Articoli di riviste sul tema "University of Melbourne. Faculty of Architecture, Building, and Planning"

To fulfill their engagement agendas many schools of architecture step from the academy into the ‘real’ world and work with ‘real’ clients. These types of projects have been described as ‘live’ projects and a subsection of these can be described within the ‘design/build’ format as they work towards the production of a built outcome. Reflecting on these projects gives participating schools the confidence to continue their own initiatives and helps strengthen the value of the built outcomes within specific context locations and within participant communities. This paper reflects on the Bower Sala project that took place in 2008 as a joint initiative between Faculty of Architecture and Planning, Thammasat University, Thailand and the Bower Studio team from Faculty of Architecture Building and Planning, the University of Melbourne, Australia working with partners not-for-profit Population and Community Development Association (PDA) and the Nong Tong Lim community in Buriram province in the ‘Isaan’ region of Thailand. A team of architecture, landscape architecture and construction students prefabricated and erected a pavilion, literally sala in Thai, in the grounds of the community clinic. This sala had a dual purpose by providing a place for people to wait to visit the clinic and as a place for occasional community gatherings. People from within the community contributed during the on-site construction phase lasting a further four days. Carefully revisiting the Bower Sala project in 2015 helps to see the dynamics of the sala’s usage by the community residents by reviewing the modifications undertaken in the intervening years. Interviews and physical trace analysis assist to identify residents’ modification to the sala. These types of changes are to be expected within the live project model and reflect the changing needs and aspirations of the participant communities. The paper re-establishes the value of cooperative, multidisciplinary and multicultural learning mixing the expertise and values of various stakeholders to work to a built outcome. Reaffirming the capacity of student teams to engage positively with both cultural and technical matters the paper goes on to demonstrate how reflection and reaction of projects of this scale can be a catalyst for on-going and deeper work within marginalized communities concentrating on links between technologies and specific cultural norms. The paper assists in setting improved frameworks for subsequent larger initiatives utilizing the ‘live project’ format as an innovative pedagogy for community-based design project.

<p>Architecture in permanent transformation is the starting point of this article, focused on the interaction between material and social aspects of a case study on modern Mexican housing, observing the building’s life in relation to its inhabitants. The Multifamily Apartment Building for Teachers (Multifamiliar para maestros), a faculty housing building at the UNAM campus, is a mid-twentieth-century experimental housing project, developed at the beginning of Mexico City´s densification. Today it is registered in UNESCO’s World Heritage Sites. The case study sheds some important insights into the transformations of a spatial modern utopia facing inhabitants' needs. Numerous differences were detected between the original idea behind the building’s architecture and the reality of its users today, revealing not only the ambiguous nature of the building but also problems derived from the country’s accelerated modernization. The results show contrasting approaches of the intermediate space between the building’s conception, and the constant process of becoming a home, where the scope of its habitability is negotiated. </p>

This paper looks at the way architecture students at Queen’s University are educated in the art of information retrieval from their undergraduate to their postgraduate years. Particular emphasis is paid to the role the librarian plays in the first year project to research, and produce a model of, a seminal building and to the development of PADDI (Planning Architecture Design Database Ireland) as a teaching tool for researching local architecture. The impact on library management is examined in relation to effective deployment of decreasing staff resources in the face of increasing student numbers; the raising of the profile of library staff within the Faculty; the more focused allocation of budgets through involvement with course planning; and the growth of new services, arising from an improved awareness of student needs.

Higher education building (HEB) is believed to be key functional. It spawns not only environment, but also human and economic resources. Initially, growing students’ population with various learning activities has constituted risk emergence, inefficient of energy use and climate discomfort. Thus, it decreases the yearly total performance of the building. To sustain the building efficiency, Building Performance Evaluation (BPE) plays a vital role to improve performance issues in HEB. Hence, this paper explores the significance of users’ feedback as the concept of building performance. This paper also describes literatures on the HEB’s background including risk factors and performance issues. eISSN 2514-751X © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/aje-bs.v3i10.312

The purpose of this study was to examine faculty and student satisfaction with classrooms in a university teaching facility in the Midwest, U.S.A. The two-story, 95,000 square foot (79,429.5 square meter) building cost 13.5 million dollars to build and was dedicated for use by the entire campus with no college or department given permanent classroom space. The facility's classrooms were designed to incorporate state-of-the-art communications technology including television monitors, DVD and video cassette recorders, overhead projectors and slide projectors, video presenters, and hook-ups for computers and CD, tape and other audio equipment. A post-occupancy evaluation (POE) survey of 125 faculty and 5,048 students using the facility indicated that the majority of faculty and students were satisfied with the classrooms (overall satisfaction: faculty, 65.3%F students 73.0%). However, problems were cited including: difficulty in using equipment, uncomfortable room temperatures and seating, and a sterile environment (all but three classrooms are windowless).

Education for sustainable development (ESD) is one of the great challenges that university faculties have to face. Therefore, a multidisciplinary team from the faculty of Engineering of Gipuzkoa (EIG) at the University of the Basque Country (UPV/EHU) has developed pedagogical approaches to apply in construction degrees, namely Civil Engineering and Technical Architecture. Pedagogical tools, such as problem-based learning (PBL) or research-based learning (RBL), and environmental tools, such as the life cycle assessment (LCA) and computational thinking (CT), have been used; in doing so, they acquire a sustainable approach to work “soft-skills” competencies into sustainability. For example, research-based tools have helped to revalorize waste both outside and inside the university; they have contributed to more sustainable industrial processes, collaborative research projects, and participation in conferences and scientific publications. Based on academic results, the designed tools are appropriate for teaching in Technical Architecture and Civil Engineering degrees; however, to demonstrate their potential in terms of sustainable education, holistic rubrics based on in-depth quantitative educational research are required. Thus, to analyze the ability of the students to incorporate sustainability principles in their work, the multidisciplinary team presenting this paper plans to collaborate with psychologists and sociologists within the framework of the Bizia-Lab program of the UPV/EHU.

Strategies to enable alternative urban food systems cannot be developed alone by those involved with the production and distribution aspects of food systems. It is important for architects, landscape designers and planners to be part of the process of conceiving and implementing innovative food-system thinking. Environmentally focused building standards and models for sustainable communities can easily incorporate farmers' markets, greenhouses, edible landscapes, permeable paving, green roofs, community gardens, and permaculture and other food-related strategies that complement energy generation and conservation, green roofs, living walls, and other approaches that have been more commonly part of sustainable built-environment initiatives. Recently, architecture faculty and students at Ryerson University in Toronto and at a number of other universities have been exploring the intersection of these disciplines and interests. This paper will show how Ryerson tackled agricultural and food issues as design challenges in projects that included first-year community investigations, student-run design competitions, third-year studio projects and complex final-year thesis projects. These projects that dealt with food issues proved to be excellent entry points for addressing a range of design challenges including social inclusion, cultural context, community design and sustainable building practices.

As defined by the World Health Organization, interprofessional practice is the “collaborative practice that happens when multiple health workers from different professional backgrounds work together with patients, families, carers, and communities to deliver the highest quality of care across settings” (World Health Organization, 2010, p. 7). Interprofessional collaborative practice is increasingly recognized as a means of best practice in the field of social work. Growing in momentum, interprofessional collaboration fosters an environment for a variety of professionals to learn from one another and gain greater insight, technique, and perspective on the identified objective. This article presents a case study of the experiences of faculty and graduate students at the University of Oklahoma in the respective fields of social work and regional and city planning as they partnered with the Oklahoma Housing Finance Agency to conduct a mixed-methods evaluation of housing resources, which included online surveys, focus groups with service providers, community stakeholders, and persons with lived experience of homelessness and/or housing instability. The findings indicate several key themes of the interprofessional collaboration between social work and regional and city planning: 1) reward of partnership, 2) city structures of homelessness, and 3) the multi-contextual factors impacting homelessness. The results suggest that by working with differing professions, faculty and students gained greater experience and opportunity, expanding their scope on modalities, assessment methodologies, analyzation techniques, and additional expertise on large-scale community intervention tactics. These findings have implications for future interprofessional partnerships that could foster dynamic community-level interventions and improvements.

AbstractThe development in (Dutch) building practice necessitates developments in other aspects, besides specialized and professional skills, a new integral approach in education and the introduction of such an approach into building design practice. In 2005, the Faculty of Architecture, Building, and Planning of the University of Technology Eindhoven commenced a multidisciplinary master project on integral design focused on a sustainable climatic design. Students of architecture, building technology, structural engineering, and building services participated in these multidisciplinary master projects. The students began with a 2-day learning-by-practice workshop that was implemented and tested in collaboration with experienced professionals from the Royal Institute of Dutch Architects and the Dutch Association of Consulting Engineers. These workshops have become part of the permanent educational and professional program of the Royal Institute of Dutch Architects. This is one of the few projects in which the practical experience is transferred into the educational academic program and vice versa; normally this process functions only in one of the two directions. The theoretical basis of the design method on which the education of students and professionals is based is discussed and results presented.

Energy refurbishment of school buildings is a priority regarding both energy consumption in buildings and improving comfort conditions for sensitive young occupants. During 2016–18, a group of teachers and associates from the Faculty of Architecture, Mechanical Engineering, and Electrical Engineering from the University in Belgrade participated in the project “Energy efficiency in public buildings” in cooperation with GIZ (Deutsche Gesellschaft für Internationale Zusammenarbeit), University of Belgrade, Faculty of Architecture and Ministry of Mining and Energy of the Republic of Serbia. During 2016 and 2017, a comprehensive survey and database of public buildings were conducted by the local community. The focus of the research was the facilities of children’s institutions, and detailed data were collected to determine the current building stock conditions, energy consumption, and possible improvements. This paper presents the methodology of the project based on defining the typology of buildings, determining the representatives of the characteristic periods of construction, and analyzing their energy performance. Five possible scenarios were considered: designed condition, existing state, and three levels of a building improvement. The main goal of this project was to ascertain the entire fund for school buildings, indicate the potential for energy savings of this type of public building at the national level, and use this as a starting point for developing strategic decisions and further energy efficiency policies. This paper presents the complete results of the research on school buildings in Serbia, their energy performance, and possible energy savings. Key findings show that a great majority of schools are in a poor state in terms of their energy efficiency, but at the same time, there is a large potential for improvement of building envelope, HVAC, and lighting systems, which can cut the current energy need for heating to up to 80%.

&lt;p class=&quot;Abstract&quot; style=&quot;text-align: justify;&quot;&gt;&lt;span lang=&quot;sr-Cyrl-BA&quot; style=&quot;mso-fareast-language: BS-LATN-BA;&quot;&gt;Architect Nikola Dobrović is best known in Serbia for his only constructed building in Belgrade, the complex of the State Secretariat of National Defense (DSNO), better known as the General Staff, today an endangered cultural heritage and a crumbling building with an uncertain future. However, his short-term engagement as the head of the Urban Planning Institute of the Republic of Serbia from 1946-1947, and his later professorship at the Faculty of Architecture University of Belgrade, are equally significant for Belgrade and Serbia. Documents testifying to the post-war period of his work are scattered in several places: in the Urban Planning Institute of Belgrade, the Museum of Science and Technology, the Historical Archive of Belgrade, and the rare publications can only be found in a few libraries in Serbia. In the course of his short-term work on New Belgrade, Dobrović provided several conceptual projects and sketches for New Belgrade within the Urban Planning Institute: the perfomance square, road schemes and the urban planning solution of the zone between the Palace of the Federation and the Railway Station - today&#039;s Central Zone of New Belgrade. Finally, at different stages of his career, Dobrović also designed individual objects, such as the project for the Faculty of Electrical Engineering and the building of the Central Committee of the Communist Party of Yugoslavia, which remained in the domain of &#039;paper architecture&#039;, unbuilt, and which provides an insight into the way he thought about the process of urban and spatial planning, through the positioning of builidngs which would&#039;ve generated the character of their immediate and distant surroundings.&lt;/span&gt;&lt;/p&gt;

Multidisciplinary, interdisciplinary, and transdisciplinary collaboration (TDC) continue to address complex societal problems such as sustainable development, global environmental change, and public health challenges. Nature-based design (NBD) methods including biomimicry, biomorphism, biophilia, bio-utilization and zoomorphism are essential for the design of the sustainable built environment (SBE). Currently, there is no transdisciplinary collaboration framework (TCF) to support the NBD of the SBE. The first step to fill this gap is through systematically exploring the applications of multidisciplinary research (MDR) in building design and by conducting a case study on the challenges to the MDR in the application of NBD methods for the SBE in the Faculty of Engineering and the Faculty of Science at the University of Strathclyde, Glasgow, UK. The systematic literature review and the survey results of academics on MDR collaboration showed a lack of transdisciplinary research (TDR) due to limited communication between disciplines. The research findings showed a lack of communication between academia and the Architecture, Engineering, and Construction (AEC) industry to advance NBD innovations for the SBE. The findings indicated that a TCF for research on NBD is needed to support knowledge exchange within academia and with industry for reducing the negative impacts of the building industry. Findings from the current research and future research will be used to develop and test a general TCF and then to develop a TCF for the NBD of the SBE aligned with the RIBA Plan of Work.

The article deals with doctoral dissertations prepared and defended at the Faculty of Architecture at current Vilnius Gediminas Technical University in spite of changes of its institutional subordination. It deepens into fields of scientific research investigated during doctoral studies that are considered an important part of research in architecture. The tendencies of evolution of doctorate at the Faculty of Architecture of VGTU are contextualised in architectural research and doctoral studies in architectural research and education institutions both in Lithuania and abroad. During the Soviet times, Lithuanian architects had a possibility to prepare and defend dissertations for a scientific degree of candidate of architectural sciences either at the Faculty of Architecture at Kaunas Polytechnic Institute (afterwards – at Vilnius Engineering Building Institute) or at institutions of architectural research and education in the Soviet Union, outside Lithuania, depending if Lithuanian institutions had the right to educate the aspirants for scientific degree and the right to defend their dissertations. It mostly influenced the dynamics of scientific degrees obtained (see Fig. 1). Architecture was defined as an autonomous research field under the Soviet classification and it helped to shape the identity of the discipline: its width, specific methods and questions. Architectural dissertations of Soviet times were rigorously specialised and empiric, closely connected with practice, deepening into urban issues more than architectural ones (see Fig. 2). Since 1998, architecture loses its integrity and becomes a subfield of Art Critics in Humanities. Since then doctoral dissertations defended at the Faculty of Architecture of VGTU investigate architectural history, theory and critics according traditional methodologies of humanities including interdisciplinary contexts; fundamental academic research dominates. Recent international dynamic changes in both doctoral studies and architectural research directs for the impact of research beyond academia generating more efficient contribution to architectural research and innovation related to ideas, forms, techniques, materials and practices based upon technological advances for the so-called society of knowledge; one of the means is creating various forms of doctorates. Nevertheless, the present situation of doctorate at the Faculty of Architecture of VGTU is not supportive for tuning to new tendencies – revision of national classification of research towards integrity of architecture field, and also introduction of a program of research by design, priorities for innovative, practice-embedded, interdisciplinary, future-oriented research in doctorate at the school might create much more positive medium for the progress. Santrauka Straipsnyje nagrinėjama doktorantūros (aspirantūros) Vilniaus Gedimino technikos universiteto Architektūros fakultete, nepaisant jo kitusios institucinės priklausomybės, raida. Pagrindinis dėmesys skiriamas apgintų disertacijų mokslinių tyrimų kryptims ir pobūdžiui kaip sudėtinei architektūros mokslo daliai, jų raidą ir kaitos tendencijas siejant su procesais kitose šalyse. Apžvelgiamos šiame amžiuje vykstančios aktualios dinamiškos permainos doktorantūros studijų sampratoje ir architektūros mokslo raidoje kaip architektūros doktorantūros studijų kaitą formuojančiuose veiksniuose. Naujų požiūrių kontekste įvertinamos doktorantūros studijų VGTU Architektūros fakultete pokyčių galimybės.

The phenomenon of participatory architectural design is thought to have emerged in the late 1960s and 1970s in Europe. In 1969, Giancarlo De Carlo, one of its main advocates, presented a manifesto in which he asserted that ‘architecture is too important to be left to architects’, criticised architectural practice as a relationship of ‘the intrinsic aggressiveness of architecture and the forced passivity of the user’, and called for establishing ‘a condition of creative and decisional equivalence’ between the architect and the user, so that in fact both the architect and the user take on the architect’s role. He also argued for the ‘discovery of users’ needs’ and envisioned the process of designing as planning ‘with’ the users instead of planning ‘for’ the users.1 In the same year, De Carlo began working on a housing estate in Terni, Italy that involved future dwellers in design decisions. Among other participatory projects carried out around that time were Lucien Kroll’s medical faculty building for the University de Louvain (1970–6) and Ottaker Uhl‘s Fesstgasse Housing, a multi-storey apartment block in Vienna (1979).

The direct release of energy from the groundwater under the building of the Sobieski Family Palace in Lublin, Poland, and the obtainment of heat and cooling energy for Heating, Ventilation, and Air Conditioning systems (HVAC) provide an opportunity to reduce electricity and heat consumption and to limit CO2 emissions by 15–50%. The upgrade to the Sobieski Family Palace and the addition of new educational and administrative functions require state-of-the-art, energy-saving, and environmentally friendly solutions such as Fuel Cells and Hydrogen for Heating, Ventilation, and Air Conditioning (FCH HVAC) systems. As part of the program “Research for high-quality air in architecture and urban studies,” carried out since 2018 at the Institute of Architecture Planning, Department of Contemporary Architecture, Faculty of Civil Engineering and Architecture of the Lublin University of Technology, in 2021, further research was carried out in order to prepare for the potential implementation in 2022 of the project entitled “Development and Upgrade of the Former Sobieski Family Palace in Lublin. The main body of the building—educational and administrative function,” whose chief designer was Architect J. Wrana, Lublin University of Technology, 2021. The objective of this paper is to identify technologies and solutions specifically designed for HVAC systems in upgraded and renovated historic buildings. This paper is also a call for cooperation among institutions, scientists, higher education institutions, as well as an expression of appreciation for the immense energy stored in groundwater. This energy not only has the lowest carbon footprint but also is the only generally accessible large storage source from which we were unable to obtain ecologically pure energy before the introduction of FCH technology.

Improving the energy performance of buildings in the context of external climatic conditions and the requirements of indoor environments is a hot topic in the construction industry. It primarily concerns reducing the energy used for heating and cooling in buildings. In the EU sector, this is addressed by the Energy Performance Directive (EPBD), which is followed by relevant national standards. The energy performance of buildings is strongly influenced by the window structures that are part of the building envelope. Their influence on energy performance is represented by the heat transfer coefficient, which differs in the actual built-in window construction from the design value given by the manufacturer. In this paper, the authors deal with its measurement in situ using the heat flux measurement method. The measurement was carried out in the pavilion laboratory of the Department of Building Engineering and Urban Planning (DBEUP), Faculty of Civil Engineering (FCE), University of Zilina (UNIZA), on three window constructions of different material bases. During the measurements, surface temperatures on the glazing, heat flux density, and air temperatures were recorded in minute increments. The influence of the year-round cycle of the outdoor environment on the embedded window structures is presented and the results are presented in the conclusion of the paper.

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With the rise of global integration of science, technology economy and cultural creative industries develop rapidly. Under the circumstance of rapid development, how to train the development of cultural creative industries talents has become a key factor problem of prosperity society. Institutions of higher learning undertake the four functions of talent training, scientific research, social service cultural inheritance and innovation. Therefore, it is necessary to build a research platform for cultural and creative industry of the college. This platform is not only help graduates find their future employment direction, but also effectively help them to obtain employment and start businesses. At the same time, the platform is used to enhance the integration with local industry development and promote the local economy development, which not only meets the development of college, but also meets the needs of local governments and enterprises. This mode of training talents for government-industry-university-research cooperation meets the interest demands of the government, industry and school, and serves the development of local economy together. Keywords: Cultural Creative Product; Talent Cultivation; Local Economic; Economic Development. eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3777

ABSTRACT DOMINGGUS PITERSON BABO 2018320320. Moni Homestay Design, Kelimutu District, Ende Regency (Neo Vernacular Architecture Theme). Faculty of Engineering, University of Flores, Ende, 2023.. Mobile Number : 081339344579, E-mail : babosoni@gmail.com supervisor I : Ir. Dian Fitriawati Mochdar, ST., MT. supervisor II : Fabiola T.A, Kerong. ST., MT. Moni Kelimutu tourist destinations include culinary tourism, shopping tourism, and recreational tourism. This has a positive impact because the number of tourists coming is increasing. Therefore Homestay lodging is a very important element to support the existing potential. Homestay has an important role to introduce the character of each region. Ende Regency is one of the districts with many tribes and precisely in the Kelimutu sub-district, the local community highly respects customs and habits, so Moni's homestay is designed with the Neo Vernacular theme which aims to strengthen the identity and character of the local indigenous tribes. The application of this theme is dominated by wood elements as an aesthetic element of the building both in the facade of the building and in the atmosphere of the building space. Wood is the main material for building traditional Lio houses. So that the Homestay is designed to have the feel of the local environment so that people who stay at this Homestay feel the character of the local area. The methods used in this planning and design are 1). data collection methods include primary data (observation, documentation and interviews) and secondary data (literature studies and comparative studies); 2). The analysis method explains each analysis which contains field data, design criteria (theory), alternative analysis (alternative 1 and alternative 2), and responses (alternative selection). Analysis methods include analysis of design objects; site analysis; functional analysis (space organization, namely the organizational structure of actors, analysis of activities and space requirements (analysis of actors and actors' activities), room analysis (conditions, circulation, organization, relationships, size and zoning of space), shape analysis and analysis of building mass placement patterns; analysis building systems (structure and utilities); as well as analysis of regional regulations. 3). The design method includes design ideas and design concepts, namely the concept of neo vernacular architecture. The results obtained from designing Moni's homestay are based on a neo vernacular architectural approach which emphasizes more on building materials and site processing. The facilities built include the main facilities in the form of accommodation (suite room and standard type homestay), management building, as well as supporting facilities in the form of a cafeteria, photo spot, outdoor room and service area, parking. Keywords: Tourism, Homestay, Neo Vernacular Architecture

<p>Creative Community Development Workshop is a collaborative programme initiated from the two tiers of academic endeavours to achieve people’s involvement to foster cities in sustainable manner. The first tier is a regular programme from a studio subject in Urban Design and Development International Programme, Faculty of Architecture and Planning at Thammasat University, UD326 Urban Regeneration. The second tier is an annual international academic consortium event, established since 2009 upon the initiative of the Yokohama City University (YCU) called, “the International Academic Consortium for Sustainable Cities (IACSC)”. Focusing on urban planning, public health and environment as the major components of cities, the consortium endeavours to develop cooperation, foster dialogues and discussions, encourage sharing of information and resources and promote networking mainly in Asia on research and collaborative activities between academic and research institutions, and establish and strengthen the linkage between universities and the cities where they belong towards capacity building for a sustainable society.<br />The workshop in 2017 on Creative Community Development was an activity under the 8^th IACSC Symposium on “Well-being of Sustainable Living in Aging Population Era” which was hosted by Thammasat University at Rangsit Campus. The workshop was hosted by Urban Design and Development International Programme (UDDI) between 5-11 September 2017 at the Faculty of Architecture and Planning and on-site study area in Suan Yai Bang Kwang, Bang Kho Laem District, Bangkok, and conducted in a week session on the preliminary stage of community development study and regeneration proposal of the Urban Regeneration studio.<br />The workshop participants included students, instructors and research assistants from four leading universities in Asia i.e. Japan, South Korea, Malaysia and Thailand. The aims of the workshop are to promote a mutual understanding among the international students, to enhance the students’ ability to propose planning scheme proposal in communicable manner, and, and to give an opportunity for students to work with and contribute to the local community the community development ideas towards livability and sustainability.<br />The workshop was directed into three sections throughout 7 days, from the workshop commencement, field visit and survey, to group discussion and developing proposals to report to the consortium. Towards the students’ proposals on the study area regeneration, the final product of the work was presented at the workshop final event and debriefing, and at the poster session at the 8^th IACSC General Assembly and Symposium in the end of the programme.<br />The final proposals introducing urban regeneration into Suan Yai Bang Khwang ranged from enhancing mobility and accessibility, community betterment, housing development, and disaster prevention, connecting the residents and the main canal, boosting the local economy, improving the community development, tidying spaces and creating green space, to creating local street markets into the area.</p>

The introduction of parametric tools has made a strong shift within a traditional approach to urban planning and building design, including the creation of a design awareness zone where environmental issues are concerned. This approach also uses sufficient data to be used already at the concept stage and provides initial interdisciplinary solutions. Analyses from the very initial stages allow the inclusion of smart energy choices influencing the massing, architectural features, proportions, flexibility of design, and economics. This is only a threshold; there is still a place for further development and more accurate analyses leading to the construction of buildings and urban areas with a stronger input of sustainable solutions, as existing approaches have certain limitations. This path has been followed in several research grants conducted at the Faculty of Architecture Warsaw University of Technology, and later on developed as a co-operation area with various stakeholders. Outside the general state of art, this paper will include two case studies which were provided as a concept design for prospective investors. Both locations are in the Warsaw Downtown Area, and analyses include algorithmic models dealing with the optimisation of the buildings’ forms, urban scale sun radiation levels, shadow and wind analyses indicating use of sunlight energy and wind as alternative energy sources. One of the case studies contains Pareto Front including both single- and multi-criteria optimization methods for analysing energy and economic efficiency issues, pointing out the best case solutions.

