4 - Populist Movement 1 history (4).pptx

For me, Indonesia is the smell of kretek, the taste of tahu tempeh goreng, the 24/7
life, the becak and street vendors in the streets. In Jakarta only a few of these are
visible. The becak has already been banned from the inner-city because of the
association with underdevelopment and causes congestion and now also street
vendors are next.. Street vendors are often associated with traffic jams, pollution
and crime. Many news articles have been written about street vendors causing
congestion and how the city government reacts by removing and/or relocating
the street vendors often to off-street public market buildings: almost weekly they are
mentioned in the newspapers, related to relocation issues or riots. These relocation
processes do not always work out as planned and street vendors riot or return to
their old familiar spot. This triggered something in me.
I had to see this for myself and went to Jakarta for a period of three weeks. During
my stay I talked to street vendors but also to local people and tourists, not only
to find out their opinions on each other and the public space, but also to find out
underlying motives and thoughts. I went to visit several areas where street vendors
operate or operated until very recently. The government did their job clearing the
streets or in other cases started the relocation of street vendors to public market
buildings. This often did not work out and resulted in street vendors returning to the
streets or even violence. As a designer of space – and a food lover – this socio
spatial problem truly fascinates me and led me to write this thesis.
This master thesis ‘Integrating Jakarta’s Street Vendors Into Architecture’ is written
in the name of Delft University of Technology as a student of the architecture
department within the Explorelab 18 studio. In this studio I am able to explore my
fascination, not only my fascination with the highly interesting city of Jakarta, the
‘Indonesian culture’ and its people, but also to explore my role as an architect. This
research therefore consists of theoretical, but most of all empirical studies.
When I mentioned to my research mentor Gregory Bracken that I see my role as
an architect as a mediator, he replied the architect could very well be the catalyst.
According to the Cambridge dictionary a catalyst can be defined as ‘an event or
person that causes great change’. I hope in my life I will be able to contribute to
making the world a little bit betterefbejlfnwefewfnfewmifnewfnew;nfewfnefewfovendors in Jakarta, what is their background and how do they work?
How can street vendors best be facilitated? What can we learn from relocation
processes conducted by the city government? The street vendor and profiles of
other users will be set out in user stories. From this information ‘needs’ can be
defined.
Part III discusses the location of intervention: Sarinah. Located in the Central
Business district this department store was the firs

1. Populist Movement

2. What is the aim of design? Is design for public satisfaction or designer’s self esteem? brainstorming

3. Lecture contents Populism Participation

4. two popular prejudices about modernist practice John Thackara (1988) First it treats all spaces and all people in the same way , an approach perceived to be a threat to individual identity and local traditions Second it elevates expert judgment over everyday experience and learned tactic knowledge Introduction

5. Modernists separated the formality and social concerns “ these architects reject the very heterogeneity of our society that makes the social sciences relevant to architecture in the first place. As experts with ideals, who pay lip service to the social sciences, they build for Man rather than for men -this means, to suit themselves, to suit their own particular upper-middle class values, which they assign to all mankind”. Venturi International style was introduced claiming it was relevant for all though in fact it rejected a lot of dominant social patterns. Postmodernism: its philosophy is to acknowledge users and their “taste codes ’ Main aim was to recapture the social aspects in design Populism questions how the new roles and styles be related to the people who inhabit the built environment. Introduction

6. Populism the term belongs to the field of politics . based on the perceived interests of ordinary people as opposed to those of a privileged elite Focus or emphasis on the lives of ordinary people, for example, in the arts and politics Populist is someone, who is able to convey bond and hope, appealing on people’s feelings. turns to the average people, not to the elite Introduction

7. In its ultimate conclusions populism saw design as a direct outcome of the needs of the user, or as directly accountable to them only . The emergence of what Tzonis and Lefaivre named the populist movement was mainly fostered by a critique on functionalist theories and the normative approach of welfare state policies Alexander Tzonis , Greek-American architect is pioneer in populism in Architecture and Design Populism

8. ‘In the name of the people; The Populist Movement in Architecture’ Published by Alexander Tzonis and Liane Lefaivre in 1972 . Their argument bases on the distinction between Welfare State and the Populists. “ “… The Welfare State designer, whether a planner or an architect, was an ‘elite’ prejudiced by his own private theories against the taste of the ‘user’ …” Populists saw designers as a class; a class of experts who, because of a total occupational involvement with pure design or because of their own middle class origins, has developed a private way of looking at the manmade environment…” ( Tzonis and Lefaivre , 1972) The Welfare approach to design provides rational description to design but do not address the humanistic aspects of design Populism

9. Populist arguments: They are about the possibility to own and invest in one’s own house and about the freedom the owner may have to shape it to fit his or her individual needs and desires . It is not so much about architectural style , as it is about the freedom to live the way one wants and to design his or her own property. Populism

