens Programme has been established and is
now in its second year of delivery. Ballymena Borough Council engaged creatively and
wholeheartedly with the Ministerial Advisory Group on civic stewardship in 2013 and from
this experience the Ballymena Blackboard was created; an award winning noticeboard
concept that has a strong social network presence.
The programme is themed directly from the results of a call out to local people in the
Borough of Ballymena to demonstrate their creativity. Each year there are over 150 events
and over 50 local groups participating. The programme runs for 4 months from March to June
each year. 11 partners are involved ranging from the Department of Culture Arts and Leisure
to British Film Institute. The principal partner is Voluntary Arts Ireland. In terms of festival
duration, at four months, it is the longest running programme in Ireland. It is also one of the
largest and unique in that its programme is informed directly by the local citizens and
delivered under the supervision of a three person Arts and Events Service team. This
demonstrates the potential of civic stewardship and arts programming when led by, and
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informed by its local citizens. The Programme was awarded the first All-Ireland Carnegie
Trust Award 2014 for Arts, Design & Well-being. (Lowry, 2014)
Jenny Brotchie, Project Officer, the Carnegie Trust (Dec 2014) described the success of the
Creative Citizens Programme and its relevance to the borough.
Shutters Up Night followed the success of the Ballymena Arts Partnership Creative
Citizen’s Programme, an arts festival that turns the spotlight on local citizens and the
town of Ballymena. Rather than bringing artists and performers from outside in to
Ballymena – the programming was instead designed by the local community. The
programme intentionally spilled out into the town centre – sculptures popped up in
unusual places, a debate pod appeared in a local park and a harpist performed in the
high street barbers. Creative Citizens and Shutters Up Night grabbed national
headlines, bringing positive attention to the borough and encouraging new groups of
citizens to come forward and take part in the cultural life of Ballymena. (Brotchie,
p.6).
From the Carnegie Trust Award and report, case studies were written up on the five winning projects.
In concluding this document five key lessons learned were detailed and five
recommendations for public policymakers were outlined.1 Similar to Project for Public
1 Five recommendations for public policymakers:
* Recognise the importance of high quality public spaces in national and local performance frameworks
* Make it easier for communities to access funding
* Put quality public spaces at the centre of town centre regeneration
* Be creative and just say ‘yes’ – local government empowering citizens
* Recognise public space improvement as a central component to a preventative approach to health inequalities and wider inequalities
Brotchie, J. (2014, Dec, p.11). Places that love people – learning from the Carnegie prize for design and wellbeing.
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Spaces in New York the personification of place is inherent in the report’s title ‘Places love
People.’
As part of the Creative Citizens Programme, a number of town centre interventions were
curated by Marianne O’Kane Boal. These include an audience development concept design
and response to the Braid Town Hall Arts Centre by Culturstruction, a nomadic sculptural
experiment created by Donnacha Cahill entitled ‘Exploration IV’ that saw an unexplained
sculpture turning up in unlikely places in and around the town of Ballymena and a Debate
Pod, intended as a space where artists and architects would come together to discuss ideas,
brainstorm ideas and consider solutions for mapping and connecting towns and communities.
For five days, from 18th-22nd March 2014, the Debate Pod featured scheduled discussions
that were invigilated/photographed/filmed. Individuals were interviewed and also interviews
were conducted collectively in groups of 2-6 participants discusing ideas and thoughts on
participation, rural and urban development, environmental awareness, fitness, architecture,
art, public art, community awareness, civic stewardship, and consultation. Another important
aspect of the Pod were the people who came in to engage out of interest and were interviewed
or listened to discussions in progress. The Debate Pod was strategically located on the
grounds of the Ecos Centre in Ballymena and some discussions centred around connecting
Ecos more visibly to the town centre. This project was delivered as part of Creativity Month
and was funded by DCAL in partnership with Arts and Business Northern Ireland and
Ballymena Borough Council.
Participants during the week included artists, architects, arts officers, arts administrators,
curators, environmental workers, community leaders from the local Ballymena area, Northern
Ireland and the Republic of Ireland; Ciaran Mackel, Nuala ní Fhlathúin, Marianne O’Kane
Boal, Sarah Villiers, Brian Connolly, Eddie O’Kane, Jayne Clarke, Annette Hennessy, Arthur
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Acheson, Ralf Sander, Grazyna Sander, Adrian O’Connell, Fiona Mulholland, Rosalind
Lowry, Hannah Gibson, Greg Winning, Ben Simon, Conal Stewart, Donnacha Cahill,
Jennifer McLernon, Alastair Keys, Susanna Allen, Neil Quinn, John Byrne, Jane Burnside
and Paul Bell.