This article presents results of the research conducted with the use of participatory methods by the Faculty of Architecture, Poznan University of Technology on architectural design of healthcare facilities. The studies concerned the needs of patients and hospital staff in an orthopaedic and rehabilitation hospital. Preferences and expectations of all the users of healthcare facilities should be considered as early as at the stage of planning and designing. The hospital profile and the type of its users predetermine the architectural design in the area of the building functions, its internal circulation and interior design. Participation of the user in the process of compiling design recommendations is a chance for a designer to confront the original assumptions with expectations and to adjust relevant solutions to factual needs of the users. This study, undertaken in a regional setting, provided an in-depth exploration of staff’s experiences of hospital space to indicate possible spatial improvements. Methods: The research was conducted on the basis of a case study of a renowned regional orthopaedic and rehabilitation hospital in Poznan, Poland. Rapid assessment methods and questions were examined to describe current approaches and synthesize results. Semi-structured interviews and thematic analysis identified staff and patient’s experiences. Result: Participation of hospital staff and patients resulted in design recommendations of high utility value. It was found that the two groups to a certain extent proposed similar recommendations; however, certain proposals submitted by the two groups were totally opposite. Conclusion: the research highlighted the importance of the active research methodology that engages the researcher/expert in the action and critical reflection process. Such a methodology can successfully underlie the formulation of accurate recommendations.

Abstract 1. Overview of 2nd International Conference on Science in Engineering and Technology - 22nd Sustainable Environment and Architecture (ICoSiET SENVAR 2022) The covid-19 pandemic caused a great shock to people around the world, for it caused a massive scale lockdown in the 21st century. It took millions of lives, affected people’s health [1], and created enormous disruption in education systems in more than 200 countries [2]. Furthermore, Covid-19 also account for unprecedented damage to the global economy[3][4], separating people from their loved ones and friends and transforming our built environment in fear of infection[5]. The use of spaces in our living environment then changes dramatically. The lesson should be drawn from this pandemic, for it can never be predicted when the next one will arrive [6]. A future design of the built environment shall be arranged comprehensively. Not only do we have to consider the socio-economic and sustainable living environment, but also how to create a resilient and healthy built environment. Thus, the impact of the pandemic can be minimised through planning, design, structural, physical and technological means. On the other hand, the pandemic introduces a hybrid life to us where a virtual world has become a necessity. Tantalising global challenges in our degradation environment with energy and natural resources depletion force us to have an energy-conscious awareness while providing a safe, healthy, smart and sustainable living environment. The design of the built environment thus should elaborate the virtual world and reality, which involves advanced and robust information and technology not only for the present situation but also for visionary looking to future needs. Therefore, we promote “the Green-Smart Design and Technology for the Present and the Future Built Environment” as the theme for the 2nd International Conference on Science in Engineering and Technology – 22nd Sustainable Environment and Architecture (ICoSiET SENVAR 2022). The ICoSiET SENVAR 2022 is a joint conference to bridge the role of architecture, engineering, and multi-disciplinary field stakeholders in sharing their precious ideas, theories, concepts, designs, research and experiences in creating a better world for all. This conference is hosted by the Architecture Department of Engineering Faculty, Tadulako University. ICoSiET was first organised in 2020 in Palu, Indonesia and then became a biannual conference to provide an academic forum, especially in engineering. Meanwhile, SENVAR is an annual gathering for scientists, scholars, and architects focusing on discussions related to the natural and built environment, such as building design and architecture, outdoor and indoor comfort, local and global green, urban planning and sustainability. SENVAR was first initiated and started by the late Professor Mas Santosa from the Department of Architecture, Institut Teknologi Sepuluh Nopember (ITS) in 2000 as a seminar on environmental architecture; in 2011, it changed the name to Sustainable Environment and Architecture [7]. This year we have the privilege to host ICoSiET and SENVAR and combine them into ICoSiET SENVAR 2022, putting two communities in one frame to be blended in the most recent issue of the smart and sustainable built environment.

The industrial heritage of the city of Belgrade is the focus of this research, which highlights the possibilities of preserving industrial heritage from the perspective of a contemporary context and sustainable development. Guided by theoretical principles on the preservation of cultural and industrial heritage, their values, authenticity and spirit of place, as well as the idea of the necessity of integrating industrial heritage into the contemporary context, this paper aims to examine the possibilities for the preservation of industrial heritage following theoretically established principles, with the introduction of new uses and sustainable solutions. The analysis of the case studies of Belgrade’s industrial heritage presented in this paper results from research conducted by the teachers, associates and students of the University of Belgrade, Faculty of Architecture. The research focuses on the possibilities of translating the principles of preserving cultural and industrial heritage from their theoretical definition to practical application. The students’ conceptual solutions for protection, revitalisation and presentation of the analysed case studies represent the research results. An important aspect of this paper is defining the criteria for valorising students’ conceptual solutions, which are aligned with the principles of preserving cultural heritage and establishing sustainable development. The valorisation of students’ conceptual solutions through a defined set of criteria indicates real possibilities for the simultaneous preservation of all the values of industrial heritage and its transformation into a social, ecological and economic resource of the contemporary city.

The global COVID-19 pandemic has delivered extraordinary challenges across geographies as well as practices, and clearly academia has not been spared. While the events of 2020 and 2021 have revealed some limits to teaching in the ‘old (pre-pandemic) normal’, technology-supported pedagogies have been emerging for several years. This pandemic has been a potent catalyst, not only for ad-hoc adaptation, but potentially for long-term change and improvement. The ‘old normal’ is now long passed, and approaches to learning and teaching continue to explore new ground. This article draws on the work of Built Environments Learning + Teaching (BEL+T), an academic group within the Faculty of Architecture, Building and Planning at the University of Melbourne. The BEL+T group applies creative problem-solving and design-led approaches, evidence-based research methodologies and project-focused consultancy to improve teaching quality and student engagement in built environment disciplines. The following sections introduce a learning design framework – the Delivery, Interaction, Assessment (DIA) framework – which was developed by BEL+T as a tool to communicate with and support staff throughout 2020 and 2021, and continues to be used to support teaching efforts. The translation of the elements of the DIA framework and its related ‘DIAgram’ to specific learning activities are presented in the following sections ‘on the (virtual) ground’. Some emergent pedagogies for virtual learning environments (VLEs) are outlined, exploring relationships between students, teachers, objects, sites and VLEs for learning, alongside implications for teacher presence and performance online. These key factors have influenced online approaches both before and since the onset of the pandemic. They deliver implications for emergent hybrid approaches such as dual delivery and blended synchronous learning, which are in turn driven by the needs of a still-distributed student cohort and the challenges of ongoing unpredictability.

Purpose This study aims to explore the need for space (demand) and the provision thereof (supply) in the Faculty of Architecture building at Thammasat University Rangsit campus using variables from the designing an accommodation strategy (DAS) framework; these variables are incorporated to test and improve the framework. Another purpose is to examine the planning and development of the faculty building to understand its strategy, which serves as a means to contribute to the planning and development theory. Design/methodology/approach A case study of the Faculty of Architecture building was conducted at Thammasat University in Thailand. The DAS framework was used to reconstruct and examine the development process of the building to determine the gaps between supply and demand in terms of building space, to reflect on the building plan and process and to make suggestions as to how the DAS framework might be improved. Research methods included interviews and document analysis concerning space requirements and provision in the Faculty of Architecture building. Findings The gaps between supply and demand in terms of the faculty building space are affected by the condition of the building (i.e. building obsolescence), the number of building users and the changing environmental context. This study shows that both pre-design and post-occupancy evaluation are essential to collect data concerning the match or mismatch between supply and demand of space and to assess users’ needs and preferences concerning the faculty building. Regarding the building development process, factors impacting the step-by-step planning of the real estate interventions include the organisational context (public/private sector) and the management of the construction project (time, cost, quality). The DAS framework is found to be useful for structuring the information-generating processes necessary to determine gaps between demand and supply in terms of space and for making decisions regarding real estate interventions. Research limitations/implications Additional case studies in different environmental and organisational contexts are required to test the DAS framework and improve data validity. This study was conducted during the COVID-19 pandemic period, which affected data accessibility. Practical implications The results provide insight into the influence of various factors on the decision of corporate real estate. The DAS framework can be used to explore the range of demand for and supply of space and to find an optimal match. Originality/value This paper shows valuable steps in planning and development of educational real estate and a first application of the DAS framework in Thailand. The findings confirm the importance of the physical learning environment of architecture schools, particularly the studio spaces required in architecture education.

This aim of this study is to develop a Quick Response (QR) code supported web-based geographical information system (GIS) for facility damage report in university buildings. In general, some academic buildings such as facility management system of Faculty of Architecture, Planning and Surveying (FSPU), Universiti Teknologi MARA (UiTM) encounter a problem of technicians spending more time to manually search for information on damaged equipment. Data processing such as scanning, georeferencing, and digitizing of the building plans were performed to create geodatabase file of the building. QR Codes at the different rooms were then generated by utilising QR Code Generator software. The waterfall or SDLC model was applied to produce a web-based system. This integrated system has facilitated the users with Home and Menus pages that benefit the outsourced parties to directly receive damages reports of the faculty. A survey of user satisfaction was also conducted to evaluate the practicality of the system and the result has shown that the system has the potential to be used by the department of facilities management by integrating with existing database system (e-Aduan) towards a better facility damage management. The proposed web-based system application will assist technicians and staff in managing the facility easier.

This project on post-socialist urban form in Belgrade and Krakow was undertaken by the University of Belgrade, Faculty of Architecture, Cracow University of Technology and the Institute of Architecture and Urban and Spatial Planning of Serbia, involving field visits to both cities. A brief historical review and discussion of planning contexts is followed by an analysis of urban tissues from which five cases, characteristic of both cities, were selected for analysis. These range from peripheral areas to major city-centre streets and typical modern developments. A GIS database was prepared for each case and comparisons made of land use patterns, the year-by-year establishment of new plots, Floor Area Ratio (FAR) and Building Area Ratio (BAR). Plot development is examined through the analysis of the relationship between construction year, plot size, the number of buildings on each plot, and increases of floor and building area ratio. The project highlights parallels between the impacts to which similar urban tissues in the two countries have been exposed during the post-socialist period and reveals the variety of problems and challenges of urban regulation, land ownership and housing investments in relation to post- socialist urban form.

This project on post-socialist urban form in Belgrade and Krakow was undertaken by the University of Belgrade, Faculty of Architecture, Cracow University of Technology and the Institute of Architecture and Urban and Spatial Planning of Serbia, involving field visits to both cities. A brief historical review and discussion of planning contexts is followed by an analysis of urban tissues from which five cases, characteristic of both cities, were selected for analysis. These range from peripheral areas to major city-centre streets and typical modern developments. A GIS database was prepared for each case and comparisons made of land use patterns, the year-by-year establishment of new plots, Floor Area Ratio (FAR) and Building Area Ratio (BAR). Plot development is examined through the analysis of the relationship between construction year, plot size, the number of buildings on each plot, and increases of floor and building area ratio. The project highlights parallels between the impacts to which similar urban tissues in the two countries have been exposed during the post-socialist period and reveals the variety of problems and challenges of urban regulation, land ownership and housing investments in relation to post- socialist urban form.

Abstract The 5th International Conference on Empathic Architecture (ICEA) is a biannual international conference organized by the Department of Architecture, Faculty of Civil Engineering and Planning, Petra Christian University. The 1st ICEA was initiated on 11-12 September 2014. The 2nd ICEA was held as an International Joint Conference with the 17th SENVAR on 1-2 March 2017. The 3rd ICEA was conducted on 25-27 April 2019, in which all papers presented were published in the IOP Conference Proceeding: Earth and Environmental Science Volume 490. During the pandemic, the 4th ICEA was held online on 26 February 2021. The 5th ICEA was held at Petra Christian University, Surabaya, Indonesia, on 19-20 October 2023, with the theme “Architecture for Health and Wellbeing.” The 5th International Conference on Empathic Architecture (ICEA) aims to gather researchers, scholars, and practitioners to share and exchange their knowledge and breakthroughs in architecture, especially for health and wellbeing. It is important to seek a holistic understanding of the impact of architecture, with its design features, on human health and wellbeing. Thus, an architectural design should be responsive to user needs, inspire, motivate, give meaning, and be spirit caring. The 5th ICEA was honored to present four reputable keynote speakers: (i) A. Ray Pentecost III, DrPH, FAIA, FACHA, LEED AP from UIA-Public Health Group, USA (ii) Dr. Yuan Chao from National University of Singapore, (iii) Ir. Adi Utomo Hatmoko, M. Arch., a professional architect in hospital design from Indonesia, and (iv) Dr. Ruzika Bozovic from the National University of Singapore. The subtopics of the conference include Healing Architecture, Inclusive Architecture Design, Architecture and Perceptual memory, Lighting for well-being, Building Thermal Performance, Indoor Air Quality, Building Envelope for Wellbeing, and Wellness in an Urban Environment. Through these topics, papers from authors have been presented during the conference days as a manifestation of empathy for users and the environment through Architecture and Built Environment. After the inspiring keynote sessions and discussions during the parallel sessions, the papers were curated once more before publication in this IOP Conference Series: Earth and Environmental Science. We would like to appreciate all keynote speakers, scientific committee, moderators, conference coordinators, and participants who have contributed to this conference. Finally, we hope this 5th ICEA proceeding could encourage the development of an architecture that empathizes with the user’s health and wellbeing. The 5th ICEA Editorial Team https://5thicea.petra.ac.id/home List of Scientific Committee, Organizing Committee are available in the pdf

The Proceeding contains papers based on invited keynote speeches and oral presentations at the International Conference on Digital & Empathic Architecture & Civil Engineering (DEACE 2021) and International Student Workshop. The event was organized by the Faculty of Civil Engineering & Planning, Petra Christian University (PCU), Surabaya, Indonesia on August 20th-21st, 2021 for the international conference and August 12th-21st, 2021 for the workshop as a series of events celebrating the 60th Anniversary of Petra Christian University. The event covered several topics: ‘Structural Engineering and Materials’, ‘Building Science and Technology’, ‘Construction Management’, and ‘Architecture and Urban Development’. DEACE presented a theme: “Digital and Empathic Engagement in the New Era for Architecture and Civil Engineering”. Digital engagement can revolutionize approach to design and engineering while supporting opportunities to accommodate the implementation of advanced technology. While empathic engagement reflects not only on effectively design and build infrastructure to meet safety and other regulatory requirements, but also understanding customer essential needs. DEACE aimed to gather researchers, scholars, and practitioners all over the world to share and exchange their knowledge and breakthrough in the fields of Architecture and Civil Engineering especially toward the new era. As the event was approaching and there was no sign of the Covid-19 pandemic slowing down earlier that year, it was decided not to postpone the event but to hold it virtually instead. The conference started with plenary sessions with four keynote speakers, and followed by parallel sessions in two rooms with four sessions. Each keynote speech took 45 minutes and 30 minutes for presentation and discussion, respectively. While speakers in parallel sessions were given 15 minutes and 5 minutes for presentation and discussion. The were 30 presenters out of 159 participants in total, consist of both academicians and professionals. They came from Indonesia as well as some other countries such as China, Taiwan, Germany, Japan and Australia. Zoom video conferencing application was used in the event which served the event very well. Editor of DEACE 2021, Dr. Antoni Antoni Dr. Pamuda Pudjisuryadi List of Welcome Speech, DEACE 2021 Scientific Committee, DEACE 2021 Conference and Workshop Coordinator and DEACE 2021 Documentation are available in this pdf.

Institutions of higher education are feeling increasing pressure from both students and the international climate community to offer more courses and joint degrees on the role of the built environment in advancing climate action, population health, and social equity. The built environment plays a leading role in this new, transdisciplinary approach. Thoughtfully designed buildings, neighborhoods, and communities can simultaneously lower per capita greenhouse gas emissions, reduce population exposure to dangerous climate-sensitive extreme weather events, reduce disparities in climate-related health outcomes, and advance social equity goals. This mixed-methods study explored the extent to which post-secondary courses and joint degree programs teach students the research methods and technical skills they will need to design and implement built environment interventions addressing the effects of climate change on population health and social equity. The study found that the number of universities offering courses addressing climate, health, and equity in the built environment grew from 2018 to 2022. The number of joint planning/public health degree programs rose from four in 2005 to 15 in 2022. No joint architecture/public health degree programs were identified. A detailed review of 99 course descriptions from three universities found that 17 courses (roughly 1/5 of the total) covered population health, built environment, and climate change; and, 2/3 of the set (n = 60) covered two out of the three topics. Schools of public health were more likely to offer courses covering all three topics, whereas schools of architecture were more likely to include the building scale in relevant courses. Exposure pathways and social equity/vulnerable populations were the most common methods included in relevant courses. Professors and administrators at institutions identified by the study as “transdisciplinary-ready” reported that accreditation requirements and university rules governing the allocation of student tuition had slowed efforts to offer cross-listed courses. However, faculty in these institutions regularly collaborate informally with their peers – both on transdisciplinary research and by offering guest lectures in each other’s courses. The results of this study show that, while universities have made great strides over the past 18 years in beginning to support transdisciplinary research and pedagogy, institutional barriers and gaps in key content areas remain.

Trata-se de análise do trabalho pedagógico da iniciação ao projeto de arquitetura nas escolas de arquitetura e urbanismo de universidades federais – o principal exemplo é a disciplina de primeiro semestre do tronco de projeto da Faculdade de Arquitetura e Urbanismo da Universidade de Brasília (FAUUnB). Visa caracterizar os dilemas ou as contradições desse trabalho pedagógico e dar indicações para o seu equacionamento. Percebe-se que tais dilemas surgem de uma compreensão restrita da arquitetura como forma e expressão subjetiva dos agentes envolvidos naquela prática(professor e estudante) e, também, da ausência de uma teoria do espaço social. Essa pedagogia tende a ser passiva, em contrapartida sugerem-se ações pedagógicas para potencializar a capacidade sensitivo-motora e reflexiva dos estudantes no projeto arquitetônico e, também, incorporar a arte como método de ação, a crítica e a participação de agentes como especialistas e "usuários". Palavras-chave: prática pedagógica; ensino de projeto; espaço; projeto e abstração. Abstract The analysis focuses on the pedagogical aspects of the teaching and learning of the architectural design, particularly in the first semester, when students begin to learn the architectural design. The main analysis is the Faculty of Architecture and Urban Planning of the University of Brasília whose target is to point out the dilemmas or problems of that work aiming new ways of dealing with them. The key problem of that approach is the limited architectural practices, which consider architecture as a geometric form (the envelope of the building) and, also, its teaching method. However, the teacher believes that architectural design is an expression of the subjectivity of those agents involved in that process(teachers and students). There is no consideration on the other aspects involved in that work particularly in social space. This is called passive pedagogic. We think that architecture schools can be improved by involving in such process of teaching and learning the arts as an action method, the critics, specialists and users. Keywords: pedagogical work; space; architectural design teaching; project and abstraction.