10. 1. A rchitecture for people T he adoption of vernacular structural forms by experts in the field. The one to be built reflects either the context the vernacular forms are supposed to have originated in or the taste in architectural forms and the general public's sensibility with respect to them. This process of convergence comes about in despotic fashion It can be seen as “architecture without – even though for – people”. 2. Architecture with people The exploration of possibilities to integrate the client or the public in the design process , and is thus one of an operative nature. Develop concepts together with future users 3. Anarchism People do what they want without the patronage of architects Dimensions of Populism in Architecture

11. Architects became subject to the conditions of the market economy and the accompanying worldwide tendency. Architects became subject towards privatization or the abolition of numerous governmental agencies and laws. Architects are asked to conform their construction projects and urban designs according to a populist market consensus . This means, that they have to try to achieve "what people want ," Populism and Architects

12. Can you design in a more direct way.. i.e . design with users in the concrete space, in stead of for users from the abstract spaces? How will you open up the design process to let users move into the abstract space to design the built environment that they are going to live or work in? Questions to Ponder….participation

13. “Participation” is an organized, and sometimes institutionalized, process by which the public communicates its needs and values to influence institutionalized power Typical goals include: influencing decisions made that affect large numbers of people, ensuring accountability from public officials solving conflicts, adjusting to social change, or engaging or modeling alternatives to institutional and social power relationships Participation

14. John Page , a British Design Scientist, who was the first Chairman of the Design Research Society from 1967 to 1969, presented a paper titled, “ Planning and Protest ”. He provided in a comprehensive and scientific way to understand user participation in design processes. Page started with a suggestion that the user participation discussion was about the separation of the world of designers and the world of users User participation

15. Jonathan Hill (2003) did doctoral study on “how architects conceive the user affects what they design and the relations between the user and the architects” he defined three types of users Passive Users and functionalism Reactive users and flexibility Creative users and death of the architect ? (self-build) (Lee, 2006) Participation---types of Users

16. The three purposes of participation elaborated by Sannoff (2000) To involve people in design decision-making processes and, as a result, increase their trust and confidence in organization, making it more likely that they will accept decisions and plans and work within the established systems when seeking solutions. To provide people with a voice in design and decision making in order to improve planning decisions and service delivery To promote a sense of community by bringing people together who share common goals. If people are to feel a sense of belonging to the world in which they live, an involvement in the spaces they inhabit is a good starting point. (Jones, 2005) Participation….purposes

17. The three phases – discovery of needs, formulation of hypotheses, and actual use – not only follow sequentially but also have a cyclical relationship. Each phase, though, has its specific character, and the possibility of relationships being consequent and well-correlated depends on the ways in which each is carried out. Participation…phases

18. User centered design … instead of developing design methods and an understanding of designing in the abstract world (world of designs) like design scientists, they focus on the application of design in the concrete world (world of people) i.e. from the point of view of use of design ( Tzonis and Lefaivre , 1972) The central premise of user-centered design is that the best- designed products and services result from understanding the needs of the people who will use them. User centered designers engage actively with end-users to gather insights that drive design from the earliest stages of product and service development, right through the design process User participation

19. Participatory design is an organized process by which non-experts- users, residents, visitors, or stakeholders- work with planning and design experts to construct open space into valuable places. Participatory planning and design is also called public involvement, citizen engagement, citizen participation, collaborative decision-making, or facilitated problem solving (The International Association for Public Participation 2010) It can be creatively design-oriented , technically-oriented , or management and policy-oriented . It has the potential to help both leaders, experts, and users understand a place, engage across differences, and design innovative, effective changes (McKee and Nobre 2009). Participatory Design

20. It refers to a design process where different stake-holders, in some way, are involved in the design process to improve either the design process itself or the outcome of the design process. Participatory Design

21. The next step in the evolution of participatory design is collection of knowledge. The first stage of mistrust and fighting for power had then developed into a mutual insight that the users have important knowledge that, from the user’s side, could be a better tool to influence the process than bargaining and procedures and from the employer’s side, that this knowledge could increase the quality of the final product. Participatory Design

22. “power-oriented” to more “knowledge-oriented” processes. In its out come there is a shift from an “ object-oriented ” to a more “ process-oriented ” view. Simultaneously we can discern a global movement from " producer orientation " towards " customer orientation " Participatory Design

23. Ladder of Citizen Participation Nonparticipation - their real objective is not to enable people to participate in planning or conducting programmes but to enable powerholders to educate or cure the participants Tokenism - when they are proffered by powerholders as the total extent of participation, citizens may indeed hear and be heard. But under these conditions they lack the power to insure that their views will be headed by the powerful Citizen Power- level of citizen power with increasing degrees of decision-making clout

24. Michael Shamiyeh , DOM Research Laboratory-What People Want_ Populism in Architecture and Design - Birkhäuser Basel (2005 ) Alexander Tzonis , Liane Lefaivre -Architecture in Europe since 1968 _ memory and invention -Thames and Hudson (1992) Blundell Jones- Architecture and Participation (2005 ) S . Arnstein , ‘ The ladder of citizen participation ’, Journal of the Institute of American Planners, 34, no.4, 1969, Yanki Lee, Design Participation Tatics - involving people: involving people in the design of their built environment (2006)- C. Thomas Mitchell, Redefining Design; From Form to Experience (1993) References