The Debate Pod concept was developed in 2013 before the release of the Farrell Review2 but
it ties in thematically with the concept of the ‘urban room.’ The first urban room, a
recommendation of the Farrell Review, opened in Blackburn in October 2014 to host debates,
exhibitions and workshops. Max Farrell outlined Blackburn’s intention in creating an urban
room; ‘The town is leading the way by creating a hub where people can visit to understand
and debate the past, present and future of their place. They are all led by different people
from different walks of life. The urban rooms are about urban activism – about engaging
people with the planning of their cities.’ The Debate Pod also engaged local citizens in
discussion of their town, community and challenges of planning.
Placemaking in a rural setting
Chupin, Cucuzzella and Helal, (2015) have written about the emergence of architecture
competitions, crediting the French Revolution as the time when this practice was formalised.
...the history of this competitive practice still needs to be written properly. Some of
the more knowledgeable amongst the proponents of competitions will evoke a
timeless practice in terms of transparency and equity, while others will pinpoint the
origins of this practice with the holding of mythical competitions like the one for the
reconstruction of the Parthenon in ancient Greece or, more symbolically for the
building of Architecture as an autonomous discipline, the famous competition for the
‘solving’ of the Florence’s Dome in the mid-15th Century, brilliantly won by Filippo
2 http://www.farrellreview.co.uk/
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Brunelleschi. More sceptical commentators could trace back a legendary origin of
modern competitions to the infamous co-optation practices of the late 20th Century
Ecole des Beaux-Arts, using this link to prove the obsolescence of competitions in
supposedly transparent educational contexts. All these standpoints remain partial
views. In fact, despite a handful of notable ancient competitions, organised sometimes
at the initiative of a prince, at other times controlled by the Academies – or both as
was the case for the façade of the Louvre under the regime of Louis XIV – it would be
more accurate to historically link the beginning of the contemporary political and
democratic use of competitions to the concerns in the wake of the French Revolution,
as ‘public order’ becomes a matter of ‘public welfare. (p.12).
Following this initial emergence, during the nineteenth century in England and Ireland, there
were over 2500 competitions in a 50 year period. The Institute of British Architects drafted a
set of competition rules in 1839 and formalised regulations in 1872. (Cees and Mattie, 1997)
Competitions have been an important means of procurement since the nineteenth century
with a range of landmark buildings commissioned. These include; Houses of Parliament,
London, 1835 by Charles Barry; Centre Georges Pompidou, Paris, 1971 by Renzo Piano and
Richard Rogers; Tokyo International Forum, Tokyo, 1987 by Rafael Vinoly and Jewish
Museum, Berlin 1989. Competitions continue to hold importance in architecture. In France
design competitions are compulsory for all public buildings exceeding a certain cost. It is the
only country in Europe that has regulations that make competitions a pre-requisite.
(Cabanieu, 1994) Through competition submissions architects can test concepts and ideas
often in unfamiliar contexts. The Yeats Architecture Competition has provided precisely this
challenge and invited architects and collaborators to consider concepts that respond initially
to a rural island setting on Lough Gill, County Sligo but were the built intervention will be
ultimately relocated to very different place – a third level college, IT Sligo in September.
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Innisfree Island photograph by Marianne O’Kane Boal
The Yeats Architecture Competition is part of the Yeats2015 celebrations - a year-long
program of cultural and artistic events to celebrate the 150th anniversary of the birth of Irish
Nobel prize-winning poet William Butler Yeats. In January 2015, conceptual interpretations
were invited of William Butler Yeats’ famous poem ‘The Lake isle of Innisfree’. The
competition was conceived by the Institute of Technology Sligo Architectural Design
Programme team, in partnership with the Model Sligo, Yeats 2015, Hazelwood Demesne Ltd
and Sligo County Council. The response to an open call for submissions produced remarkable
results. There were over 400 initial registrations from 33 countries and 165 final complete
proposals submitted. The competition had two categories, a main award to design an
intervention for Innisfree Island and a student prize for the best conceptual response to the
context. Selected competition entries from the Yeats Architecture Competition will be on
display as part of a special exhibition in the Model, Sligo during September and October
2015.
In his Assessors Report (2015), Professor Michael McGarry described the challenge of the
competition.
The competition presented something of a paradox or perhaps an inspired dilemma,
the addition of an artefact to an imagined island. In truth, the assessors approached
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their task with some trepidation, heightened by their visit to the island, and the
lingering sense of the fragility of the place both on the lake and more importantly in
our collective imagination. Yeats' interest was the condition, atmosphere, location of
the island rather than its actuality; whether he ever visited Innisfree is neither
established nor that relevant, such is the essence of poetry. Added to this conundrum
was the inaccessibility of the island to all but a small minority of entrants;
wonderfully, the imagined exists as its own and our shared reality.