Introduction «I have never worked in the technocratic exaltation, solving a constructive problem and that’s it. I’ve always tried to interpret the space of human life» (Vittorio Garatti). Vittorio Garatti (Milan, April 6, 1927) is certainly one of the last witnesses of one “heroic” season of Italian architecture. In 1957 he graduated in architecture from the Polytechnic of Milan with a thesis proposing the redesign of a portion of the historic centre of Milan: the area between “piazza della Scala”, “via Broletto”, “via Filodrammatici” and the gardens of the former Olivetti building in via Clerici. These are the years in which Ernesto Nathan Rogers established himself as one of the main personalities of Milanese culture. Garatti endorses the criticism expressed by Rogers to the approval of the Rationalist “language” in favour of an architecture that recovers the implications of the place and of material culture. The social responsibility of architecture and connections between architecture and other forms of artistic expression are the invariants of all the activity of the architect, artist and graphic designer of Garatti. It will be Ernesto Nathan Rogers who will offer him the possibility of experiencing these “contaminations” early: in 1954, together with Giuliano Cesari, Raffaella Crespi, Giampiero Pallavicini and Ferruccio Rezzonico, he designs the preparation of the exhibition on musical instruments at the 10th Milan Triennale. The temporary installations will be a privileged area in which Garatti will continue to experiment and integrate the qualities of artist, graphic designer and architect with each other. Significant examples of this approach are the Art Schools in Cuba 1961-63, the residential complex of Cusano Milanino in 1973, the Attico Cosimo del Fante in 1980, the fittings for the Bubasty shops in 1984, the Camogli residence in 1986, his house atelier in Brera in 1988 and the interiors of the Hotel Gallia in 1989. True architecture generates itself1: an approach that was consolidated over the years of collaboration with Raúl Villanueva in Venezuela and is fulfilled in Cuba in the project of the Art Schools, where Garatti makes use of a plurality of tools that cannot be rigidly confined to the world of architecture. In 1957, in Caracas, he came into contact with Ricardo Porro and Roberto Gottardi. Ricardo Porro, who returned to Cuba in 1960, will be the one to involve Vittorio Garatti and Roberto Gottardi in the Escuelas Nacional de Arte project. The three young architects will be the protagonists of a happy season of the architecture of the Revolution, they will be crossed by that “revolutionary” energy that Ricardo Porro has defined as “magical realism”. As Garatti recalls: it was a special moment. We designed the Schools using a method developed in Venezuela. We started from an analysis of the context, understood not only as physical reality. We studied Cuban poets and painters. Wifredo Lam was a great reference. For example, Lezama Lima’s work is clearly recalled in the plan of the School of Ballet. We were pervaded by the spirit of the revolution. The contamination between knowledge and disciplines, the belief that architecture is a “parasitic” discipline are some of the themes at the centre of the conversation that follows, from which a working method that recognizes architecture as a “social transformation” task emerges, more precisely an art with a social purpose. Garatti often cites Porro’s definition of architecture: architecture is the poetic frame within which human life takes place. To Garatti architecture is a self-generating process, and as such it cannot find fulfilment within its disciplinary specificity: the disciplinary autonomy is a contradiction in terms. Architecture cannot be self-referencing, it generates itself precisely because it finds the sense of its social responsibility outside of itself. No concession to trends, to self-referencing, to the “objectification of architecture”, to its spectacularization. Garatti as Eupalino Valery shuns “mute architectures” and instead prefers singing architectures. A Dialogue of Luigi Alini with Vittorio Garatti Luigi Alini. Let’s start with some personal data. Vittorio Garatti. I was born in Milan on April 6, 1927. My friend Emilio Vedova told me that life could be considered as a sequence of encounters with people, places and facts. My sculptor grandfather played an important role in my life. I inherited the ability to perceive the dimensional quality of space, its plasticity, spatial vision from him. L.A. Your youth training took place in a dramatic phase of history of our country. Living in Milan during the war years must not have been easy. V.G. In October 1942 in Milan there was one of the most tragic bombings that the city has suffered. A bomb exploded in front of the Brera Academy, where the Dalmine offices were located. With a group of boys we went to the rooftops. We saw the city from above, with the roofs partially destroyed. I still carry this image inside me, it is part of that museum of memory that Luciano Semerani often talks about. This image probably resurfaced when I designed the ballet school. The idea of a promenade on the roofs to observe the landscape came from this. L.A. You joined the Faculty of Architecture at the Milan Polytechnic in May 1946-47. V.G. Milan and Italy were like in those years. The impact with the University was not positive, I was disappointed with the quality of the studies. L.A. You have had an intense relationship with the artists who gravitate around Brera, which you have always considered very important for your training. V.G. In 1948 I met Ilio Negri, a graphic designer. Also at Brera there was a group of artists (Morlotti, Chighine, Dova, Crippa) who frequented the Caffè Brera, known as “Bar della Titta”. Thanks to these visits I had the opportunity to broaden my knowledge. As you know, I maintain that there are life’s appointments and lightning strikes. The release of Dada magazine provided real enlightenment for me: I discovered the work of Kurt Schwitters, Theo Van Doesburg, the value of the image and three-dimensionality. L.A. You collaborated on several projects with Ilio Negri. V.G. In 1955 we created the graphics of the Lagostina brand, which was then also used for the preparation of the exhibition at the “Fiera Campionaria” in Milan. We also worked together for the Lerici steel industry. There was an extraordinary interaction with Ilio. L.A. The cultural influence of Ernesto Nathan Rogers was strong in the years you studied at the Milan Polytechnic. He influenced the cultural debate by establishing himself as one of the main personalities of the Milanese architectural scene through the activity of the BBPR studio but even more so through the direction of Domus (from ‘46 to ‘47) and Casabella Continuità (from ‘53 to ‘65). V.G. When I enrolled at the university he was not yet a full professor and he was very opposed. As you know, he coined the phrase: God created the architect, the devil created the colleague. In some ways it is a phrase that makes me rethink the words of Ernesto Che Guevara: beware of bureaucrats, because they can delay a revolution for 50 years. Rogers was the man of culture and the old “bureaucratic” apparatus feared that his entry into the University would sanction the end of their “domain”. L.A. In 1954, together with Giuliano Cesari, Raffella Crespi, Giampiero Pallavicini and Ferruccio Rezzonico, all graduating students of the Milan Polytechnic, you designed the staging of the exhibition on musical instruments at the 10th Milan Triennale. V.G. The project for the Exhibition of Musical Instruments at the Milan Triennale was commissioned by Rogers, with whom I subsequently collaborated for the preparation of the graphic part of the Castello Sforzesco Museum, together with Ilio Negri. We were given a very small budget for this project. We decided to prepare a sequence of horizontal planes hanging in a void. These tops also acted as spacers, preventing people from touching the tools. Among those exhibited there were some very valuable ones. We designed slender structures to be covered with rice paper. The solution pleased Rogers very much, who underlined the dialogue that was generated between the exhibited object and the display system. L.A. You graduated on March 14, 1957. V.G. The project theme that I developed for the thesis was the reconstruction of Piazza della Scala. While all the other classmates were doing “lecorbusierani” projects without paying much attention to the context, for my part I worked trying to have a vision of the city. I tried to bring out the specificities of that place with a vision that Ernesto Nathan Rogers had brought me to. I then found this vision of the city in the work of Giuseppe De Finetti. I tried to re-propose a vision of space and its “atmospheres”, a theme that Alberto Savinio also refers to in Listen to your heart city, from 1944. L.A. How was your work received by the thesis commission? V.G. It was judged too “formal” by Emiliano Gandolfi, but Piero Portaluppi did not express himself positively either. The project did not please. Also consider the cultural climate of the University of those years, everyone followed the international style of the CIAM. I was not very satisfied with the evaluation expressed by the commissioners, they said that the project was “Piranesian”, too baroque. The critique of culture rationalist was not appreciated. Only at IUAV was there any great cultural ferment thanks to Bruno Zevi. L.A. After graduation, you left for Venezuela. V.G. With my wife Wanda, in 1957 I joined my parents in Caracas. In Venezuela I got in touch with Paolo Gasparini, an extraordinary Italian photographer, Ricardo Porro and Roberto Gottardi, who came from Venice and had worked in Ernesto Nathan Rogers’ studio in Milan. Ricardo Porro worked in the office of Carlos Raúl Villanueva. The Cuban writer and literary critic Alejo Carpentier also lived in Caracas at that time. L.A. Carlos Raul Villanueva was one of the protagonists of Venezuelan architecture. His critical position in relation to the Modern Movement and the belief that it was necessary to find an “adaptation” to the specificities of local traditions, the characteristics of the places and the Venezuelan environment, I believe, marked your subsequent Cuban experience with the creative recovery of some elements of traditional architecture such as the portico, the patio, but also the use of traditional materials and technologies that you have masterfully reinterpreted. I think we can also add to these “themes” the connections between architecture and plastic arts. You also become a professor of Architectural Design at the Escuela de Arquitectura of the Central University of Caracas. V.G. On this academic experience I will tell you a statement by Porro that struck me very much: The important thing was not what I knew, I did not have sufficient knowledge and experience. What I could pass on to the students was above all a passion. In two years of teaching I was able to deepen, understand things better and understand how to pass them on to students. The Faculty of Architecture had recently been established and this I believe contributed to fuel the great enthusiasm that emerges from the words by Porro. Porro favoured mine and Gottardi’s entry as teachers. Keep in mind that in those years Villanueva was one of the most influential Venezuelan intellectuals and had played a leading role in the transformation of the University. Villanueva was very attentive to the involvement of art in architecture, just think of the magnificent project for the Universidad Central in Caracas, where he worked together with artists such as the sculptor Calder. I had recently graduated and found myself catapulted into academic activity. It was a strange feeling for a young architect who graduated with a minimum grade. At the University I was entrusted with the Architectural Design course. The relationships with the context, the recovery of some elements of tradition were at the centre of the interests developed with the students. Among these students I got to know the one who in the future became my chosen “brother”: Sergio Baroni. Together we designed all the services for the 23rd district that Carlos Raúl Villanueva had planned to solve the favelas problem. In these years of Venezuelan frequentation, Porro also opened the doors of Cuba to me. Through Porro I got to know the work of Josè Martì, who claimed: cult para eser libre. I also approached the work of Josè Lezama Lima, in my opinion one of the most interesting Cuban intellectuals, and the painting of Wilfredo Lam. L.A. In December 1959 the Revolution triumphed in Cuba. Ricardo Porro returned to Cuba in August 1960. You and Gottardi would join him in December and begin teaching at the Facultad de Arcuitectura. Your contribution to the training of young students took place in a moment of radical cultural change within which the task of designing the Schools was also inserted: the “new” architecture had to give concrete answers but also give “shape” to a new model of society. V.G. After the triumph of the Revolution, acts of terrorism began. At that time in the morning, I checked that they hadn’t placed a bomb under my car. Eisenhower was preparing the invasion. Life published an article on preparing for the invasion of the counterrevolutionary brigades. With Eisenhower dead, Kennedy activated the programme by imposing one condition: in conjunction with the invasion, the Cuban people would have to rise up. Shortly before the attempted invasion, the emigration, deemed temporary, of doctors, architects, university teachers etc. began. They were all convinced they would return to “liberated Cuba” a few weeks later. Their motto was: it is impossible for Americans to accept the triumph of the rebel army. As is well known, the Cuban people did not rise up. The revolutionary process continued and had no more obstacles. The fact that the bourgeois class and almost all the professionals had left Cuba put the country in a state of extreme weakness. The sensation was of great transformation taking place, it was evident. In that “revolutionary” push there was nothing celebratory. All available energies were invested in the culture. There were extraordinary initiatives, from the literacy campaign to the founding of international schools of medicine and of cinema. In Cuba it was decided to close schools for a year and to entrust elementary school children with the task of travelling around the country and teaching illiterate adults. In the morning they worked in the fields and in the evening they taught the peasants to read and write. In order to try to block this project, the counter-revolutionaries killed two children in an attempt to scare the population and the families of the literate children. There was a wave of popular indignation and the programme continued. L.A. Ricardo Porro was commissioned to design the Art Schools. Roberto Gottardi recalls that: «the wife of the Minister of Public Works, Selma Diaz, asked Porro to build the national art schools. The architecture had to be completely new and the schools, in Fidel’s words, the most beautiful in the world. All accomplished in six months. Take it or leave it! [...] it was days of rage and enthusiasm in which all areas of public life was run by an agile and imaginative spirit of warfare»2. You too remembered several times that: that architecture was born from a life experience, it incorporated enthusiasm for life and optimism for the future. V.G. The idea that generated them was to foster the cultural encounter between Africa, Asia and Latin America. A “place” for meeting and exchanging. A place where artists from all over the third world could interact freely. The realisation of the Schools was like receiving a “war assignment”. Fidel Castro and Ernesto Che Guevara selected the Country Club as the place to build a large training centre for all of Latin America. They understood that it was important to foster the Latin American union, a theme that Simón Bolivar had previously wanted to pursue. Il Ché and Fidel, returning from the Country Club, along the road leading to the centre of Havana, met Selma Diaz, architect and wife of Osmany Cienfuegos, the Cuban Construction Minister. Fidel Castro and Ernesto Che Guevara entrusted Selma Diaz with the task of designing this centre. She replied: I had just graduated, how could I deal with it? Then she adds: Riccardo Porro returned to Cuba with two Italian architects. Just think, three young architects without much experience catapulted into an assignment of this size. The choice of the place where to build the schools was a happy intuition of Fidel Castro and Ernesto Che Guevara. L.A. How did the confrontation develop? V.G. We had total freedom, but we had to respond to a functional programme defined with the heads of the schools. Five directors were appointed, one for each school. We initially thought of a citadel. A proposal that did not find acceptance among the Directors, who suggest thinking of five autonomous schools. We therefore decide to place the schools on the edge of the large park and to reuse all the pre-existing buildings. We imagined schools as “stations” to cross. The aim was to promote integration with the environment in which they were “immersed”. Schools are not closed spaces. We established, for example, that there would be no doors: when “everything was ours” there could not be a public and a private space, only the living space existed. L.A. Ricardo Porro recalled: I organised our study in the chapel of the former residence of the Serrà family in Vadado. It was a wonderful place [...]. A series of young people from the school of architecture came to help us […]. Working in that atmosphere, all night and all day was a poetic experience (Loomis , 1999). V.G. We felt like Renaissance architects. We walked around the park and discussed where to locate the schools. Imagine three young people discussing with total, unthinkable freedom. We decided that each of us would deal with one or more schools, within a global vision that was born from the comparison. I chose the Ballet School. Ivan Espin had to design the music school but in the end I did it because Ivan had health problems. Porro decided to take care of the School of Plastic Arts to support his nature as a sculptor. Gottardi had problems with the actors and directors, who could not produce a shared functional programme, which with the dancers was quite simple to produce. The reasons that led us to choose the different project themes were very simple and uncomplicated, as were those for identifying the areas. I liked hidden lands, I was interested in developing a building “embedded” in the ground. Ricardo, on the other hand, chose a hill on which arrange the school of Modern Art. Each of us chose the site almost instinctively. For the Classical Dance School, the functional programme that was provided to me was very meagre: a library, a deanery, an infirmary, three ballet classrooms, theoretical classrooms and one of choreography. We went to see the dancers while they were training and dancing with Porro. The perception was immediate that we had to think of concave and convex spaces that would welcome their movements in space. For a more organic integration with the landscape and to accommodate the orography of the area, we also decided to place the buildings in a “peripheral” position with respect to the park, a choice that allowed us not to alter the nature of the park too much but also to limit the distances to be covered from schools to homes. Selma Diaz added others to the first indications: remember that we have no iron, we have little of everything, but we have many bricks. These were the indications that came to us from the Ministry of Construction. We were also asked to design some large spaces, such as gyms. Consequently, we found ourselves faced with the need to cover large spans without being able to resort to an extensive use of reinforced concrete or wood. L.A. How was the comparison between you designers? V.G. The exchange of ideas was constant, the experiences flowed naturally from one work group to another, but each operated in total autonomy. Each design group had 5-6 students in it. In my case I was lucky enough to have Josè Mosquera among my collaborators, a brilliant modest student, a true revolutionary. The offices where we worked on the project were organised in the Club, which became our “headquarters”. We worked all night and in the morning we went to the construction site. For the solution of logistical problems and the management of the building site of the Ballet School, I was entrusted with an extraordinary bricklayer, a Maestro de Obra named Bacallao. During one of the meetings that took place daily at the construction site, Bacallao told me that in Batista’s time the architects arrived in the morning at the workplace all dressed in white and, keeping away from the construction site to avoid getting dusty, they transferred orders on what to do. In this description by we marvelled at the fact that we were in the construction site together with him to face and discuss how to solve the different problems. In this construction site the carpenters did an extraordinary job, they had considerable experience. Bacallao was fantastic, he could read the drawings and he managed the construction site in an impeccable way. We faced and solved problems and needs that the yard inevitably posed on a daily basis. One morning, for example, arriving at the construction site, I realised the impact that the building would have as a result of its total mono-materiality. I was “scared” by this effect. My eye fell on an old bathtub, inside which there were pieces of 10x10 tiles, then I said to Bacallao: we will cover the wedges between the ribs of the bovedas covering the Ballet and Choreography Theatre classrooms with the tiles. The yard also lived on decisions made directly on site. Also keep in mind that the mason teams assigned to each construction site were independent. However the experience between the groups of masons engaged in the different activities circulated, flowed. There was a constant confrontation. For the workers the involvement was total, they were building for their children. A worker who told me: I’m building the school where my son will come to study. Ricardo Porro was responsible for the whole project, he was a very cultured man. In the start-up phase of the project he took us to Trinidad, the old Spanish capital. He wanted to show us the roots of Cuban architectural culture. On this journey I was struck by the solution of fan windows, by the use of verandas, all passive devices which were entrusted with the control and optimisation of the comfort of the rooms. Porro accompanied us to those places precisely because he wanted to put the value of tradition at the centre of the discussion, he immersed us in colonial culture. L.A. It is to that “mechanism” of self-generation of the project that you have referred to on several occasions? V.G. Yes, just that. When I design, I certainly draw from that stratified “grammar of memory”, to quote Luciano Semerani, which lives within me. The project generates itself, is born and then begins to live a life of its own. A writer traces the profile and character of his characters, who gradually come to life with a life of their own. In the same way the creative process in architecture is self-generated. L.A. Some problems were solved directly on site, dialoguing with the workers. V.G. He went just like that. Many decisions were made on site as construction progressed. Design and construction proceeded contextually. The dialogue with the workers was fundamental. The creative act was self-generated and lived a life of its own, we did nothing but “accompany” a process. The construction site had a speed of execution that required the same planning speed. In the evening we worked to solve problems that the construction site posed. The drawings “aged” rapidly with respect to the speed of decisions and the progress of the work. The incredible thing about this experience is that three architects with different backgrounds come to a “unitary” project. All this was possible because we used the same materials, the same construction technique, but even more so because there was a similar interpretation of the place and its possibilities. L.A. The project of the Music School also included the construction of 96 cubicles, individual study rooms, a theatre for symphonic music and one for chamber music and Italian opera. You “articulated” the 96 cubicles along a 360-metre-long path that unfolds in the landscape providing a “dynamic” view to those who cross it. A choice consistent with the vision of the School as an open place integrated with the environment. V.G. The “Gusano” is a volume that follows the orography of the terrain. It was a common sense choice. By following the level lines I avoided digging and of course I quickly realized what was needed by distributing the volumes horizontally. Disarticulation allows the changing vision of the landscape, which changes continuously according to the movement of the user. The movements do not take place along an axis, they follow a sinuous route, a connecting path between trees and nature. The cubicles lined up along the Gusano are individual study rooms above which there are the collective test rooms. On the back of the Gusano, in the highest part of the land, I placed the theatre for symphonic music, the one for chamber music, the library, the conference rooms, the choir and administration. L.A. In 1962 the construction site stopped. V.G. In 1962 Cuba fell into a serious political and economic crisis, which is what caused the slowdown and then the abandonment of the school site. Cuba was at “war” and the country’s resources were directed towards other needs. In this affair, the architect Quintana, one of the most powerful officials in Cuba, who had always expressed his opposition to the project, contributed to the decision to suspend the construction of the schools. Here is an extract from a writing by Sergio Baroni, which I consider clarifying: «The denial of the Art Schools represented the consolidation of the new Cuban technocratic regime. The designers were accused of aristocracy and individualism and the rest of the technicians who collaborated on the project were transferred to other positions by the Ministry of Construction [...]. It was a serious mistake which one realises now, when it became evident that, with the Schools, a process of renewal of Cuban architecture was interrupted, which, with difficulty, had advanced from the years preceding the revolution and which they had extraordinarily accelerated and anchored to the new social project. On the other hand, and understandably, the adoption of easy pseudo-rationalist procedures prevailed to deal with the enormous demand for projects and constructions with the minimum of resources» (Baroni 1992). L.A. You also experienced dramatic moments in Cuba. I’m referring in particular to the insane accusation of being a CIA spy and your arrest. V.G. I wasn’t the only one arrested. The first was Jean Pierre Garnier, who remained in prison for seven days on charges of espionage. This was not a crazy accusation but one of the CIA’s plans to scare foreign technicians into leaving Cuba. Six months after Garnier, it was Heberto Padilla’s turn, an intellectual, who remained in prison for 15 days. After 6 months, it was my turn. I was arrested while leaving the Ministry of Construction, inside the bag I had the plans of the port. I told Corrieri, Baroni and Wanda not to notify the Italian Embassy, everything would be cleared up. L.A. Dear Vittorio, I thank you for the willingness and generosity with which you shared your human and professional experience. I am sure that many young students will find your “story” of great interest. V.G. At the end of our dialogue, I would like to remember my teacher: Ernesto Nathan Rogers. I’ll tell you an anecdote: in 1956 I was working on the graphics for the Castello Sforzesco Museum set up by the BBPR. Leaving the museum with Rogers, in the Rocchetta courtyard the master stopped and gives me a questioning look. Looking at the Filarete tower, he told me: we have the task of designing a skyscraper in the centre. Usually skyscrapers going up they shrink. Instead this tower has a protruding crown, maybe we too could finish our skyscraper so what do you think? I replied: beautiful! Later I thought that what Rogers evoked was a distinctive feature of our city. The characters of the cities and the masters who have consolidated them are to be respected. If there is no awareness of dialectical continuity, the city loses and gets lost. It is necessary to reconstruct the figure of the architect artist who has full awareness of his role in society. The work of architecture cannot be the result of a pure stylistic and functional choice, it must be the result of a method that takes various and multiple factors into analysis. In Cuba, for example, the musical tradition, the painting of Wilfredo Lam, whose pictorial lines are recognisable in the floor plan of the Ballet School, the literature of Lezama Lima and Alejo Carpentier and above all the Cuban Revolution were fundamental. We theorised this “total” method together with Ricardo Porro, remembering the lecture by Ernesto Nathan Rogers.

Every crisis at the same time reveals, forewarns and implies changes with cyclical trends that can be analyzed from different disciplinary perspectives, building scenarios to anticipate the future, despite uncertainties and risks. And the current crisis certainly appears as one of the most problematic of the modern era: recently, Luigi Ferrara, Director of the School of Design at the George Brown College in Toronto and of the connected Institute without Boundaries, highlighted how the pandemic has simply accelerated undergoing dynamics, exacerbating other crises – climatic, environmental, social, economic – which had already been going on for a long time both locally and globally. In the most economically developed contexts, from North America to Europe, the Covid emergency has led, for example, to the closure of almost 30% of the retail trade, as well as to the disposal and sale of many churches. Places of care and assistance, such as hospitals and elderly houses, have become places of death and isolation for over a year, or have been closed. At the same time, the pandemic has imposed the revolution of the remote working and education, which was heralded – without much success – more than twenty years ago. In these even contradictory dynamics, Ferrara sees many possibilities: new roles for stronger and more capable public institutions as well as the opportunity to rethink and redesign the built environment and the landscape. Last but not least, against a future that could be configured as dystopian, a unique chance to enable forms of citizenship and communities capable of inhabiting more sustainable, intelligent and ethical cities and territories; and architects capable of designing them. This multifactorial and pervasive crisis seems therefore to impose a deep review of the current unequal development models, in the perspective of that “creative destruction” that Schumpeter placed at the basis of the dynamic entrepreneurial push: «To produce means to combine materials and forces within our reach. To produce other things, or the same things by a different method, means to combine these materials and forces differently» (Schumpeter, 1912). A concept well suiting to the design practice as a response to social needs and improving the living conditions. This is the perspective of Architectural Technology, in its various forms, which has always placed the experimental method at the center of its action. As Eduardo Vittoria already pointed out: «The specific contribution of the technological project to the development of an industrial culture is aimed at balancing the emotional-aesthetic data of the design with the technical-productive data of the industry. Design becomes a place of convergence of ideas and skills related to factuality, based on a multidisciplinary intelligence» (Vittoria, 1999). A lucid and appropriate critique of the many formalistic emphases that have invested contemporary architecture. In the most acute phases of the pandemic, the radical nature of this polycrisis has been repeatedly invoked as a lever for an equally radical modification of the development models, for the definitive defeat of conjunctural and emergency modes of action. With particular reference to the Italian context, however, it seems improper to talk about a “change of models” – whether economic, social, productive or programming, rather than technological innovation – since in the national reality the models and reference systems prove to not to be actually structured. The current socio-economic and productive framework, and the political and planning actions themselves, are rather a variegated and disordered set of consolidated practices, habits often distorted when not deleterious, that correspond to stratified regulatory apparatuses, which are inconsistent and often ineffective. It is even more difficult to talk about programmatic rationality models in the specific sector of construction and built environment transformation, where the enunciation of objectives and the prospection of planning actions rarely achieve adequate projects and certain implementation processes, verified for the consistency of the results obtained and monitored for the ability in maintaining the required performance over time. Rather than “changing the model”, in the Italian case, we should therefore talk about giving shape and implementation to an organic and rational system of multilevel and inter-sectorial governance models, which assumes the principles of subsidiarity, administrative decentralization, inter-institutional and public-private cooperation. But, even in the current situation, with the pandemic not yet over, we are already experiencing a sort of “return to order”: after having envisaged radical changes – new urban models environmentally and climatically more sustainable, residential systems and public spaces more responsive to the pressing needs of social demand, priority actions to redevelop the suburbs and to strength infrastructures and ecosystem services, new advanced forms of decision-making decentralization for the co-planning of urban and territorial transformations, and so on – everything seems to has been reset to zero. This is evident from the list of actions and projects proposed by the National Recovery and Resilience Plan (NRRP), where no clear national strategy for green transition emerges, even though it is repeatedly mentioned. As highlighted by the Coordination of Technical-Scientific Associations for the Environment and Landscape1, and as required by EU guidelines2, this transition requires a paradigm shift that assumes eco-sustainability as a transversal guideline for all actions. With the primary objective of protecting ecosystem balances, improving and enhancing the natural and landscape capital, as well as protecting citizen health and well-being from environmental risks and from those generated by improper anthropization phenomena. The contents of the Plan explicitly emphases the need to «repair the economic and social damage of the pandemic crisis» and to «contribute to addressing the structural weaknesses of the Italian economy», two certainly relevant objectives, the pursuit of which, however, could paradoxically contrast precisely with the transition to a more sustainable development. In the Plan, the green revolution and the ecological transition are resolved in a dedicated axis (waste management, hydrogen, energy efficiency of buildings, without however specific reform guidelines of the broader “energy” sector), while «only one of the projects of the Plan regards directly the theme Biodiversity / Ecosystem / Landscape, and in a completely marginal way» (CATAP, 2021). Actions are also limited for assessing the environmental sustainability of the interventions, except the provision of an ad hoc Commission for the streamlining of some procedural steps and a generic indication of compliance with the DNSH-Do not significant Harm criterion (do not cause any significant damage), without specific guidelines on the evaluation methods. Moreover, little or nothing in the Plan refers on actions and investments in urban renewal, abandoned heritage recovery3, of in protecting and enhancing areas characterized by environmental sensitivity/fragility; situations widely present on the national territory, which are instead the first resource for a structural environmental transition. Finally yet importantly, the well-known inability to manage expenditure and the public administration inefficiencies must be considered: a limit not only to the effective implementation of projects, but also to the control of the relationship between time, costs and quality (also environmental) of the interventions. In many places, the Plan has been talked about as an opportunity for a real “reconstruction”, similar to that of post-war Italy; forgetting that the socio-economic renaissance was driven by the INA-Casa Plan4, but also by a considerable robustness of the cultural approach in the research and experimentation of new housing models (Schiaffonati, 2014)5. A possible “model”, which – appropriately updated in socio-technical and environmental terms – could be a reference for an incisive governmental action aiming at answering to a question – the one of the housing – far from being resolved and still a priority, if not an emergency. The crisis also implies the deployment of new skills, with a review of outdated disciplinary approaches, abandoning all corporate resistances and subcultures that have long prevented the change. A particularly deep fracture in our country, which has implications in research, education and professions, dramatically evident in the disciplines of architectural and urban design. Coherently with the EU Strategic Agenda 2019-2024 and the European Pillar of Social Rights, the action plan presented by the Commission in March 2021, with the commitment of the Declaration of Porto on May 7, sets three main objectives for 2030: an employment rate higher than 78%, the participation of more than 60% of adults in training courses every year and at least 15 million fewer people at risk of social exclusion or poverty6. Education, training and retraining, lifelong learning and employment-oriented skills, placed at the center of EU policy action, now require large investments, to stimulate employment transitions towards the emerging sectors of green, circular and digital economies (environmental design and assessment, risk assessment & management, safety, durability and maintainability, design and management of the life cycle of plans, projects, building systems and components: contents that are completely marginal or absent in the current training offer of Architecture). Departments and PhDs in the Technological Area have actively worked with considerable effectiveness in this field. In these regards, we have to recall the role played by Romano Del Nord «protagonist for commitment and clarity in identifying fundamental strategic lines for the cultural and professional training of architects, in the face of unprecedented changes of the environmental and production context» (Schiaffonati, 2021). Today, on the other hand, the axis of permanent and technical training is almost forgotten by ministerial and university policies for the reorganization of teaching systems, with a lack of strategic visions for bridging the deficit of skills that characterizes the area of architecture on the facing environmental and socio-economic challenges. Also and precisely in the dual perspective of greater interaction with the research systems and with the world of companies and institutions, and of that trans- and multi-disciplinary dimension of knowledge, methods and techniques necessary for the ecological transition of settlement systems and construction sector. Due to the high awareness of the Technological Area about the multifactorial and multi-scale dimension of the crises that recurrently affect our territories, SITdA has been configured since its foundation as a place for scientific and cultural debate on the research and training themes. With a critical approach to the consoling academic attitude looking for a “specific disciplinary” external and extraneous to the social production of goods and services. Finalizing the action of our community to «activate relationships between universities, professions, institutions through the promotion of the technological culture of architecture [...], to offer scientific-cultural resources for the training and qualification of young researchers [...], in collaboration with the national education system in order to advance training in the areas of technology and innovation in architecture» (SITdA Statute, 2007). Goals and topics which seem to be current, which Techne intends to resume and develop in the next issues, and already widely present in this n. 22 dedicated to the Circular Economy. A theme that, as emerges from the contributions, permeates the entire field of action of the project: housing, services, public space, suburbs, infrastructures, production, buildings. All contexts in which technological innovation invests both processes and products: artificial intelligence, robotics and automation, internet of things, 3D printing, sensors, nano and biotechnology, biomaterials, biogenetics and neuroscience feed advanced experiments that cross-fertilize different contributions towards common objectives of circularity and sustainability. In this context, the issue of waste, the superfluous, abandonment and waste, emerge, raising the question of re-purpose: an action that crosses a large panel of cases, due to the presence of a vast heritage of resources – materials, artefacts, spaces and entire territories – to be recovered and re-functionalized, transforming, adapting, reusing, reconverting, reactivating the existing for new purposes and uses, or adapting it to new and changing needs. Therefore, by adopting strategies and techniques of reconversion and reuse, of re-manufacturing and recycling of construction and demolition waste, of design for disassembly that operate along even unprecedented supply chains and which are accompanied by actions to extend the useful life cycle of materials , components and building systems, as well as product service logic also extended to durable goods such as the housing. These are complex perspectives but considerably interesting, feasible through the activation of adequate and updated skills systems, for a necessary and possible future, precisely starting from the ability – as designers, researchers and teachers in the area of Architectural Technology – to read the space and conceive a project within a system of rationalities, albeit limited, but substantially founded, which qualify the interventions through approaches validated in research and experimental verification. Contrarily to any ineffective academicism, which corresponds in fact to a condition of subordination caused by the hegemonic dynamics at the base of the crisis itself, but also by a loss of authority that derives from the inadequate preparation of the architects. An expropriation that legitimizes the worst ignorance in the government of the territories, cities and artifacts. Education in Architecture, strictly connected to the research from which contents and methods derive, has its central pivot in the project didactic: activity by its nature of a practical and experimental type, applied to specific places and contexts, concrete and material, and characterized by considerable complexity, due to the multiplicity of factors involved. This is what differentiates the construction sector, delegated to territorial and urban transformations, from any other sector. A sector that borrows its knowledge from other production processes, importing technologies and materials. With a complex integration of which the project is charged, for the realization of the buildings, along a succession of phases for corresponding to multiple regulatory and procedural constraints. The knowledge and rationalization of these processes are the basis of the evolution of the design and construction production approaches, as well as merely intuitive logics. These aspects were the subject of in-depth study at the SITdA National Conference on “Producing Project” (Reggio Calabria, 2018), and relaunched in a new perspective by the International Conference “The project in the digital age. Technology, Nature, Culture” scheduled in Naples on the 1st-2nd of July 2021. A reflection that Techne intends to further develop through the sharing of knowledge and scientific debate, selecting topics of great importance, to give voice to a new phase and recalling the practice of design research, in connection with the production context, institutions and social demand. “Inside the Polycrisis. The possible necessary” is the theme of the call we launched for n. 23, to plan the future despite the uncertainties and risks, foreshadowing strategies that support a unavoidable change, also by operating within the dynamics that, for better or for worse, will be triggered by the significant resources committed to the implementation of the Recovery Plan. To envisage systematic actions based on the centrality of a rational programming, of environmentally appropriate design at the architectural, urban and territorial scales, and of a continuous monitoring of the implementation processes. With the commitment also to promote, after each release, a public moment of reflection and critical assessment on the research progresses. NOTES 1 “Osservazioni del Coordinamento delle Associazioni Tecnico-scientifiche per l’Ambiente e il Paesaggio al PNRR”, 2021. 2 EU Guidelines, SWD-2021-12 final, 21.1.2021. 3 For instance, we can consider the 7,000 km of dismissed railways, with related buildings and areas. 4 The two seven-year activities of the Plan (1949-1963) promoted by Amintore Fanfani, Minister of Labor and Social Security at the time, represented both an employment and a social maneuver, which left us the important legacy of neighborhoods that still today they have their own precise identity, testimony of the architectural culture of the Italian twentieth century. But also a «grandiose machine for the housing» (Samonà, 1949), based on a clear institutional and organizational reorganization, with the establishment of a single body (articulated in the plan implementation committee, led by Filiberto Guala, with regulatory functions of disbursement of funds, assignment of tasks and supervision, and in the INA-Casa Management directed by the architect Arnaldo Foschini, then dean of the Faculty of Architecture), which led to the construction of two million rooms for over 350,000 families. See Di Biagi F. (2013), Il Contributo italiano alla storia del Pensiero – Tecnica, Enciclopedia Treccani. 5 From Quaderni of the Centro Studi INA-Casa, to Gescal and in the Eighties to the activity of CER. Complex theme investigated by Fabrizio Schiaffonati in Il progetto della residenza sociale, edited by Raffaella Riva. 6 Ferruccio De Bortoli underlines in Corriere della Sera of 15 May 2021: «The revolution of lifelong learning (which) is no less important for Brussels than the digital or green one. By 2030, at least 60 per cent of the active population will have to participate in training courses every year. It will be said: but 2030 is far away. There’s time. No, because most people have escaped that to achieve this goal, by 2025 – that is, in less than four years – 120 million Europeans will ideally return to school. A kind of great educational vaccination campaign. Day after tomorrow».