Into this imagined condition, the prospect of nailing the actuality of the place and its
poetry with a built artefact becomes highly charged, requiring a cool clarity of
purpose and a rare and deft sensibility. The range of responses was wide, ranging
from the allegorical and narrative driven, those focused on the place and its
(imagined) tactility, to the more formal where the intrinsic value of the addition would
release meaning. The assessors were delighted by both the sincerity and the
sophistication of the responses, most appreciative of the enormous endeavour
involved, and tellingly reminded of the depth of meaning provoked by Yeats and his
adopted landscape; particularly encouraging was the calibre of the entries in the
student category.
‘Square Moon’ winning design in Yeats Architecture Competition by shindesignworks
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An Anglo-Korean design concept entitled ‘Square Moon’ was selected as the overall winner
of the Yeats Architecture Competition. The winning concept was submitted by
shindesignworks - a design team based in London and Daegu, South Korea. Their
submission, which is an aluminium-scaled frame and uses luminous lantern light, impressed
the independent judging panel for its clarity and simplicity. The overall winning design was
temporarily installed along the jetty area Innisfree Island on Lough Gill for Yeats Day, June
13th 2015, as a realisation of Yeats’ vision. This temporary installation will also coincide with
a series of special events at the Model in Sligo. The structure will then be moved to its
permanent home - on the campus of IT Sligo.
In terms of placemaking and activation of this rural setting, ‘Square Moon,’ is located on the
edge of the island and signals its presence as a beacon or portal for visitors. It is intended as a
meeting place and people are encouraged to interact with the intervention and to utilize it as a
creative backdrop. By day its portal-like profile frames the landscape of Innisfree and creates
an area for activities such as poetry reading and play. By night, the structure becomes a
lantern for shadow play. The small footprint of the structure means it has a minimal impact
on the existing ecology of the island and it leaves no trace on departure.
Student Category winner Zita Fodor, Nóra Ferenczi and Éva Baráth, from Budapest University of Technology and Economics in Hungary
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The student category award was won by Zita Fodor, Nóra Ferenczi and Éva Baráth, from
Budapest University of Technology and Economics in Hungary. The designers stated in this
conceptual proposal,
The monument is raised above the water, emphasizing its lightness. It rises above the
water and it never overflows. At night, the form of the perfect circle shines with lights
that work with solar cells. The writing on the bottom of the construction reads:
William Butler Yeats (1865-1939) who longed for this island.
Within the Assessor’s Report (2015), this submission was described as ‘a most elegant spatial
gesture taking advantage of the particularity of the island's outline to inscribe a space
occupied by water; a most sophisticated cool proposal shrewdly calibrated.’
Although this rural context is not the typical realm for stewardship, it is a context that can be
adapted to and from experiential learning. As a special area of conservation and a culturally
important island; due to the literary focus of Yeats, Innisfree provided the canvas to explore
ideas of a light touch, temporary intervention with an environmentally sensitive approach that
is respectful to the flora and fauna of the environs. The level of interest and engagement on
the part of competition entrants with the concept and the site was remarkable. The panel of
six adjudicators assessed the entries in March and a winner was selected for both main award
and student prize. There were four submissions commended/highly commended in each
category. The competition was managed by a team of four; project manager and three
architects from IT Sligo Architectural Design Program. In terms of toolkit, the detailed
competition brief provided context and requirements, competition website provided imagery
and site plan, site visit was offered to entrants, entries were submitted on two A1 boards,
models were optional but welcomed and the intention was that the selected intervention
would be a gift back to Yeats on his 150th birthday. In terms of lessons learned, it is felt that
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an interview stage for a range of shortlisted candidates would be helpful to inform selection
of a final winning design for delivery.
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References
Acheson, A. (2013, Nov). MAG civic stewardship…doing more with what we’ve got. Interim Report.
Retrieved from http://www.dcalni.gov.uk/civic_stewardship_symposium_-_interim_report_-
_final.pdf
Acheson, A. (2014, Oct). MAG civic stewardship…doing more with what we’ve got. Report and
recommendations 2013-2014. Retrieved from www.dcalni.gov.uk/civic_stewardship_-
_final_report.pdf
Brotchie, J. (2014, Dec). Places that love people – learning from the Carnegie prize for
design and wellbeing. ISBN 978-1-909447-26-4
Chupin, J.P., Cucuzzella, C. & Helal, B. (2015) Architecture Competitions and the
Production of Culture, Quality and Knowledge: An International Inquiry.
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Lowry, R. (2014, July). Creative Citizens Factfile. Information document sent by email to authors.
McGarry, M. (2015, Mar). Assessor’s Report. Sent by email to authors
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MA. Note on Revisions March 2013. www.CivicStewardship.com
PPS. (22 Mar 2015) Harvard's Lighter, Quicker, Cheaper Revolution. Placemaking News,
E-newsletter.
Mark, L. (23 Sept 2014). First Farrell Review-inspired 'urban room' set to open. Architects Journal.
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http://www.pps.org/reference/what is placemaking/