Central to this research lays the concept of private sector-led urban development projects (Heurkens, 2010). Such projects involve project developers taking a leading role and local authorities adopting a facilitating role, in managing the development of an urban area, based on a clear public-private role division. Such a development strategy is quite common in Anglo-Saxon urban development practices, but is less known in Continental European practices. Nonetheless, since the beginning of the millennium such a development strategy also occurred in the Netherlands in the form of ‘concessions’. However, remarkably little empirical knowledge is available about how public and private actors collaborate on and manage private sector-led urban development projects. Moreover, it remains unclear what the effects of such projects are. This dissertation provides an understanding of the various characteristics of private sector-led urban development projects by conducting empirical case study research in the institutional contexts of the Netherlands and the UK. The research provides an answer to the following research question: What can we learn from private sector-led urban development projects in the Netherlands and UK in terms of the collaborative and managerial roles of public and private actors, and the effects of their (inter)actions? Indications for a market-oriented Dutch urban development practice Urban development practice in the Netherlands has been subject to changes pointing towards more private sector involvement in the built environment in the past decades. Although the current economic recession might indicate otherwise, there are several motives that indicate a continuation of private sector involvement and a private leadership role in Dutch urban development projects in the future. First, a shift towards more market-oriented development practice is the result of an evolutionary process of increased ‘neoliberalization’ and the adoption of Anglo-Saxon principles in Dutch society. Despite its Rhineland roots with a focus on welfare provision, in the Netherlands several neoliberal principles (privatization, decentralization, deregulation) have been adopted by government and incorporated in the management of organizations (Bakker et al., 2005). Hence, market institutionalization on the one hand, and rising civic emancipation on the other, in current Western societies prevents a return towards hierarchical governance. Second, the result of such changes is the emergence of a market-oriented type of planning practice based on the concept of ‘development planning’. Public-Private Partnerships and the ‘forward integration’ of market parties (De Zeeuw, 2007) enforce the role of market actors. In historical perspective, Boelens et al. (2006) argue that Dutch spatial planning always has been characterized by public-private collaborations in which governments facilitated private and civic entrepreneurship. Therefore, post-war public-led spatial planning with necessary government intervention was a ‘temporary hiccup’, an exception to the rule. Third, the European Commission expresses concerns about the hybrid role of public actors in Dutch institutionalized PPP joint ventures. EU legislation opts for formal public-private role divisions in realizing urban projects based on Anglo-Saxon law that comply with the legislative tendering principles of competition, transparency, equality, and public legitimacy. Fourth, experiences with joint ventures in the Netherlands are less positive as often is advocated. Such institutionalized public-private entities have seldom generated the assumed added value, caused by misconceptions about the objectives of both partners grounded in incompatible value systems. This results in contra-productive levels of distrust, time-consuming partnership formations, lack of transparency, and compromising decision-making processes (Teisman & Klijn, 2002), providing a need for other forms of collaboration. Finally, current financial retrenchments in the public sector and debates about the possible abundance of Dutch active land development policies point towards a lean and mean government that moves away from risk-bearing participation and investment in urban projects and leaves this to the market. Importantly, Van der Krabben (2011b) argues that the Dutch active public land development policies can be considered as an international exception, and advocates for facilitating land development policies. In this light, it becomes highly relevant to study private sector-led urban development as a future Dutch urban development strategy. Integrative urban management approach This research is rooted in the research school of Urban Area Development within the Department of Real Estate and Housing at the Faculty of Architecture (Delft University of Technology). It is a relatively young academic domain which views urban development most profoundly as a complex management assignment (Bruil et al., 2004; Franzen et al., 2011). This academic school uses an integrative perspective with a strong practice-orientation and carries out solution-oriented design research. Here, the integration involves bridging various actor interests, spatial functions, spatial scales, academic domains, knowledge and skills, development goals, and links process with content aspects. Such a perspective does justice to complex societal processes. Therefore it provides a fruitful ground for studying urban development aimed at developing conceptual knowledge and product for science and practice. Such integrative perspective and practice-orientation forms the basis of this research and has been applied in the following manner. In order to create an understanding of the roles of public and private actors in private sector-led urban development, this research takes a management perspective based on an integrative management approach. This involves viewing management more broadly as ‘any type of direct influencing’ urban development projects, and therefore aims at bridging often separated management theories (Osborne, 2000a). Hence, an integrative management approach assists in both understanding urban development practices and projects and constructing useful conceptual tools for practitioners and academics. Integrative approaches attempt to combine a number of different elements into a more holistic management approach (Black & Porter, 2000). Importantly, it does not view the management of projects in isolation but in its entire complexity and dynamics. Therefore, our management approach combines two integrative management theories; the open systems theory (De Leeuw, 2002) and contingency theory. The former provides opportunities to study the management of a project in a structured manner. The latter emphasizes that there is no universally effective way of managing and recognizes the importance of contextual circumstances. Hence, an integrative management approach favors incorporating theories from multiple academic domains such as political science, economics, law, business administration, and organizational and management concepts. Hence, it moves away from the classical academic division between planning theory and property theory, and organization and management theories. It positions itself in between such academic domains, and aims at bridging theoretical viewpoints by following the concept of planning ánd markets (Alexander, 2001) rather than concepts such as ‘planning versus markets’, public versus private sector, and organization versus management. Also, such an integrative view values the complexity and dynamics of empirical urban development practices. More specifically, this research studies urban development projects as object, as urban areas are the focus point of spatial intervention and public-private interaction (Daamen, 2010), and thus collaboration and management. Here, public planning processes and private development processes merge with each other. Thus, our research continues to build upon the importance of studying and reflecting on empirical practices and projects (e.g. Healey, 2006). In addition to these authors, this research does so by using meaningful integrative concepts that reflect empirical realities of urban projects. Thereby, this research serves to bridge management sciences with management practices (Van Aken, 2004; Mintzberg, 2010) through iterative processes of reflecting on science and practice. Moreover, the integrative management approach applied in this research assists in filling an academic gap, namely the lack of management knowledge about public-private interaction in urban development projects. Despite the vast amount of literature on the governance of planning practices (e.g. DiGaetano & Strom, 2003), and Public-Private Partnerships (e.g. Osborne, 2000b), remarkable little knowledge exists about what shifting public-private relationships mean for day-to-day management by public and private actors in development projects. Hence, here we follow the main argument made by public administration scholar Klijn (2008) who claims that it is such direct actor influence that brings about the most significant change to the built environment. An integrative urban management model (see Figure 2.3) based on the open systems approach has been constructed which forms a conceptual representation of empirical private sectorled urban development projects. This model serves as an analytical tool to comprehend the complexity of managing such projects. In this research, several theoretical insights about publicprivate relations and roles are used to understand different contextual and organizational factors that affect the management of private sector-led urban development projects. Hence, a project context exists within different often country-specific institutional environments (e.g. the Netherlands and UK). In this research, contextual aspects that to a degree determine the way public and private actors inter-organize urban projects, consist of economics & politics, governance cultures, and planning systems and policies. Hence, institutional values are deeply rooted in social welfare models (Nadin & Stead, 2008). For instance, the differences between Anglo-Saxon and Rhineland model principles also determine public-private relationships. However, the process of neoliberalization (Hackworth, 2007) and subsequent adaptation of neoliberal political ideologies (Harvey, 2005) has created quite similar governance arrangements in Western countries. Nevertheless, institutional rules incorporated in planning systems, laws and policies often remain country-specific. But, market-oriented planning, involving ‘planners as market actors’ (Adams & Tiesdell, 2010) intervening and operating within market systems, have become the most commonly shared feature of contemporary Western urban development practices (Carmona et al., 2009). In this research, the project organization focuses on institutional aspects and interorganizational arrangements that structure Public-Private Partnerships (Bult-Spiering & Dewulf, 2002). It involves studying organizational tasks and responsibilities, financial risks and revenues, and legal rules and requirements. Inter-organizational arrangements condition the way public and private actors manage projects. Hence, such arrangements can be placed on a public-private spectrum (Börzel & Risse, 2002) which indicates different power relations in terms of public and private autonomy and dominance (Savitch, 1997) in making planning decisions. These public-private power relations are reflected in different Public-Private Partnership arrangements (Bennet et al., 2000) in urban development projects. As a result, in some contexts these partnerships arrangements are formalized into organizational vehicles or legal contracts, in others there is an emphasis on informal partnerships and interaction. The lack of management knowledge on private sector-led urban development projects, and our view of management as any type of direct influencing, results in constructing a conceptual public-private urban management model (see Figure SUM.1). This model is based on both theoretical concepts and empirical reflection. In this research, the management of project processes by public and private actors contains applying both management activities and instruments. Project management (Wijnen et al., 2004) includes development stage-oriented initiating, designing, planning, and operating activities. Process management (Teisman, 2003) includes interaction-oriented negotiating, decision-making, and communicating activities. Management tools consist of legal-oriented shaping, regulating, stimulating, and capacity building planning tools (Adams et al., 2004). And management resources consist of crucial necessities (Burie, 1978) for realizing urban projects like land, capital and knowledge. In essence, all these management measures can be applied by public and private actors to influence (private sector-led) urban development projects. These management measures can be used by actors to reach project effects. In this research, project effects are perceived as judgment criteria for indicating the success of the management of private sector-led urban development projects. They consist of cooperation effectiveness, process efficiency, and spatial quality. Effectiveness involves the degree to which objectives are achieved and problems are resolved. Ef ficiency is the degree to which the process is considered as efficiently realizing projects within time and budget. Finally, spatial quality is the degree to which the project contributes to responding to user, experience and future values of involved actors (Hooijmeijer et al., 2001). Such process and product effects are a crucial addition to understand the results of private sector-led urban development projects. Comparative case study research using a lesson-drawing method This research systematically analyzes and compares private sector-led urban development cases in both the Netherlands and the UK in a specific methodological way. In essence, this study is an empirical comparative case study research using a lesson-drawing method. Hence, case studies allow for an empirical inquiry that investigates a contemporary phenomenon within its real life context (Yin, 2003). Such a qualitative approach is very suited for the purposes of this research as it enables revealing empirical collaborative and managerial mechanisms within private sector-led urban development projects. The reason to include studying the UK lies is the fact that it can be considered as a market-oriented development practice, from which valuable lessons can be drawn for the Netherlands. Thereby, this research places itself in a longer tradition of Dutch interests in UK planning and development (e.g. Hobma et al., 2008). Hence, this research aims at drawing lessons in the form of ‘inspiration’ from practices and projects, as opposed to the more far-reaching transplantation of spatial policies (e.g. Janssen-Jansen et al., 2008). However, in order to draw meaningful empirical lessons there is a need to indicate whether they are context-dependent or -independent. This requires systematically comparing the institutional planning practices of both countries by indicating differences and similarities between the Netherlands and the UK. Based on these methodological principles ten Dutch and two UK of private sector-led urban development cases are selected and studied. The Dutch cases focus on scope over depth aimed at sketching the phenomenon of ‘area concessions’ in both inner-city and urban fringe projects. The UK cases focus on depth over scope aimed at understanding the applicability of a private sector-led approach in complex large-scale inner-city projects. As techniques the case study research uses document reviews, semi-structured interviews, project visits, and data mapping. Comparing Dutch and UK planning and urban development practices The institutional context of urban development in the Netherlands and the UK shows some structural differences, despite the fact that such contexts are often subject to change. For instance, the Dutch planning system uses Napoleonic codified law based on a constitution with abstract law principles as rule, and a limited role of judicial power. The UK planning system is based on British common law lacking a constitution, and uses law-making-as-we-go as judges act as law-makers. In terms of spatial planning, the Netherlands is characterized by binding land use plans within a limited-imperative system based on legal certainty. Dutch spatial planning can be labelled as ‘permitted planning’ based on ‘comprehensive integrative model’ (Dühr et al., 2010) which involves hierarchically coordinated and related public sector spatial plans. UK spatial planning has no binding land use plan, places importance on material considerations based on discretionary authority and flexibility. Historically, UK’s spatial planning can be labelled as ‘development-oriented planning’ based on a ‘land use management model’ with a focus on public sector coordinated planning policies. Moreover, Dutch and UK urban development also differ in terms of public and private roles in organizing and managing development (Heurkens, 2009). In the Netherlands, local governments are active bodies using spatial plans, active land development policies and public investment to develop cities. The private sector often operates reactively and is historically focused on the physical realization of projects. In general, public-private decision-making processes are based on reaching consensus, development project coordination typically involves ‘collaboration models’, and management is focused on process as product outcomes. In the UK, local government uses relatively less regulations and investment to develop cities, thereby facilitating market parties. The development industry is a mature sector, actively initiating and investing in projects. Decision-making is characterized by negotiations, and the organization of projects is often based on a clear formal public-private role division. Despite such a generic Dutch-UK comparison being of crucial importance to this research, it does no justice to increasing similarities between European planning practices. Moreover, such institutional contexts evolve as a result of changing planning priorities in each country. For instance, some basic characteristics of the UK planning system attracted the attention of Dutch planners, including comprehensive principles for project coordination, private sector involvement and negotiations, options for the settlement of ‘planning gain’, packaging interests, development-oriented planning, and discretion for planning decisions (Spaans, 2005). Hence, such more market-oriented planning principles have become valuable and sometimes necessary mechanisms to effectively cope with an increasingly less public-led and more private sector-led Dutch urban development practice. Empirical findings from Dutch private sector-led urban development cases Urban development practice in the Netherlands since the year 2000 witnessed an increased use of the concession model. Hence, this is the Dutch definition for private sector-led urban development. It can best be characterized as a contract form between public and private parties which involves the transfer of risks, revenues, responsibilities for the plan, land and real estate development to private developers based on pre-defined set of public requirements (Gijzen, 2009). In theory (Van Rooy, 2007; Van de Klundert, 2008; Heurkens et al., 2008) this collaboration model holds promising advantages of being a more effective, efficient and transparent strategy to achieve a high quality built environment. Nonetheless, possible disadvantages like the lack of public ‘steering’, dependency of market actors and circumstances, inflexible contracts, a project management orientation, and a stern public-private relationship also are mentioned. Moreover, conditions for the application of concessions in theory involve a manageable project scale and duration, minimal political and societal complexity, and maximum freedom for private actors. Motives for choosing concessions are the lack of public labor capacity and financial development means, risk transfer to private actors, increasing private initiatives and private land ownership. Hence, in theory public and private roles in the concession model are considered as strictly separated. However, there is a lack of structural empirical understanding and evidence for such theoretical assumptions. Therefore, empirical cases in Amsterdam, The Hague, Enschede, Maassluis, Middelburg, Naaldwijk, Rotterdam, Tilburg, Utrecht, and Velsen (see Table 5.1) are carried out. This includes studying private sector-led projects in both inner-city and urban fringe locations. The main conclusions based on cross-case study findings of these ten Dutch projects are highlighted here. Notice that public-private interaction and collaboration remains of vital importance in Dutch private sector-led urban development projects. Despite the formal contractual separation of public and private tasks and responsibilities, in practice close informal cooperation can be witnessed, especially in the early development stages. Moreover, public actors do not remain as risk free as theory suggests, because unfavorable market circumstances can cause development delays affecting the living environment of inhabitants. Furthermore, it seems that constructing and using flexible public requirements with some non-negotiable rules is an effective condition for realizing public objectives during the process. In terms of management, most projects are hardly considered as solely private sector-led, as they involve a substantial amount of public management influence. For instance, project management activities include a dominant role of municipalities in initiating and operating the development. Process management activities are carried out by both actors, as they involve close public-private interactions. Management tools are mostly used by public actors to shape and regulate development with a limited conscious usage of stimulating and capacity building tools. Using the management resources land, capital and knowledge are mainly a private affair. In terms of effects, the concession model by actors is considered as an effective instrument, but not necessarily results in efficient processes. The general perception of public, private and civic actors about the project’s spatial quality level is positive. In addition, actors were asked about their cooperation experiences. Often mentioned problems include a ‘we against them relationship’, lack of public role consistency, thin line between plan judgment and control, public manager’s commitment and competency, communication with local communities, and lack of public management opportunities. Based on the empirical case studies, most conditions for applying concessions are confirmed. However, the successful inner-city development projects in Amsterdam and Enschede indicate that a private sector-led approach can also be applied to more complex urban development projects within cities. Empirical findings from UK’s private sector-led urban development cases Urban development practice in the UK often is labelled as urban regeneration. Historically, it is strongly shaped by neoliberal political ideology of the Conservative Thatcher government in the 1980s. But it also is influenced by New Labour ideologies favoring the Third Way (Giddens, 1998) aimed at aligning economic, social and environmental policies. However, as a result of these institutional characteristics, the UK is strongly shaped by the understanding that most development is undertaken by private interests or by public bodies acting very much like private interests (Nadin et al., 2008). In general, local authorities depend on initiatives and investments of property developers and investors, because public financial resources and planning powers to actively develop land are limited. As a result, development control of private developments is a concept deeply embedded in development practice. Several legal instruments such as Section 106 agreements are used to establish planning gain by asking developer contributions for public functions. Moreover, urban development in the UK has a strong informal partnership culture, and simultaneously builds upon a strict formal legal public-private role division. These UK urban development practice characteristics provide valid reasons to study private sector-led urban development projects in more detail. The empirical cases of private sector-led urban development projects in the UK are Bristol Harbourside and Liverpool One. They represent mid-2000s strategic inner-city developments with a mixed-use functional program, and therefore possible high complexity. As such, they are relevant urban projects for drawing lessons for the Netherlands. The main conclusions based on cross-case study findings of the UK projects are discussed here. The case contexts show that politics and the often changeable nature of planning policies can have a major influence on the organization and management of development projects. Hence, strong and effective political leadership is considered as a crucial success factor. Changing policies result in re-establishing development conditions resulting in new publicprivate negotiations. In terms of organization, the cases indeed show that local authorities do not take on development risks. Moreover, revenue sharing with private actors is absent or limited to what the actors agree upon in development packages. Furthermore, local authorities encourage all kinds of partnerships with other public, private or civic stakeholders in order to generate development support and raise funds. In terms of management, local authorities use different management measures to influence projects. The cases indicate that public actors are able to influence private sector-led developments and thereby achieve public planning objectives. Importantly, public actors use all kinds of managing tools to shape and stimulate development; they do not limit themselves to regulation but also build capacity for development. However, the largest share of managing the project takes place on behalf of project developers. Private actors manage projects from initial design towards even public space operation (Liverpool). Thereby, they work with long-term investment business models increasing private commitment. In terms of effects, the cases show that although the projects are carried out effectively and achieve high quality levels, the process efficiency lacks behind due to lengthy negotiations. In conclusion, the actors’ experiences with the private sector-led urban development projects indicate some problems including; the financial dependency on private actors, lack of financial incentives for public actors, lack of awareness of civic demands, lack of controlling public opposition, long negotiation processes, and absence of skilled public managers. Moreover, the actors indicate some crucial conditions for a private sectorled approach including; flexible general public guidelines, informal partnerships and joint working, public and private leadership roles and skills, professional attitude and long term commitment of private actors, involvement of local communities, separating public planning and development roles, handling political pressures, and favorable market circumstances. Empirical lessons, improvements and inspiration Some general conclusions from the Dutch and UK case comparison can be drawn (see Table 8.1). The influence of the project’s context in the UK seems to be higher than in the Netherlands, especially political powers and changeable policies influence projects. The organizational role division in UK projects seems to be stricter than in the Dutch projects, where public requirements sometimes are also formulated in more detail. The actor’s management in the Dutch cases is slightly less private sector-led than in the UK, where local authorities and developers are more aware of how to use management measures at their disposal. The project effects show quite some resemblance; effectiveness and spatial quality can be achieved, while efficiency remains difficult to achieve due to the negotiation culture. Here, important empirical lessons learned from cases in both countries are discussed aimed at formulating possible solutions for perceived Dutch problems. The problematic Dutch ‘we against them relationship’ between actors in the UK is handled by a close collaboration. Developers organize regular informative and interactive design meetings with local authorities, sharing ideas in a ‘joint-up working’ atmosphere. The lack of public role consistency in the UK is resolved by local authorities that develop a clear schedule of spatial requirements which provides certainty. Moreover, room for negotiations allows for the flexibility to react on changed circumstances. The thin line between judgment and control of plans is not commonly recognized in the UK cases. Local authorities tend to respect that developers need room to carry out development activities on their own professional insights, and merely control if developers deliver ‘product specifications’ in time and to agreed conditions. The commitment and competencies of public project managers are also mentioned as crucial factors in the UK. It involves managers connecting the project to the political and civic environment, and leaders committing themselves to project support through communication with local communities. The lack of public management seems to be a Dutch perceived difficulty as UK local authorities do not apply active land development policies and ‘hard’ management resources. Therefore, they influence development with both more consciously applied legal tools and ‘soft’ management skills such as negotiating. Recommended improvements mentioned by Dutch practitioners here are mirrored to possible support from the UK cases. The Dutch recommendation to cooperate in pre-development stages to create public project support and commitment finds support in the UK. Hence, despite a formal division of public and private responsibilities, in practice a lot of informal public-private interaction and collaboration takes place and seems necessary. Striving for public role consistency also is an appreciated value by developers in the UK. Working on the principle of ‘agreement is agreement’ creates certainty for developers, and less resistance and willingness to cooperate once highly relevant public issues are put on the table. Establishing clear process agreements with moments of control or discussion in the UK are handled with evaluation moments aimed at judging output, and planned meetings aimed at creating a dialogue about new insights. Connecting planning and development processes in the UK is handled by a municipal team consisting of political leaders and project managers that align development processes with administrative planning processes. A clear communication plan to involve local communities and businesses in the UK is handled by developers which involve relevant stakeholders in the decision-making process prior to planning applications for support and process efficiency. Finding public opportunities to influence development other than land and capital in the UK is handled through the use of several public planning tools and publicprivate negotiations. The UK cases also provided various inspirational lessons for the Netherlands. First, the construction and application of a public ‘management toolbox’ consisting of various planning tools that shape, stimulate, regulate and activate the market could assist local authorities to view management more integratively and use existing instruments more consciously. Second, choosing a private development partner with professional expertise, track record and local knowledge, instead of an economically lucrative private tender offer for private sector-led urban development projects, has the advantage of creating a cooperative relationship. The reason for this is that flexible development concepts rather than fixed development plans are indicators of a cooperative attitude of a developer. Third, enabling partnership agreements between public, private and civic actors aimed at creating wide support and long-term commitment by expressing development intentions assists pulling together development resources from both investors and central government. Fourth, privately-owned public space based on a land lease agreement containing public space conditions creates several financial advantages. For local authorities it eliminates public maintenance costs, and for private actors the operation of the area and maintaining high quality standards can be beneficial for real estate sales and returns. Fifth, the value increase-oriented investment model of a long-term private development investor rather than a short-term project-oriented developer with a trade-off model between time, costs and quality has advantages. Large amounts of upfront investment can more easily be financed as high quality environments and properties increase the area’s competitive position and investment returns. Sixth, local authorities can establish partnerships that actively apply for public funding alternatives such as lottery funds. Such funds secure the development of public functions and create interest for commercial actors to invest, which can result possibilities to negotiate development packages which can results in a planning gain for public actors. Seventh, public and private leadership styles on different organizational levels for inner-city development projects result in more efficient processes. Appointing strategictactical operating political leaders and private firm directors and tactical-operational public and private project leaders streamlines internal and external communication and shared project commitment and support. Finally, the UK shows that a private sector-led approach can successfully be applied to complex inner-city developments. Despite the complex social and political character, fragmented land ownership situation, and high remediation costs UK developers can deliver such projects succesfully. Conditions seem a professionally skilled and financially empowered developer, and active local authorities that facilitate market initiatives. The likelihood of transfer of the inspirational UK lessons depends on some Dutch institutional characteristics (economics & politics, governance culture, planning system and policies). However, most lessons are context-independent and thus can be applied in the Dutch urban development practice. But, Table 8.2 also shows some institutional context-dependent features that limit the transfer of UK findings to the Netherlands. This includes the general short-term scope of Dutch developers and the general wish from municipalities to hold ‘control’ over development projects. Reflections on safeguarding public interests & alternative financing instruments The epilogue contains conceptual reflections about alternative ways for safeguarding public interests and private financing instruments in line with the current social-economic climate. These reflections are not based on research findings but on an additional literature review that provides food for thought for public and private actors in urban development. Hence, safeguarding public interests is an important concern for public actors, especially in market-oriented planning and private sector-led urban development projects. In our pluralistic society it has become impossible for one actor to determine the public interest in all occasions. In line with societal development it would not only be socially-coherent for governments to engage private and civic actors in safeguarding public interests, but even a social necessity. Consciously applying different public interest safeguarding strategies based on both hierarchical, market and network mechanisms (De Bruijn & Dicke, 2006) provide this opportunity. By using a combination of legitimized hierarchical mechanisms, competitionoriented market mechanisms, and inter-action oriented network mechanisms, public values become institutionalized in private and civic sectors. Then, the role of public planning institutions in safeguarding increasing economic values, social cohesion and public health is to use both legitimate planning tools and accountable planning activities. It enables other actors to become both more responsible for and involved in their own built environment. In market-oriented planning and private sector-led urban projects, safeguarding public interest instruments include non-negotiable general planning standards which secure basic needs of civilians, and negotiable development conditions which create involvement of other actors. Non-negotiable safeguarding instruments include; public tender requirements, land use plans, planning permissions and financial claims. Negotiable safeguarding instruments include; contractual conditions, competitive dialogues, spatial quality plans, developer contributions, development incentives, performance indicators, and ownership (see Figure 10.2). The reliance of private investment in private sector-led urban development projects asks for exploring alternative financing instruments for urban projects with less reliance on credit capital. This is a crucial subject being the result of the effect the current economic situation has on the land and property market. Hence, it is widely acknowledged that in many development practices around the globe property investment for urban development has changed radically as a result of the international credit crisis and economic downturn (Parkinson et al., 2009). ‘New financial models’ have the attention of several Dutch practitioners (e.g. Van Rooy, 2011) and academics (e.g. Van der Krabben, 2011b). In the current Dutch urban development practice, one notices an increased interest in demand-driven development strategies promoting; bottom-up development initiatives, value-oriented investment strategies, and de-risked phasing of development, which potentially increase the feasibility of urban projects. A literature review indicates promising alternative financing instruments for Dutch urban development practice and private sector-led urban development projects, including; Tax Increment Financing, Temporary Development/Investment Grants, Lottery Funds, DBFM/ Concession Light, Crowd Funding, Urban Development Trusts, Business Improvement Districts, and Urban Reparcelling. These instruments have different features such as investment source, development incentives, organizational requirements and object conditions, which need to be taken into account by public and private actors once applied (see Table 10.3).

Central to this research lays the concept of private sector-led urban development projects (Heurkens, 2010). Such projects involve project developers taking a leading role and local authorities adopting a facilitating role, in managing the development of an urban area, based on a clear public-private role division. Such a development strategy is quite common in Anglo-Saxon urban development practices, but is less known in Continental European practices. Nonetheless, since the beginning of the millennium such a development strategy also occurred in the Netherlands in the form of ‘concessions’. However, remarkably little empirical knowledge is available about how public and private actors collaborate on and manage private sector-led urban development projects. Moreover, it remains unclear what the effects of such projects are. This dissertation provides an understanding of the various characteristics of private sector-led urban development projects by conducting empirical case study research in the institutional contexts of the Netherlands and the UK. The research provides an answer to the following research question: What can we learn from private sector-led urban development projects in the Netherlands and UK in terms of the collaborative and managerial roles of public and private actors, and the effects of their (inter)actions? Indications for a market-oriented Dutch urban development practice Urban development practice in the Netherlands has been subject to changes pointing towards more private sector involvement in the built environment in the past decades. Although the current economic recession might indicate otherwise, there are several motives that indicate a continuation of private sector involvement and a private leadership role in Dutch urban development projects in the future. First, a shift towards more market-oriented development practice is the result of an evolutionary process of increased ‘neoliberalization’ and the adoption of Anglo-Saxon principles in Dutch society. Despite its Rhineland roots with a focus on welfare provision, in the Netherlands several neoliberal principles (privatization, decentralization, deregulation) have been adopted by government and incorporated in the management of organizations (Bakker et al., 2005). Hence, market institutionalization on the one hand, and rising civic emancipation on the other, in current Western societies prevents a return towards hierarchical governance. Second, the result of such changes is the emergence of a market-oriented type of planning practice based on the concept of ‘development planning’. Public-Private Partnerships and the ‘forward integration’ of market parties (De Zeeuw, 2007) enforce the role of market actors. In historical perspective, Boelens et al. (2006) argue that Dutch spatial planning always has been characterized by public-private collaborations in which governments facilitated private and civic entrepreneurship. Therefore, post-war public-led spatial planning with necessary government intervention was a ‘temporary hiccup’, an exception to the rule. Third, the European Commission expresses concerns about the hybrid role of public actors in Dutch institutionalized PPP joint ventures. EU legislation opts for formal public-private role divisions in realizing urban projects based on Anglo-Saxon law that comply with the legislative tendering principles of competition, transparency, equality, and public legitimacy. Fourth, experiences with joint ventures in the Netherlands are less positive as often is advocated. Such institutionalized public-private entities have seldom generated the assumed added value, caused by misconceptions about the objectives of both partners grounded in incompatible value systems. This results in contra-productive levels of distrust, time-consuming partnership formations, lack of transparency, and compromising decision-making processes (Teisman & Klijn, 2002), providing a need for other forms of collaboration. Finally, current financial retrenchments in the public sector and debates about the possible abundance of Dutch active land development policies point towards a lean and mean government that moves away from risk-bearing participation and investment in urban projects and leaves this to the market. Importantly, Van der Krabben (2011b) argues that the Dutch active public land development policies can be considered as an international exception, and advocates for facilitating land development policies. In this light, it becomes highly relevant to study private sector-led urban development as a future Dutch urban development strategy. Integrative urban management approach This research is rooted in the research school of Urban Area Development within the Department of Real Estate and Housing at the Faculty of Architecture (Delft University of Technology). It is a relatively young academic domain which views urban development most profoundly as a complex management assignment (Bruil et al., 2004; Franzen et al., 2011). This academic school uses an integrative perspective with a strong practice-orientation and carries out solution-oriented design research. Here, the integration involves bridging various actor interests, spatial functions, spatial scales, academic domains, knowledge and skills, development goals, and links process with content aspects. Such a perspective does justice to complex societal processes. Therefore it provides a fruitful ground for studying urban development aimed at developing conceptual knowledge and product for science and practice. Such integrative perspective and practice-orientation forms the basis of this research and has been applied in the following manner. In order to create an understanding of the roles of public and private actors in private sector-led urban development, this research takes a management perspective based on an integrative management approach. This involves viewing management more broadly as ‘any type of direct influencing’ urban development projects, and therefore aims at bridging often separated management theories (Osborne, 2000a). Hence, an integrative management approach assists in both understanding urban development practices and projects and constructing useful conceptual tools for practitioners and academics. Integrative approaches attempt to combine a number of different elements into a more holistic management approach (Black & Porter, 2000). Importantly, it does not view the management of projects in isolation but in its entire complexity and dynamics. Therefore, our management approach combines two integrative management theories; the open systems theory (De Leeuw, 2002) and contingency theory. The former provides opportunities to study the management of a project in a structured manner. The latter emphasizes that there is no universally effective way of managing and recognizes the importance of contextual circumstances. Hence, an integrative management approach favors incorporating theories from multiple academic domains such as political science, economics, law, business administration, and organizational and management concepts. Hence, it moves away from the classical academic division between planning theory and property theory, and organization and management theories. It positions itself in between such academic domains, and aims at bridging theoretical viewpoints by following the concept of planning ánd markets (Alexander, 2001) rather than concepts such as ‘planning versus markets’, public versus private sector, and organization versus management. Also, such an integrative view values the complexity and dynamics of empirical urban development practices. More specifically, this research studies urban development projects as object, as urban areas are the focus point of spatial intervention and public-private interaction (Daamen, 2010), and thus collaboration and management. Here, public planning processes and private development processes merge with each other. Thus, our research continues to build upon the importance of studying and reflecting on empirical practices and projects (e.g. Healey, 2006). In addition to these authors, this research does so by using meaningful integrative concepts that reflect empirical realities of urban projects. Thereby, this research serves to bridge management sciences with management practices (Van Aken, 2004; Mintzberg, 2010) through iterative processes of reflecting on science and practice. Moreover, the integrative management approach applied in this research assists in filling an academic gap, namely the lack of management knowledge about public-private interaction in urban development projects. Despite the vast amount of literature on the governance of planning practices (e.g. DiGaetano & Strom, 2003), and Public-Private Partnerships (e.g. Osborne, 2000b), remarkable little knowledge exists about what shifting public-private relationships mean for day-to-day management by public and private actors in development projects. Hence, here we follow the main argument made by public administration scholar Klijn (2008) who claims that it is such direct actor influence that brings about the most significant change to the built environment. An integrative urban management model (see Figure 2.3) based on the open systems approach has been constructed which forms a conceptual representation of empirical private sectorled urban development projects. This model serves as an analytical tool to comprehend the complexity of managing such projects. In this research, several theoretical insights about publicprivate relations and roles are used to understand different contextual and organizational factors that affect the management of private sector-led urban development projects. Hence, a project context exists within different often country-specific institutional environments (e.g. the Netherlands and UK). In this research, contextual aspects that to a degree determine the way public and private actors inter-organize urban projects, consist of economics & politics, governance cultures, and planning systems and policies. Hence, institutional values are deeply rooted in social welfare models (Nadin & Stead, 2008). For instance, the differences between Anglo-Saxon and Rhineland model principles also determine public-private relationships. However, the process of neoliberalization (Hackworth, 2007) and subsequent adaptation of neoliberal political ideologies (Harvey, 2005) has created quite similar governance arrangements in Western countries. Nevertheless, institutional rules incorporated in planning systems, laws and policies often remain country-specific. But, market-oriented planning, involving ‘planners as market actors’ (Adams & Tiesdell, 2010) intervening and operating within market systems, have become the most commonly shared feature of contemporary Western urban development practices (Carmona et al., 2009). In this research, the project organization focuses on institutional aspects and interorganizational arrangements that structure Public-Private Partnerships (Bult-Spiering & Dewulf, 2002). It involves studying organizational tasks and responsibilities, financial risks and revenues, and legal rules and requirements. Inter-organizational arrangements condition the way public and private actors manage projects. Hence, such arrangements can be placed on a public-private spectrum (Börzel & Risse, 2002) which indicates different power relations in terms of public and private autonomy and dominance (Savitch, 1997) in making planning decisions. These public-private power relations are reflected in different Public-Private Partnership arrangements (Bennet et al., 2000) in urban development projects. As a result, in some contexts these partnerships arrangements are formalized into organizational vehicles or legal contracts, in others there is an emphasis on informal partnerships and interaction. The lack of management knowledge on private sector-led urban development projects, and our view of management as any type of direct influencing, results in constructing a conceptual public-private urban management model (see Figure SUM.1). This model is based on both theoretical concepts and empirical reflection. In this research, the management of project processes by public and private actors contains applying both management activities and instruments. Project management (Wijnen et al., 2004) includes development stage-oriented initiating, designing, planning, and operating activities. Process management (Teisman, 2003) includes interaction-oriented negotiating, decision-making, and communicating activities. Management tools consist of legal-oriented shaping, regulating, stimulating, and capacity building planning tools (Adams et al., 2004). And management resources consist of crucial necessities (Burie, 1978) for realizing urban projects like land, capital and knowledge. In essence, all these management measures can be applied by public and private actors to influence (private sector-led) urban development projects. These management measures can be used by actors to reach project effects. In this research, project effects are perceived as judgment criteria for indicating the success of the management of private sector-led urban development projects. They consist of cooperation effectiveness, process efficiency, and spatial quality. Effectiveness involves the degree to which objectives are achieved and problems are resolved. Ef ficiency is the degree to which the process is considered as efficiently realizing projects within time and budget. Finally, spatial quality is the degree to which the project contributes to responding to user, experience and future values of involved actors (Hooijmeijer et al., 2001). Such process and product effects are a crucial addition to understand the results of private sector-led urban development projects. Comparative case study research using a lesson-drawing method This research systematically analyzes and compares private sector-led urban development cases in both the Netherlands and the UK in a specific methodological way. In essence, this study is an empirical comparative case study research using a lesson-drawing method. Hence, case studies allow for an empirical inquiry that investigates a contemporary phenomenon within its real life context (Yin, 2003). Such a qualitative approach is very suited for the purposes of this research as it enables revealing empirical collaborative and managerial mechanisms within private sector-led urban development projects. The reason to include studying the UK lies is the fact that it can be considered as a market-oriented development practice, from which valuable lessons can be drawn for the Netherlands. Thereby, this research places itself in a longer tradition of Dutch interests in UK planning and development (e.g. Hobma et al., 2008). Hence, this research aims at drawing lessons in the form of ‘inspiration’ from practices and projects, as opposed to the more far-reaching transplantation of spatial policies (e.g. Janssen-Jansen et al., 2008). However, in order to draw meaningful empirical lessons there is a need to indicate whether they are context-dependent or -independent. This requires systematically comparing the institutional planning practices of both countries by indicating differences and similarities between the Netherlands and the UK. Based on these methodological principles ten Dutch and two UK of private sector-led urban development cases are selected and studied. The Dutch cases focus on scope over depth aimed at sketching the phenomenon of ‘area concessions’ in both inner-city and urban fringe projects. The UK cases focus on depth over scope aimed at understanding the applicability of a private sector-led approach in complex large-scale inner-city projects. As techniques the case study research uses document reviews, semi-structured interviews, project visits, and data mapping. Comparing Dutch and UK planning and urban development practices The institutional context of urban development in the Netherlands and the UK shows some structural differences, despite the fact that such contexts are often subject to change. For instance, the Dutch planning system uses Napoleonic codified law based on a constitution with abstract law principles as rule, and a limited role of judicial power. The UK planning system is based on British common law lacking a constitution, and uses law-making-as-we-go as judges act as law-makers. In terms of spatial planning, the Netherlands is characterized by binding land use plans within a limited-imperative system based on legal certainty. Dutch spatial planning can be labelled as ‘permitted planning’ based on ‘comprehensive integrative model’ (Dühr et al., 2010) which involves hierarchically coordinated and related public sector spatial plans. UK spatial planning has no binding land use plan, places importance on material considerations based on discretionary authority and flexibility. Historically, UK’s spatial planning can be labelled as ‘development-oriented planning’ based on a ‘land use management model’ with a focus on public sector coordinated planning policies. Moreover, Dutch and UK urban development also differ in terms of public and private roles in organizing and managing development (Heurkens, 2009). In the Netherlands, local governments are active bodies using spatial plans, active land development policies and public investment to develop cities. The private sector often operates reactively and is historically focused on the physical realization of projects. In general, public-private decision-making processes are based on reaching consensus, development project coordination typically involves ‘collaboration models’, and management is focused on process as product outcomes. In the UK, local government uses relatively less regulations and investment to develop cities, thereby facilitating market parties. The development industry is a mature sector, actively initiating and investing in projects. Decision-making is characterized by negotiations, and the organization of projects is often based on a clear formal public-private role division. Despite such a generic Dutch-UK comparison being of crucial importance to this research, it does no justice to increasing similarities between European planning practices. Moreover, such institutional contexts evolve as a result of changing planning priorities in each country. For instance, some basic characteristics of the UK planning system attracted the attention of Dutch planners, including comprehensive principles for project coordination, private sector involvement and negotiations, options for the settlement of ‘planning gain’, packaging interests, development-oriented planning, and discretion for planning decisions (Spaans, 2005). Hence, such more market-oriented planning principles have become valuable and sometimes necessary mechanisms to effectively cope with an increasingly less public-led and more private sector-led Dutch urban development practice. Empirical findings from Dutch private sector-led urban development cases Urban development practice in the Netherlands since the year 2000 witnessed an increased use of the concession model. Hence, this is the Dutch definition for private sector-led urban development. It can best be characterized as a contract form between public and private parties which involves the transfer of risks, revenues, responsibilities for the plan, land and real estate development to private developers based on pre-defined set of public requirements (Gijzen, 2009). In theory (Van Rooy, 2007; Van de Klundert, 2008; Heurkens et al., 2008) this collaboration model holds promising advantages of being a more effective, efficient and transparent strategy to achieve a high quality built environment. Nonetheless, possible disadvantages like the lack of public ‘steering’, dependency of market actors and circumstances, inflexible contracts, a project management orientation, and a stern public-private relationship also are mentioned. Moreover, conditions for the application of concessions in theory involve a manageable project scale and duration, minimal political and societal complexity, and maximum freedom for private actors. Motives for choosing concessions are the lack of public labor capacity and financial development means, risk transfer to private actors, increasing private initiatives and private land ownership. Hence, in theory public and private roles in the concession model are considered as strictly separated. However, there is a lack of structural empirical understanding and evidence for such theoretical assumptions. Therefore, empirical cases in Amsterdam, The Hague, Enschede, Maassluis, Middelburg, Naaldwijk, Rotterdam, Tilburg, Utrecht, and Velsen (see Table 5.1) are carried out. This includes studying private sector-led projects in both inner-city and urban fringe locations. The main conclusions based on cross-case study findings of these ten Dutch projects are highlighted here. Notice that public-private interaction and collaboration remains of vital importance in Dutch private sector-led urban development projects. Despite the formal contractual separation of public and private tasks and responsibilities, in practice close informal cooperation can be witnessed, especially in the early development stages. Moreover, public actors do not remain as risk free as theory suggests, because unfavorable market circumstances can cause development delays affecting the living environment of inhabitants. Furthermore, it seems that constructing and using flexible public requirements with some non-negotiable rules is an effective condition for realizing public objectives during the process. In terms of management, most projects are hardly considered as solely private sector-led, as they involve a substantial amount of public management influence. For instance, project management activities include a dominant role of municipalities in initiating and operating the development. Process management activities are carried out by both actors, as they involve close public-private interactions. Management tools are mostly used by public actors to shape and regulate development with a limited conscious usage of stimulating and capacity building tools. Using the management resources land, capital and knowledge are mainly a private affair. In terms of effects, the concession model by actors is considered as an effective instrument, but not necessarily results in efficient processes. The general perception of public, private and civic actors about the project’s spatial quality level is positive. In addition, actors were asked about their cooperation experiences. Often mentioned problems include a ‘we against them relationship’, lack of public role consistency, thin line between plan judgment and control, public manager’s commitment and competency, communication with local communities, and lack of public management opportunities. Based on the empirical case studies, most conditions for applying concessions are confirmed. However, the successful inner-city development projects in Amsterdam and Enschede indicate that a private sector-led approach can also be applied to more complex urban development projects within cities. Empirical findings from UK’s private sector-led urban development cases Urban development practice in the UK often is labelled as urban regeneration. Historically, it is strongly shaped by neoliberal political ideology of the Conservative Thatcher government in the 1980s. But it also is influenced by New Labour ideologies favoring the Third Way (Giddens, 1998) aimed at aligning economic, social and environmental policies. However, as a result of these institutional characteristics, the UK is strongly shaped by the understanding that most development is undertaken by private interests or by public bodies acting very much like private interests (Nadin et al., 2008). In general, local authorities depend on initiatives and investments of property developers and investors, because public financial resources and planning powers to actively develop land are limited. As a result, development control of private developments is a concept deeply embedded in development practice. Several legal instruments such as Section 106 agreements are used to establish planning gain by asking developer contributions for public functions. Moreover, urban development in the UK has a strong informal partnership culture, and simultaneously builds upon a strict formal legal public-private role division. These UK urban development practice characteristics provide valid reasons to study private sector-led urban development projects in more detail. The empirical cases of private sector-led urban development projects in the UK are Bristol Harbourside and Liverpool One. They represent mid-2000s strategic inner-city developments with a mixed-use functional program, and therefore possible high complexity. As such, they are relevant urban projects for drawing lessons for the Netherlands. The main conclusions based on cross-case study findings of the UK projects are discussed here. The case contexts show that politics and the often changeable nature of planning policies can have a major influence on the organization and management of development projects. Hence, strong and effective political leadership is considered as a crucial success factor. Changing policies result in re-establishing development conditions resulting in new publicprivate negotiations. In terms of organization, the cases indeed show that local authorities do not take on development risks. Moreover, revenue sharing with private actors is absent or limited to what the actors agree upon in development packages. Furthermore, local authorities encourage all kinds of partnerships with other public, private or civic stakeholders in order to generate development support and raise funds. In terms of management, local authorities use different management measures to influence projects. The cases indicate that public actors are able to influence private sector-led developments and thereby achieve public planning objectives. Importantly, public actors use all kinds of managing tools to shape and stimulate development; they do not limit themselves to regulation but also build capacity for development. However, the largest share of managing the project takes place on behalf of project developers. Private actors manage projects from initial design towards even public space operation (Liverpool). Thereby, they work with long-term investment business models increasing private commitment. In terms of effects, the cases show that although the projects are carried out effectively and achieve high quality levels, the process efficiency lacks behind due to lengthy negotiations. In conclusion, the actors’ experiences with the private sector-led urban development projects indicate some problems including; the financial dependency on private actors, lack of financial incentives for public actors, lack of awareness of civic demands, lack of controlling public opposition, long negotiation processes, and absence of skilled public managers. Moreover, the actors indicate some crucial conditions for a private sectorled approach including; flexible general public guidelines, informal partnerships and joint working, public and private leadership roles and skills, professional attitude and long term commitment of private actors, involvement of local communities, separating public planning and development roles, handling political pressures, and favorable market circumstances. Empirical lessons, improvements and inspiration Some general conclusions from the Dutch and UK case comparison can be drawn (see Table 8.1). The influence of the project’s context in the UK seems to be higher than in the Netherlands, especially political powers and changeable policies influence projects. The organizational role division in UK projects seems to be stricter than in the Dutch projects, where public requirements sometimes are also formulated in more detail. The actor’s management in the Dutch cases is slightly less private sector-led than in the UK, where local authorities and developers are more aware of how to use management measures at their disposal. The project effects show quite some resemblance; effectiveness and spatial quality can be achieved, while efficiency remains difficult to achieve due to the negotiation culture. Here, important empirical lessons learned from cases in both countries are discussed aimed at formulating possible solutions for perceived Dutch problems. The problematic Dutch ‘we against them relationship’ between actors in the UK is handled by a close collaboration. Developers organize regular informative and interactive design meetings with local authorities, sharing ideas in a ‘joint-up working’ atmosphere. The lack of public role consistency in the UK is resolved by local authorities that develop a clear schedule of spatial requirements which provides certainty. Moreover, room for negotiations allows for the flexibility to react on changed circumstances. The thin line between judgment and control of plans is not commonly recognized in the UK cases. Local authorities tend to respect that developers need room to carry out development activities on their own professional insights, and merely control if developers deliver ‘product specifications’ in time and to agreed conditions. The commitment and competencies of public project managers are also mentioned as crucial factors in the UK. It involves managers connecting the project to the political and civic environment, and leaders committing themselves to project support through communication with local communities. The lack of public management seems to be a Dutch perceived difficulty as UK local authorities do not apply active land development policies and ‘hard’ management resources. Therefore, they influence development with both more consciously applied legal tools and ‘soft’ management skills such as negotiating. Recommended improvements mentioned by Dutch practitioners here are mirrored to possible support from the UK cases. The Dutch recommendation to cooperate in pre-development stages to create public project support and commitment finds support in the UK. Hence, despite a formal division of public and private responsibilities, in practice a lot of informal public-private interaction and collaboration takes place and seems necessary. Striving for public role consistency also is an appreciated value by developers in the UK. Working on the principle of ‘agreement is agreement’ creates certainty for developers, and less resistance and willingness to cooperate once highly relevant public issues are put on the table. Establishing clear process agreements with moments of control or discussion in the UK are handled with evaluation moments aimed at judging output, and planned meetings aimed at creating a dialogue about new insights. Connecting planning and development processes in the UK is handled by a municipal team consisting of political leaders and project managers that align development processes with administrative planning processes. A clear communication plan to involve local communities and businesses in the UK is handled by developers which involve relevant stakeholders in the decision-making process prior to planning applications for support and process efficiency. Finding public opportunities to influence development other than land and capital in the UK is handled through the use of several public planning tools and publicprivate negotiations. The UK cases also provided various inspirational lessons for the Netherlands. First, the construction and application of a public ‘management toolbox’ consisting of various planning tools that shape, stimulate, regulate and activate the market could assist local authorities to view management more integratively and use existing instruments more consciously. Second, choosing a private development partner with professional expertise, track record and local knowledge, instead of an economically lucrative private tender offer for private sector-led urban development projects, has the advantage of creating a cooperative relationship. The reason for this is that flexible development concepts rather than fixed development plans are indicators of a cooperative attitude of a developer. Third, enabling partnership agreements between public, private and civic actors aimed at creating wide support and long-term commitment by expressing development intentions assists pulling together development resources from both investors and central government. Fourth, privately-owned public space based on a land lease agreement containing public space conditions creates several financial advantages. For local authorities it eliminates public maintenance costs, and for private actors the operation of the area and maintaining high quality standards can be beneficial for real estate sales and returns. Fifth, the value increase-oriented investment model of a long-term private development investor rather than a short-term project-oriented developer with a trade-off model between time, costs and quality has advantages. Large amounts of upfront investment can more easily be financed as high quality environments and properties increase the area’s competitive position and investment returns. Sixth, local authorities can establish partnerships that actively apply for public funding alternatives such as lottery funds. Such funds secure the development of public functions and create interest for commercial actors to invest, which can result possibilities to negotiate development packages which can results in a planning gain for public actors. Seventh, public and private leadership styles on different organizational levels for inner-city development projects result in more efficient processes. Appointing strategictactical operating political leaders and private firm directors and tactical-operational public and private project leaders streamlines internal and external communication and shared project commitment and support. Finally, the UK shows that a private sector-led approach can successfully be applied to complex inner-city developments. Despite the complex social and political character, fragmented land ownership situation, and high remediation costs UK developers can deliver such projects succesfully. Conditions seem a professionally skilled and financially empowered developer, and active local authorities that facilitate market initiatives. The likelihood of transfer of the inspirational UK lessons depends on some Dutch institutional characteristics (economics & politics, governance culture, planning system and policies). However, most lessons are context-independent and thus can be applied in the Dutch urban development practice. But, Table 8.2 also shows some institutional context-dependent features that limit the transfer of UK findings to the Netherlands. This includes the general short-term scope of Dutch developers and the general wish from municipalities to hold ‘control’ over development projects. Reflections on safeguarding public interests & alternative financing instruments The epilogue contains conceptual reflections about alternative ways for safeguarding public interests and private financing instruments in line with the current social-economic climate. These reflections are not based on research findings but on an additional literature review that provides food for thought for public and private actors in urban development. Hence, safeguarding public interests is an important concern for public actors, especially in market-oriented planning and private sector-led urban development projects. In our pluralistic society it has become impossible for one actor to determine the public interest in all occasions. In line with societal development it would not only be socially-coherent for governments to engage private and civic actors in safeguarding public interests, but even a social necessity. Consciously applying different public interest safeguarding strategies based on both hierarchical, market and network mechanisms (De Bruijn & Dicke, 2006) provide this opportunity. By using a combination of legitimized hierarchical mechanisms, competitionoriented market mechanisms, and inter-action oriented network mechanisms, public values become institutionalized in private and civic sectors. Then, the role of public planning institutions in safeguarding increasing economic values, social cohesion and public health is to use both legitimate planning tools and accountable planning activities. It enables other actors to become both more responsible for and involved in their own built environment. In market-oriented planning and private sector-led urban projects, safeguarding public interest instruments include non-negotiable general planning standards which secure basic needs of civilians, and negotiable development conditions which create involvement of other actors. Non-negotiable safeguarding instruments include; public tender requirements, land use plans, planning permissions and financial claims. Negotiable safeguarding instruments include; contractual conditions, competitive dialogues, spatial quality plans, developer contributions, development incentives, performance indicators, and ownership (see Figure 10.2). The reliance of private investment in private sector-led urban development projects asks for exploring alternative financing instruments for urban projects with less reliance on credit capital. This is a crucial subject being the result of the effect the current economic situation has on the land and property market. Hence, it is widely acknowledged that in many development practices around the globe property investment for urban development has changed radically as a result of the international credit crisis and economic downturn (Parkinson et al., 2009). ‘New financial models’ have the attention of several Dutch practitioners (e.g. Van Rooy, 2011) and academics (e.g. Van der Krabben, 2011b). In the current Dutch urban development practice, one notices an increased interest in demand-driven development strategies promoting; bottom-up development initiatives, value-oriented investment strategies, and de-risked phasing of development, which potentially increase the feasibility of urban projects. A literature review indicates promising alternative financing instruments for Dutch urban development practice and private sector-led urban development projects, including; Tax Increment Financing, Temporary Development/Investment Grants, Lottery Funds, DBFM/ Concession Light, Crowd Funding, Urban Development Trusts, Business Improvement Districts, and Urban Reparcelling. These instruments have different features such as investment source, development incentives, organizational requirements and object conditions, which need to be taken into account by public and private actors once applied (see Table 10.3).

Central to this research lays the concept of private sector-led urban development projects (Heurkens, 2010). Such projects involve project developers taking a leading role and local authorities adopting a facilitating role, in managing the development of an urban area, based on a clear public-private role division. Such a development strategy is quite common in Anglo-Saxon urban development practices, but is less known in Continental European practices. Nonetheless, since the beginning of the millennium such a development strategy also occurred in the Netherlands in the form of ‘concessions’. However, remarkably little empirical knowledge is available about how public and private actors collaborate on and manage private sector-led urban development projects. Moreover, it remains unclear what the effects of such projects are. This dissertation provides an understanding of the various characteristics of private sector-led urban development projects by conducting empirical case study research in the institutional contexts of the Netherlands and the UK. The research provides an answer to the following research question: What can we learn from private sector-led urban development projects in the Netherlands and UK in terms of the collaborative and managerial roles of public and private actors, and the effects of their (inter)actions? Indications for a market-oriented Dutch urban development practice Urban development practice in the Netherlands has been subject to changes pointing towards more private sector involvement in the built environment in the past decades. Although the current economic recession might indicate otherwise, there are several motives that indicate a continuation of private sector involvement and a private leadership role in Dutch urban development projects in the future. First, a shift towards more market-oriented development practice is the result of an evolutionary process of increased ‘neoliberalization’ and the adoption of Anglo-Saxon principles in Dutch society. Despite its Rhineland roots with a focus on welfare provision, in the Netherlands several neoliberal principles (privatization, decentralization, deregulation) have been adopted by government and incorporated in the management of organizations (Bakker et al., 2005). Hence, market institutionalization on the one hand, and rising civic emancipation on the other, in current Western societies prevents a return towards hierarchical governance. Second, the result of such changes is the emergence of a market-oriented type of planning practice based on the concept of ‘development planning’. Public-Private Partnerships and the ‘forward integration’ of market parties (De Zeeuw, 2007) enforce the role of market actors. In historical perspective, Boelens et al. (2006) argue that Dutch spatial planning always has been characterized by public-private collaborations in which governments facilitated private and civic entrepreneurship. Therefore, post-war public-led spatial planning with necessary government intervention was a ‘temporary hiccup’, an exception to the rule. Third, the European Commission expresses concerns about the hybrid role of public actors in Dutch institutionalized PPP joint ventures. EU legislation opts for formal public-private role divisions in realizing urban projects based on Anglo-Saxon law that comply with the legislative tendering principles of competition, transparency, equality, and public legitimacy. Fourth, experiences with joint ventures in the Netherlands are less positive as often is advocated. Such institutionalized public-private entities have seldom generated the assumed added value, caused by misconceptions about the objectives of both partners grounded in incompatible value systems. This results in contra-productive levels of distrust, time-consuming partnership formations, lack of transparency, and compromising decision-making processes (Teisman & Klijn, 2002), providing a need for other forms of collaboration. Finally, current financial retrenchments in the public sector and debates about the possible abundance of Dutch active land development policies point towards a lean and mean government that moves away from risk-bearing participation and investment in urban projects and leaves this to the market. Importantly, Van der Krabben (2011b) argues that the Dutch active public land development policies can be considered as an international exception, and advocates for facilitating land development policies. In this light, it becomes highly relevant to study private sector-led urban development as a future Dutch urban development strategy. Integrative urban management approach This research is rooted in the research school of Urban Area Development within the Department of Real Estate and Housing at the Faculty of Architecture (Delft University of Technology). It is a relatively young academic domain which views urban development most profoundly as a complex management assignment (Bruil et al., 2004; Franzen et al., 2011). This academic school uses an integrative perspective with a strong practice-orientation and carries out solution-oriented design research. Here, the integration involves bridging various actor interests, spatial functions, spatial scales, academic domains, knowledge and skills, development goals, and links process with content aspects. Such a perspective does justice to complex societal processes. Therefore it provides a fruitful ground for studying urban development aimed at developing conceptual knowledge and product for science and practice. Such integrative perspective and practice-orientation forms the basis of this research and has been applied in the following manner. In order to create an understanding of the roles of public and private actors in private sector-led urban development, this research takes a management perspective based on an integrative management approach. This involves viewing management more broadly as ‘any type of direct influencing’ urban development projects, and therefore aims at bridging often separated management theories (Osborne, 2000a). Hence, an integrative management approach assists in both understanding urban development practices and projects and constructing useful conceptual tools for practitioners and academics. Integrative approaches attempt to combine a number of different elements into a more holistic management approach (Black & Porter, 2000). Importantly, it does not view the management of projects in isolation but in its entire complexity and dynamics. Therefore, our management approach combines two integrative management theories; the open systems theory (De Leeuw, 2002) and contingency theory. The former provides opportunities to study the management of a project in a structured manner. The latter emphasizes that there is no universally effective way of managing and recognizes the importance of contextual circumstances. Hence, an integrative management approach favors incorporating theories from multiple academic domains such as political science, economics, law, business administration, and organizational and management concepts. Hence, it moves away from the classical academic division between planning theory and property theory, and organization and management theories. It positions itself in between such academic domains, and aims at bridging theoretical viewpoints by following the concept of planning ánd markets (Alexander, 2001) rather than concepts such as ‘planning versus markets’, public versus private sector, and organization versus management. Also, such an integrative view values the complexity and dynamics of empirical urban development practices. More specifically, this research studies urban development projects as object, as urban areas are the focus point of spatial intervention and public-private interaction (Daamen, 2010), and thus collaboration and management. Here, public planning processes and private development processes merge with each other. Thus, our research continues to build upon the importance of studying and reflecting on empirical practices and projects (e.g. Healey, 2006). In addition to these authors, this research does so by using meaningful integrative concepts that reflect empirical realities of urban projects. Thereby, this research serves to bridge management sciences with management practices (Van Aken, 2004; Mintzberg, 2010) through iterative processes of reflecting on science and practice. Moreover, the integrative management approach applied in this research assists in filling an academic gap, namely the lack of management knowledge about public-private interaction in urban development projects. Despite the vast amount of literature on the governance of planning practices (e.g. DiGaetano & Strom, 2003), and Public-Private Partnerships (e.g. Osborne, 2000b), remarkable little knowledge exists about what shifting public-private relationships mean for day-to-day management by public and private actors in development projects. Hence, here we follow the main argument made by public administration scholar Klijn (2008) who claims that it is such direct actor influence that brings about the most significant change to the built environment. An integrative urban management model (see Figure 2.3) based on the open systems approach has been constructed which forms a conceptual representation of empirical private sectorled urban development projects. This model serves as an analytical tool to comprehend the complexity of managing such projects. In this research, several theoretical insights about publicprivate relations and roles are used to understand different contextual and organizational factors that affect the management of private sector-led urban development projects. Hence, a project context exists within different often country-specific institutional environments (e.g. the Netherlands and UK). In this research, contextual aspects that to a degree determine the way public and private actors inter-organize urban projects, consist of economics & politics, governance cultures, and planning systems and policies. Hence, institutional values are deeply rooted in social welfare models (Nadin & Stead, 2008). For instance, the differences between Anglo-Saxon and Rhineland model principles also determine public-private relationships. However, the process of neoliberalization (Hackworth, 2007) and subsequent adaptation of neoliberal political ideologies (Harvey, 2005) has created quite similar governance arrangements in Western countries. Nevertheless, institutional rules incorporated in planning systems, laws and policies often remain country-specific. But, market-oriented planning, involving ‘planners as market actors’ (Adams & Tiesdell, 2010) intervening and operating within market systems, have become the most commonly shared feature of contemporary Western urban development practices (Carmona et al., 2009). In this research, the project organization focuses on institutional aspects and interorganizational arrangements that structure Public-Private Partnerships (Bult-Spiering & Dewulf, 2002). It involves studying organizational tasks and responsibilities, financial risks and revenues, and legal rules and requirements. Inter-organizational arrangements condition the way public and private actors manage projects. Hence, such arrangements can be placed on a public-private spectrum (Börzel & Risse, 2002) which indicates different power relations in terms of public and private autonomy and dominance (Savitch, 1997) in making planning decisions. These public-private power relations are reflected in different Public-Private Partnership arrangements (Bennet et al., 2000) in urban development projects. As a result, in some contexts these partnerships arrangements are formalized into organizational vehicles or legal contracts, in others there is an emphasis on informal partnerships and interaction. The lack of management knowledge on private sector-led urban development projects, and our view of management as any type of direct influencing, results in constructing a conceptual public-private urban management model (see Figure SUM.1). This model is based on both theoretical concepts and empirical reflection. In this research, the management of project processes by public and private actors contains applying both management activities and instruments. Project management (Wijnen et al., 2004) includes development stage-oriented initiating, designing, planning, and operating activities. Process management (Teisman, 2003) includes interaction-oriented negotiating, decision-making, and communicating activities. Management tools consist of legal-oriented shaping, regulating, stimulating, and capacity building planning tools (Adams et al., 2004). And management resources consist of crucial necessities (Burie, 1978) for realizing urban projects like land, capital and knowledge. In essence, all these management measures can be applied by public and private actors to influence (private sector-led) urban development projects. These management measures can be used by actors to reach project effects. In this research, project effects are perceived as judgment criteria for indicating the success of the management of private sector-led urban development projects. They consist of cooperation effectiveness, process efficiency, and spatial quality. Effectiveness involves the degree to which objectives are achieved and problems are resolved. Ef ficiency is the degree to which the process is considered as efficiently realizing projects within time and budget. Finally, spatial quality is the degree to which the project contributes to responding to user, experience and future values of involved actors (Hooijmeijer et al., 2001). Such process and product effects are a crucial addition to understand the results of private sector-led urban development projects. Comparative case study research using a lesson-drawing method This research systematically analyzes and compares private sector-led urban development cases in both the Netherlands and the UK in a specific methodological way. In essence, this study is an empirical comparative case study research using a lesson-drawing method. Hence, case studies allow for an empirical inquiry that investigates a contemporary phenomenon within its real life context (Yin, 2003). Such a qualitative approach is very suited for the purposes of this research as it enables revealing empirical collaborative and managerial mechanisms within private sector-led urban development projects. The reason to include studying the UK lies is the fact that it can be considered as a market-oriented development practice, from which valuable lessons can be drawn for the Netherlands. Thereby, this research places itself in a longer tradition of Dutch interests in UK planning and development (e.g. Hobma et al., 2008). Hence, this research aims at drawing lessons in the form of ‘inspiration’ from practices and projects, as opposed to the more far-reaching transplantation of spatial policies (e.g. Janssen-Jansen et al., 2008). However, in order to draw meaningful empirical lessons there is a need to indicate whether they are context-dependent or -independent. This requires systematically comparing the institutional planning practices of both countries by indicating differences and similarities between the Netherlands and the UK. Based on these methodological principles ten Dutch and two UK of private sector-led urban development cases are selected and studied. The Dutch cases focus on scope over depth aimed at sketching the phenomenon of ‘area concessions’ in both inner-city and urban fringe projects. The UK cases focus on depth over scope aimed at understanding the applicability of a private sector-led approach in complex large-scale inner-city projects. As techniques the case study research uses document reviews, semi-structured interviews, project visits, and data mapping. Comparing Dutch and UK planning and urban development practices The institutional context of urban development in the Netherlands and the UK shows some structural differences, despite the fact that such contexts are often subject to change. For instance, the Dutch planning system uses Napoleonic codified law based on a constitution with abstract law principles as rule, and a limited role of judicial power. The UK planning system is based on British common law lacking a constitution, and uses law-making-as-we-go as judges act as law-makers. In terms of spatial planning, the Netherlands is characterized by binding land use plans within a limited-imperative system based on legal certainty. Dutch spatial planning can be labelled as ‘permitted planning’ based on ‘comprehensive integrative model’ (Dühr et al., 2010) which involves hierarchically coordinated and related public sector spatial plans. UK spatial planning has no binding land use plan, places importance on material considerations based on discretionary authority and flexibility. Historically, UK’s spatial planning can be labelled as ‘development-oriented planning’ based on a ‘land use management model’ with a focus on public sector coordinated planning policies. Moreover, Dutch and UK urban development also differ in terms of public and private roles in organizing and managing development (Heurkens, 2009). In the Netherlands, local governments are active bodies using spatial plans, active land development policies and public investment to develop cities. The private sector often operates reactively and is historically focused on the physical realization of projects. In general, public-private decision-making processes are based on reaching consensus, development project coordination typically involves ‘collaboration models’, and management is focused on process as product outcomes. In the UK, local government uses relatively less regulations and investment to develop cities, thereby facilitating market parties. The development industry is a mature sector, actively initiating and investing in projects. Decision-making is characterized by negotiations, and the organization of projects is often based on a clear formal public-private role division. Despite such a generic Dutch-UK comparison being of crucial importance to this research, it does no justice to increasing similarities between European planning practices. Moreover, such institutional contexts evolve as a result of changing planning priorities in each country. For instance, some basic characteristics of the UK planning system attracted the attention of Dutch planners, including comprehensive principles for project coordination, private sector involvement and negotiations, options for the settlement of ‘planning gain’, packaging interests, development-oriented planning, and discretion for planning decisions (Spaans, 2005). Hence, such more market-oriented planning principles have become valuable and sometimes necessary mechanisms to effectively cope with an increasingly less public-led and more private sector-led Dutch urban development practice. Empirical findings from Dutch private sector-led urban development cases Urban development practice in the Netherlands since the year 2000 witnessed an increased use of the concession model. Hence, this is the Dutch definition for private sector-led urban development. It can best be characterized as a contract form between public and private parties which involves the transfer of risks, revenues, responsibilities for the plan, land and real estate development to private developers based on pre-defined set of public requirements (Gijzen, 2009). In theory (Van Rooy, 2007; Van de Klundert, 2008; Heurkens et al., 2008) this collaboration model holds promising advantages of being a more effective, efficient and transparent strategy to achieve a high quality built environment. Nonetheless, possible disadvantages like the lack of public ‘steering’, dependency of market actors and circumstances, inflexible contracts, a project management orientation, and a stern public-private relationship also are mentioned. Moreover, conditions for the application of concessions in theory involve a manageable project scale and duration, minimal political and societal complexity, and maximum freedom for private actors. Motives for choosing concessions are the lack of public labor capacity and financial development means, risk transfer to private actors, increasing private initiatives and private land ownership. Hence, in theory public and private roles in the concession model are considered as strictly separated. However, there is a lack of structural empirical understanding and evidence for such theoretical assumptions. Therefore, empirical cases in Amsterdam, The Hague, Enschede, Maassluis, Middelburg, Naaldwijk, Rotterdam, Tilburg, Utrecht, and Velsen (see Table 5.1) are carried out. This includes studying private sector-led projects in both inner-city and urban fringe locations. The main conclusions based on cross-case study findings of these ten Dutch projects are highlighted here. Notice that public-private interaction and collaboration remains of vital importance in Dutch private sector-led urban development projects. Despite the formal contractual separation of public and private tasks and responsibilities, in practice close informal cooperation can be witnessed, especially in the early development stages. Moreover, public actors do not remain as risk free as theory suggests, because unfavorable market circumstances can cause development delays affecting the living environment of inhabitants. Furthermore, it seems that constructing and using flexible public requirements with some non-negotiable rules is an effective condition for realizing public objectives during the process. In terms of management, most projects are hardly considered as solely private sector-led, as they involve a substantial amount of public management influence. For instance, project management activities include a dominant role of municipalities in initiating and operating the development. Process management activities are carried out by both actors, as they involve close public-private interactions. Management tools are mostly used by public actors to shape and regulate development with a limited conscious usage of stimulating and capacity building tools. Using the management resources land, capital and knowledge are mainly a private affair. In terms of effects, the concession model by actors is considered as an effective instrument, but not necessarily results in efficient processes. The general perception of public, private and civic actors about the project’s spatial quality level is positive. In addition, actors were asked about their cooperation experiences. Often mentioned problems include a ‘we against them relationship’, lack of public role consistency, thin line between plan judgment and control, public manager’s commitment and competency, communication with local communities, and lack of public management opportunities. Based on the empirical case studies, most conditions for applying concessions are confirmed. However, the successful inner-city development projects in Amsterdam and Enschede indicate that a private sector-led approach can also be applied to more complex urban development projects within cities. Empirical findings from UK’s private sector-led urban development cases Urban development practice in the UK often is labelled as urban regeneration. Historically, it is strongly shaped by neoliberal political ideology of the Conservative Thatcher government in the 1980s. But it also is influenced by New Labour ideologies favoring the Third Way (Giddens, 1998) aimed at aligning economic, social and environmental policies. However, as a result of these institutional characteristics, the UK is strongly shaped by the understanding that most development is undertaken by private interests or by public bodies acting very much like private interests (Nadin et al., 2008). In general, local authorities depend on initiatives and investments of property developers and investors, because public financial resources and planning powers to actively develop land are limited. As a result, development control of private developments is a concept deeply embedded in development practice. Several legal instruments such as Section 106 agreements are used to establish planning gain by asking developer contributions for public functions. Moreover, urban development in the UK has a strong informal partnership culture, and simultaneously builds upon a strict formal legal public-private role division. These UK urban development practice characteristics provide valid reasons to study private sector-led urban development projects in more detail. The empirical cases of private sector-led urban development projects in the UK are Bristol Harbourside and Liverpool One. They represent mid-2000s strategic inner-city developments with a mixed-use functional program, and therefore possible high complexity. As such, they are relevant urban projects for drawing lessons for the Netherlands. The main conclusions based on cross-case study findings of the UK projects are discussed here. The case contexts show that politics and the often changeable nature of planning policies can have a major influence on the organization and management of development projects. Hence, strong and effective political leadership is considered as a crucial success factor. Changing policies result in re-establishing development conditions resulting in new publicprivate negotiations. In terms of organization, the cases indeed show that local authorities do not take on development risks. Moreover, revenue sharing with private actors is absent or limited to what the actors agree upon in development packages. Furthermore, local authorities encourage all kinds of partnerships with other public, private or civic stakeholders in order to generate development support and raise funds. In terms of management, local authorities use different management measures to influence projects. The cases indicate that public actors are able to influence private sector-led developments and thereby achieve public planning objectives. Importantly, public actors use all kinds of managing tools to shape and stimulate development; they do not limit themselves to regulation but also build capacity for development. However, the largest share of managing the project takes place on behalf of project developers. Private actors manage projects from initial design towards even public space operation (Liverpool). Thereby, they work with long-term investment business models increasing private commitment. In terms of effects, the cases show that although the projects are carried out effectively and achieve high quality levels, the process efficiency lacks behind due to lengthy negotiations. In conclusion, the actors’ experiences with the private sector-led urban development projects indicate some problems including; the financial dependency on private actors, lack of financial incentives for public actors, lack of awareness of civic demands, lack of controlling public opposition, long negotiation processes, and absence of skilled public managers. Moreover, the actors indicate some crucial conditions for a private sectorled approach including; flexible general public guidelines, informal partnerships and joint working, public and private leadership roles and skills, professional attitude and long term commitment of private actors, involvement of local communities, separating public planning and development roles, handling political pressures, and favorable market circumstances. Empirical lessons, improvements and inspiration Some general conclusions from the Dutch and UK case comparison can be drawn (see Table 8.1). The influence of the project’s context in the UK seems to be higher than in the Netherlands, especially political powers and changeable policies influence projects. The organizational role division in UK projects seems to be stricter than in the Dutch projects, where public requirements sometimes are also formulated in more detail. The actor’s management in the Dutch cases is slightly less private sector-led than in the UK, where local authorities and developers are more aware of how to use management measures at their disposal. The project effects show quite some resemblance; effectiveness and spatial quality can be achieved, while efficiency remains difficult to achieve due to the negotiation culture. Here, important empirical lessons learned from cases in both countries are discussed aimed at formulating possible solutions for perceived Dutch problems. The problematic Dutch ‘we against them relationship’ between actors in the UK is handled by a close collaboration. Developers organize regular informative and interactive design meetings with local authorities, sharing ideas in a ‘joint-up working’ atmosphere. The lack of public role consistency in the UK is resolved by local authorities that develop a clear schedule of spatial requirements which provides certainty. Moreover, room for negotiations allows for the flexibility to react on changed circumstances. The thin line between judgment and control of plans is not commonly recognized in the UK cases. Local authorities tend to respect that developers need room to carry out development activities on their own professional insights, and merely control if developers deliver ‘product specifications’ in time and to agreed conditions. The commitment and competencies of public project managers are also mentioned as crucial factors in the UK. It involves managers connecting the project to the political and civic environment, and leaders committing themselves to project support through communication with local communities. The lack of public management seems to be a Dutch perceived difficulty as UK local authorities do not apply active land development policies and ‘hard’ management resources. Therefore, they influence development with both more consciously applied legal tools and ‘soft’ management skills such as negotiating. Recommended improvements mentioned by Dutch practitioners here are mirrored to possible support from the UK cases. The Dutch recommendation to cooperate in pre-development stages to create public project support and commitment finds support in the UK. Hence, despite a formal division of public and private responsibilities, in practice a lot of informal public-private interaction and collaboration takes place and seems necessary. Striving for public role consistency also is an appreciated value by developers in the UK. Working on the principle of ‘agreement is agreement’ creates certainty for developers, and less resistance and willingness to cooperate once highly relevant public issues are put on the table. Establishing clear process agreements with moments of control or discussion in the UK are handled with evaluation moments aimed at judging output, and planned meetings aimed at creating a dialogue about new insights. Connecting planning and development processes in the UK is handled by a municipal team consisting of political leaders and project managers that align development processes with administrative planning processes. A clear communication plan to involve local communities and businesses in the UK is handled by developers which involve relevant stakeholders in the decision-making process prior to planning applications for support and process efficiency. Finding public opportunities to influence development other than land and capital in the UK is handled through the use of several public planning tools and publicprivate negotiations. The UK cases also provided various inspirational lessons for the Netherlands. First, the construction and application of a public ‘management toolbox’ consisting of various planning tools that shape, stimulate, regulate and activate the market could assist local authorities to view management more integratively and use existing instruments more consciously. Second, choosing a private development partner with professional expertise, track record and local knowledge, instead of an economically lucrative private tender offer for private sector-led urban development projects, has the advantage of creating a cooperative relationship. The reason for this is that flexible development concepts rather than fixed development plans are indicators of a cooperative attitude of a developer. Third, enabling partnership agreements between public, private and civic actors aimed at creating wide support and long-term commitment by expressing development intentions assists pulling together development resources from both investors and central government. Fourth, privately-owned public space based on a land lease agreement containing public space conditions creates several financial advantages. For local authorities it eliminates public maintenance costs, and for private actors the operation of the area and maintaining high quality standards can be beneficial for real estate sales and returns. Fifth, the value increase-oriented investment model of a long-term private development investor rather than a short-term project-oriented developer with a trade-off model between time, costs and quality has advantages. Large amounts of upfront investment can more easily be financed as high quality environments and properties increase the area’s competitive position and investment returns. Sixth, local authorities can establish partnerships that actively apply for public funding alternatives such as lottery funds. Such funds secure the development of public functions and create interest for commercial actors to invest, which can result possibilities to negotiate development packages which can results in a planning gain for public actors. Seventh, public and private leadership styles on different organizational levels for inner-city development projects result in more efficient processes. Appointing strategictactical operating political leaders and private firm directors and tactical-operational public and private project leaders streamlines internal and external communication and shared project commitment and support. Finally, the UK shows that a private sector-led approach can successfully be applied to complex inner-city developments. Despite the complex social and political character, fragmented land ownership situation, and high remediation costs UK developers can deliver such projects succesfully. Conditions seem a professionally skilled and financially empowered developer, and active local authorities that facilitate market initiatives. The likelihood of transfer of the inspirational UK lessons depends on some Dutch institutional characteristics (economics & politics, governance culture, planning system and policies). However, most lessons are context-independent and thus can be applied in the Dutch urban development practice. But, Table 8.2 also shows some institutional context-dependent features that limit the transfer of UK findings to the Netherlands. This includes the general short-term scope of Dutch developers and the general wish from municipalities to hold ‘control’ over development projects. Reflections on safeguarding public interests & alternative financing instruments The epilogue contains conceptual reflections about alternative ways for safeguarding public interests and private financing instruments in line with the current social-economic climate. These reflections are not based on research findings but on an additional literature review that provides food for thought for public and private actors in urban development. Hence, safeguarding public interests is an important concern for public actors, especially in market-oriented planning and private sector-led urban development projects. In our pluralistic society it has become impossible for one actor to determine the public interest in all occasions. In line with societal development it would not only be socially-coherent for governments to engage private and civic actors in safeguarding public interests, but even a social necessity. Consciously applying different public interest safeguarding strategies based on both hierarchical, market and network mechanisms (De Bruijn & Dicke, 2006) provide this opportunity. By using a combination of legitimized hierarchical mechanisms, competitionoriented market mechanisms, and inter-action oriented network mechanisms, public values become institutionalized in private and civic sectors. Then, the role of public planning institutions in safeguarding increasing economic values, social cohesion and public health is to use both legitimate planning tools and accountable planning activities. It enables other actors to become both more responsible for and involved in their own built environment. In market-oriented planning and private sector-led urban projects, safeguarding public interest instruments include non-negotiable general planning standards which secure basic needs of civilians, and negotiable development conditions which create involvement of other actors. Non-negotiable safeguarding instruments include; public tender requirements, land use plans, planning permissions and financial claims. Negotiable safeguarding instruments include; contractual conditions, competitive dialogues, spatial quality plans, developer contributions, development incentives, performance indicators, and ownership (see Figure 10.2). The reliance of private investment in private sector-led urban development projects asks for exploring alternative financing instruments for urban projects with less reliance on credit capital. This is a crucial subject being the result of the effect the current economic situation has on the land and property market. Hence, it is widely acknowledged that in many development practices around the globe property investment for urban development has changed radically as a result of the international credit crisis and economic downturn (Parkinson et al., 2009). ‘New financial models’ have the attention of several Dutch practitioners (e.g. Van Rooy, 2011) and academics (e.g. Van der Krabben, 2011b). In the current Dutch urban development practice, one notices an increased interest in demand-driven development strategies promoting; bottom-up development initiatives, value-oriented investment strategies, and de-risked phasing of development, which potentially increase the feasibility of urban projects. A literature review indicates promising alternative financing instruments for Dutch urban development practice and private sector-led urban development projects, including; Tax Increment Financing, Temporary Development/Investment Grants, Lottery Funds, DBFM/ Concession Light, Crowd Funding, Urban Development Trusts, Business Improvement Districts, and Urban Reparcelling. These instruments have different features such as investment source, development incentives, organizational requirements and object conditions, which need to be taken into account by public and private actors once applied (see Table 10.3).

Central to this research lays the concept of private sector-led urban development projects (Heurkens, 2010). Such projects involve project developers taking a leading role and local authorities adopting a facilitating role, in managing the development of an urban area, based on a clear public-private role division. Such a development strategy is quite common in Anglo-Saxon urban development practices, but is less known in Continental European practices. Nonetheless, since the beginning of the millennium such a development strategy also occurred in the Netherlands in the form of ‘concessions’. However, remarkably little empirical knowledge is available about how public and private actors collaborate on and manage private sector-led urban development projects. Moreover, it remains unclear what the effects of such projects are. This dissertation provides an understanding of the various characteristics of private sector-led urban development projects by conducting empirical case study research in the institutional contexts of the Netherlands and the UK. The research provides an answer to the following research question: What can we learn from private sector-led urban development projects in the Netherlands and UK in terms of the collaborative and managerial roles of public and private actors, and the effects of their (inter)actions? Indications for a market-oriented Dutch urban development practice Urban development practice in the Netherlands has been subject to changes pointing towards more private sector involvement in the built environment in the past decades. Although the current economic recession might indicate otherwise, there are several motives that indicate a continuation of private sector involvement and a private leadership role in Dutch urban development projects in the future. First, a shift towards more market-oriented development practice is the result of an evolutionary process of increased ‘neoliberalization’ and the adoption of Anglo-Saxon principles in Dutch society. Despite its Rhineland roots with a focus on welfare provision, in the Netherlands several neoliberal principles (privatization, decentralization, deregulation) have been adopted by government and incorporated in the management of organizations (Bakker et al., 2005). Hence, market institutionalization on the one hand, and rising civic emancipation on the other, in current Western societies prevents a return towards hierarchical governance. Second, the result of such changes is the emergence of a market-oriented type of planning practice based on the concept of ‘development planning’. Public-Private Partnerships and the ‘forward integration’ of market parties (De Zeeuw, 2007) enforce the role of market actors. In historical perspective, Boelens et al. (2006) argue that Dutch spatial planning always has been characterized by public-private collaborations in which governments facilitated private and civic entrepreneurship. Therefore, post-war public-led spatial planning with necessary government intervention was a ‘temporary hiccup’, an exception to the rule. Third, the European Commission expresses concerns about the hybrid role of public actors in Dutch institutionalized PPP joint ventures. EU legislation opts for formal public-private role divisions in realizing urban projects based on Anglo-Saxon law that comply with the legislative tendering principles of competition, transparency, equality, and public legitimacy. Fourth, experiences with joint ventures in the Netherlands are less positive as often is advocated. Such institutionalized public-private entities have seldom generated the assumed added value, caused by misconceptions about the objectives of both partners grounded in incompatible value systems. This results in contra-productive levels of distrust, time-consuming partnership formations, lack of transparency, and compromising decision-making processes (Teisman & Klijn, 2002), providing a need for other forms of collaboration. Finally, current financial retrenchments in the public sector and debates about the possible abundance of Dutch active land development policies point towards a lean and mean government that moves away from risk-bearing participation and investment in urban projects and leaves this to the market. Importantly, Van der Krabben (2011b) argues that the Dutch active public land development policies can be considered as an international exception, and advocates for facilitating land development policies. In this light, it becomes highly relevant to study private sector-led urban development as a future Dutch urban development strategy. Integrative urban management approach This research is rooted in the research school of Urban Area Development within the Department of Real Estate and Housing at the Faculty of Architecture (Delft University of Technology). It is a relatively young academic domain which views urban development most profoundly as a complex management assignment (Bruil et al., 2004; Franzen et al., 2011). This academic school uses an integrative perspective with a strong practice-orientation and carries out solution-oriented design research. Here, the integration involves bridging various actor interests, spatial functions, spatial scales, academic domains, knowledge and skills, development goals, and links process with content aspects. Such a perspective does justice to complex societal processes. Therefore it provides a fruitful ground for studying urban development aimed at developing conceptual knowledge and product for science and practice. Such integrative perspective and practice-orientation forms the basis of this research and has been applied in the following manner. In order to create an understanding of the roles of public and private actors in private sector-led urban development, this research takes a management perspective based on an integrative management approach. This involves viewing management more broadly as ‘any type of direct influencing’ urban development projects, and therefore aims at bridging often separated management theories (Osborne, 2000a). Hence, an integrative management approach assists in both understanding urban development practices and projects and constructing useful conceptual tools for practitioners and academics. Integrative approaches attempt to combine a number of different elements into a more holistic management approach (Black & Porter, 2000). Importantly, it does not view the management of projects in isolation but in its entire complexity and dynamics. Therefore, our management approach combines two integrative management theories; the open systems theory (De Leeuw, 2002) and contingency theory. The former provides opportunities to study the management of a project in a structured manner. The latter emphasizes that there is no universally effective way of managing and recognizes the importance of contextual circumstances. Hence, an integrative management approach favors incorporating theories from multiple academic domains such as political science, economics, law, business administration, and organizational and management concepts. Hence, it moves away from the classical academic division between planning theory and property theory, and organization and management theories. It positions itself in between such academic domains, and aims at bridging theoretical viewpoints by following the concept of planning ánd markets (Alexander, 2001) rather than concepts such as ‘planning versus markets’, public versus private sector, and organization versus management. Also, such an integrative view values the complexity and dynamics of empirical urban development practices. More specifically, this research studies urban development projects as object, as urban areas are the focus point of spatial intervention and public-private interaction (Daamen, 2010), and thus collaboration and management. Here, public planning processes and private development processes merge with each other. Thus, our research continues to build upon the importance of studying and reflecting on empirical practices and projects (e.g. Healey, 2006). In addition to these authors, this research does so by using meaningful integrative concepts that reflect empirical realities of urban projects. Thereby, this research serves to bridge management sciences with management practices (Van Aken, 2004; Mintzberg, 2010) through iterative processes of reflecting on science and practice. Moreover, the integrative management approach applied in this research assists in filling an academic gap, namely the lack of management knowledge about public-private interaction in urban development projects. Despite the vast amount of literature on the governance of planning practices (e.g. DiGaetano & Strom, 2003), and Public-Private Partnerships (e.g. Osborne, 2000b), remarkable little knowledge exists about what shifting public-private relationships mean for day-to-day management by public and private actors in development projects. Hence, here we follow the main argument made by public administration scholar Klijn (2008) who claims that it is such direct actor influence that brings about the most significant change to the built environment. An integrative urban management model (see Figure 2.3) based on the open systems approach has been constructed which forms a conceptual representation of empirical private sectorled urban development projects. This model serves as an analytical tool to comprehend the complexity of managing such projects. In this research, several theoretical insights about publicprivate relations and roles are used to understand different contextual and organizational factors that affect the management of private sector-led urban development projects. Hence, a project context exists within different often country-specific institutional environments (e.g. the Netherlands and UK). In this research, contextual aspects that to a degree determine the way public and private actors inter-organize urban projects, consist of economics & politics, governance cultures, and planning systems and policies. Hence, institutional values are deeply rooted in social welfare models (Nadin & Stead, 2008). For instance, the differences between Anglo-Saxon and Rhineland model principles also determine public-private relationships. However, the process of neoliberalization (Hackworth, 2007) and subsequent adaptation of neoliberal political ideologies (Harvey, 2005) has created quite similar governance arrangements in Western countries. Nevertheless, institutional rules incorporated in planning systems, laws and policies often remain country-specific. But, market-oriented planning, involving ‘planners as market actors’ (Adams & Tiesdell, 2010) intervening and operating within market systems, have become the most commonly shared feature of contemporary Western urban development practices (Carmona et al., 2009). In this research, the project organization focuses on institutional aspects and interorganizational arrangements that structure Public-Private Partnerships (Bult-Spiering & Dewulf, 2002). It involves studying organizational tasks and responsibilities, financial risks and revenues, and legal rules and requirements. Inter-organizational arrangements condition the way public and private actors manage projects. Hence, such arrangements can be placed on a public-private spectrum (Börzel & Risse, 2002) which indicates different power relations in terms of public and private autonomy and dominance (Savitch, 1997) in making planning decisions. These public-private power relations are reflected in different Public-Private Partnership arrangements (Bennet et al., 2000) in urban development projects. As a result, in some contexts these partnerships arrangements are formalized into organizational vehicles or legal contracts, in others there is an emphasis on informal partnerships and interaction. The lack of management knowledge on private sector-led urban development projects, and our view of management as any type of direct influencing, results in constructing a conceptual public-private urban management model (see Figure SUM.1). This model is based on both theoretical concepts and empirical reflection. In this research, the management of project processes by public and private actors contains applying both management activities and instruments. Project management (Wijnen et al., 2004) includes development stage-oriented initiating, designing, planning, and operating activities. Process management (Teisman, 2003) includes interaction-oriented negotiating, decision-making, and communicating activities. Management tools consist of legal-oriented shaping, regulating, stimulating, and capacity building planning tools (Adams et al., 2004). And management resources consist of crucial necessities (Burie, 1978) for realizing urban projects like land, capital and knowledge. In essence, all these management measures can be applied by public and private actors to influence (private sector-led) urban development projects. These management measures can be used by actors to reach project effects. In this research, project effects are perceived as judgment criteria for indicating the success of the management of private sector-led urban development projects. They consist of cooperation effectiveness, process efficiency, and spatial quality. Effectiveness involves the degree to which objectives are achieved and problems are resolved. Ef ficiency is the degree to which the process is considered as efficiently realizing projects within time and budget. Finally, spatial quality is the degree to which the project contributes to responding to user, experience and future values of involved actors (Hooijmeijer et al., 2001). Such process and product effects are a crucial addition to understand the results of private sector-led urban development projects. Comparative case study research using a lesson-drawing method This research systematically analyzes and compares private sector-led urban development cases in both the Netherlands and the UK in a specific methodological way. In essence, this study is an empirical comparative case study research using a lesson-drawing method. Hence, case studies allow for an empirical inquiry that investigates a contemporary phenomenon within its real life context (Yin, 2003). Such a qualitative approach is very suited for the purposes of this research as it enables revealing empirical collaborative and managerial mechanisms within private sector-led urban development projects. The reason to include studying the UK lies is the fact that it can be considered as a market-oriented development practice, from which valuable lessons can be drawn for the Netherlands. Thereby, this research places itself in a longer tradition of Dutch interests in UK planning and development (e.g. Hobma et al., 2008). Hence, this research aims at drawing lessons in the form of ‘inspiration’ from practices and projects, as opposed to the more far-reaching transplantation of spatial policies (e.g. Janssen-Jansen et al., 2008). However, in order to draw meaningful empirical lessons there is a need to indicate whether they are context-dependent or -independent. This requires systematically comparing the institutional planning practices of both countries by indicating differences and similarities between the Netherlands and the UK. Based on these methodological principles ten Dutch and two UK of private sector-led urban development cases are selected and studied. The Dutch cases focus on scope over depth aimed at sketching the phenomenon of ‘area concessions’ in both inner-city and urban fringe projects. The UK cases focus on depth over scope aimed at understanding the applicability of a private sector-led approach in complex large-scale inner-city projects. As techniques the case study research uses document reviews, semi-structured interviews, project visits, and data mapping. Comparing Dutch and UK planning and urban development practices The institutional context of urban development in the Netherlands and the UK shows some structural differences, despite the fact that such contexts are often subject to change. For instance, the Dutch planning system uses Napoleonic codified law based on a constitution with abstract law principles as rule, and a limited role of judicial power. The UK planning system is based on British common law lacking a constitution, and uses law-making-as-we-go as judges act as law-makers. In terms of spatial planning, the Netherlands is characterized by binding land use plans within a limited-imperative system based on legal certainty. Dutch spatial planning can be labelled as ‘permitted planning’ based on ‘comprehensive integrative model’ (Dühr et al., 2010) which involves hierarchically coordinated and related public sector spatial plans. UK spatial planning has no binding land use plan, places importance on material considerations based on discretionary authority and flexibility. Historically, UK’s spatial planning can be labelled as ‘development-oriented planning’ based on a ‘land use management model’ with a focus on public sector coordinated planning policies. Moreover, Dutch and UK urban development also differ in terms of public and private roles in organizing and managing development (Heurkens, 2009). In the Netherlands, local governments are active bodies using spatial plans, active land development policies and public investment to develop cities. The private sector often operates reactively and is historically focused on the physical realization of projects. In general, public-private decision-making processes are based on reaching consensus, development project coordination typically involves ‘collaboration models’, and management is focused on process as product outcomes. In the UK, local government uses relatively less regulations and investment to develop cities, thereby facilitating market parties. The development industry is a mature sector, actively initiating and investing in projects. Decision-making is characterized by negotiations, and the organization of projects is often based on a clear formal public-private role division. Despite such a generic Dutch-UK comparison being of crucial importance to this research, it does no justice to increasing similarities between European planning practices. Moreover, such institutional contexts evolve as a result of changing planning priorities in each country. For instance, some basic characteristics of the UK planning system attracted the attention of Dutch planners, including comprehensive principles for project coordination, private sector involvement and negotiations, options for the settlement of ‘planning gain’, packaging interests, development-oriented planning, and discretion for planning decisions (Spaans, 2005). Hence, such more market-oriented planning principles have become valuable and sometimes necessary mechanisms to effectively cope with an increasingly less public-led and more private sector-led Dutch urban development practice. Empirical findings from Dutch private sector-led urban development cases Urban development practice in the Netherlands since the year 2000 witnessed an increased use of the concession model. Hence, this is the Dutch definition for private sector-led urban development. It can best be characterized as a contract form between public and private parties which involves the transfer of risks, revenues, responsibilities for the plan, land and real estate development to private developers based on pre-defined set of public requirements (Gijzen, 2009). In theory (Van Rooy, 2007; Van de Klundert, 2008; Heurkens et al., 2008) this collaboration model holds promising advantages of being a more effective, efficient and transparent strategy to achieve a high quality built environment. Nonetheless, possible disadvantages like the lack of public ‘steering’, dependency of market actors and circumstances, inflexible contracts, a project management orientation, and a stern public-private relationship also are mentioned. Moreover, conditions for the application of concessions in theory involve a manageable project scale and duration, minimal political and societal complexity, and maximum freedom for private actors. Motives for choosing concessions are the lack of public labor capacity and financial development means, risk transfer to private actors, increasing private initiatives and private land ownership. Hence, in theory public and private roles in the concession model are considered as strictly separated. However, there is a lack of structural empirical understanding and evidence for such theoretical assumptions. Therefore, empirical cases in Amsterdam, The Hague, Enschede, Maassluis, Middelburg, Naaldwijk, Rotterdam, Tilburg, Utrecht, and Velsen (see Table 5.1) are carried out. This includes studying private sector-led projects in both inner-city and urban fringe locations. The main conclusions based on cross-case study findings of these ten Dutch projects are highlighted here. Notice that public-private interaction and collaboration remains of vital importance in Dutch private sector-led urban development projects. Despite the formal contractual separation of public and private tasks and responsibilities, in practice close informal cooperation can be witnessed, especially in the early development stages. Moreover, public actors do not remain as risk free as theory suggests, because unfavorable market circumstances can cause development delays affecting the living environment of inhabitants. Furthermore, it seems that constructing and using flexible public requirements with some non-negotiable rules is an effective condition for realizing public objectives during the process. In terms of management, most projects are hardly considered as solely private sector-led, as they involve a substantial amount of public management influence. For instance, project management activities include a dominant role of municipalities in initiating and operating the development. Process management activities are carried out by both actors, as they involve close public-private interactions. Management tools are mostly used by public actors to shape and regulate development with a limited conscious usage of stimulating and capacity building tools. Using the management resources land, capital and knowledge are mainly a private affair. In terms of effects, the concession model by actors is considered as an effective instrument, but not necessarily results in efficient processes. The general perception of public, private and civic actors about the project’s spatial quality level is positive. In addition, actors were asked about their cooperation experiences. Often mentioned problems include a ‘we against them relationship’, lack of public role consistency, thin line between plan judgment and control, public manager’s commitment and competency, communication with local communities, and lack of public management opportunities. Based on the empirical case studies, most conditions for applying concessions are confirmed. However, the successful inner-city development projects in Amsterdam and Enschede indicate that a private sector-led approach can also be applied to more complex urban development projects within cities. Empirical findings from UK’s private sector-led urban development cases Urban development practice in the UK often is labelled as urban regeneration. Historically, it is strongly shaped by neoliberal political ideology of the Conservative Thatcher government in the 1980s. But it also is influenced by New Labour ideologies favoring the Third Way (Giddens, 1998) aimed at aligning economic, social and environmental policies. However, as a result of these institutional characteristics, the UK is strongly shaped by the understanding that most development is undertaken by private interests or by public bodies acting very much like private interests (Nadin et al., 2008). In general, local authorities depend on initiatives and investments of property developers and investors, because public financial resources and planning powers to actively develop land are limited. As a result, development control of private developments is a concept deeply embedded in development practice. Several legal instruments such as Section 106 agreements are used to establish planning gain by asking developer contributions for public functions. Moreover, urban development in the UK has a strong informal partnership culture, and simultaneously builds upon a strict formal legal public-private role division. These UK urban development practice characteristics provide valid reasons to study private sector-led urban development projects in more detail. The empirical cases of private sector-led urban development projects in the UK are Bristol Harbourside and Liverpool One. They represent mid-2000s strategic inner-city developments with a mixed-use functional program, and therefore possible high complexity. As such, they are relevant urban projects for drawing lessons for the Netherlands. The main conclusions based on cross-case study findings of the UK projects are discussed here. The case contexts show that politics and the often changeable nature of planning policies can have a major influence on the organization and management of development projects. Hence, strong and effective political leadership is considered as a crucial success factor. Changing policies result in re-establishing development conditions resulting in new publicprivate negotiations. In terms of organization, the cases indeed show that local authorities do not take on development risks. Moreover, revenue sharing with private actors is absent or limited to what the actors agree upon in development packages. Furthermore, local authorities encourage all kinds of partnerships with other public, private or civic stakeholders in order to generate development support and raise funds. In terms of management, local authorities use different management measures to influence projects. The cases indicate that public actors are able to influence private sector-led developments and thereby achieve public planning objectives. Importantly, public actors use all kinds of managing tools to shape and stimulate development; they do not limit themselves to regulation but also build capacity for development. However, the largest share of managing the project takes place on behalf of project developers. Private actors manage projects from initial design towards even public space operation (Liverpool). Thereby, they work with long-term investment business models increasing private commitment. In terms of effects, the cases show that although the projects are carried out effectively and achieve high quality levels, the process efficiency lacks behind due to lengthy negotiations. In conclusion, the actors’ experiences with the private sector-led urban development projects indicate some problems including; the financial dependency on private actors, lack of financial incentives for public actors, lack of awareness of civic demands, lack of controlling public opposition, long negotiation processes, and absence of skilled public managers. Moreover, the actors indicate some crucial conditions for a private sectorled approach including; flexible general public guidelines, informal partnerships and joint working, public and private leadership roles and skills, professional attitude and long term commitment of private actors, involvement of local communities, separating public planning and development roles, handling political pressures, and favorable market circumstances. Empirical lessons, improvements and inspiration Some general conclusions from the Dutch and UK case comparison can be drawn (see Table 8.1). The influence of the project’s context in the UK seems to be higher than in the Netherlands, especially political powers and changeable policies influence projects. The organizational role division in UK projects seems to be stricter than in the Dutch projects, where public requirements sometimes are also formulated in more detail. The actor’s management in the Dutch cases is slightly less private sector-led than in the UK, where local authorities and developers are more aware of how to use management measures at their disposal. The project effects show quite some resemblance; effectiveness and spatial quality can be achieved, while efficiency remains difficult to achieve due to the negotiation culture. Here, important empirical lessons learned from cases in both countries are discussed aimed at formulating possible solutions for perceived Dutch problems. The problematic Dutch ‘we against them relationship’ between actors in the UK is handled by a close collaboration. Developers organize regular informative and interactive design meetings with local authorities, sharing ideas in a ‘joint-up working’ atmosphere. The lack of public role consistency in the UK is resolved by local authorities that develop a clear schedule of spatial requirements which provides certainty. Moreover, room for negotiations allows for the flexibility to react on changed circumstances. The thin line between judgment and control of plans is not commonly recognized in the UK cases. Local authorities tend to respect that developers need room to carry out development activities on their own professional insights, and merely control if developers deliver ‘product specifications’ in time and to agreed conditions. The commitment and competencies of public project managers are also mentioned as crucial factors in the UK. It involves managers connecting the project to the political and civic environment, and leaders committing themselves to project support through communication with local communities. The lack of public management seems to be a Dutch perceived difficulty as UK local authorities do not apply active land development policies and ‘hard’ management resources. Therefore, they influence development with both more consciously applied legal tools and ‘soft’ management skills such as negotiating. Recommended improvements mentioned by Dutch practitioners here are mirrored to possible support from the UK cases. The Dutch recommendation to cooperate in pre-development stages to create public project support and commitment finds support in the UK. Hence, despite a formal division of public and private responsibilities, in practice a lot of informal public-private interaction and collaboration takes place and seems necessary. Striving for public role consistency also is an appreciated value by developers in the UK. Working on the principle of ‘agreement is agreement’ creates certainty for developers, and less resistance and willingness to cooperate once highly relevant public issues are put on the table. Establishing clear process agreements with moments of control or discussion in the UK are handled with evaluation moments aimed at judging output, and planned meetings aimed at creating a dialogue about new insights. Connecting planning and development processes in the UK is handled by a municipal team consisting of political leaders and project managers that align development processes with administrative planning processes. A clear communication plan to involve local communities and businesses in the UK is handled by developers which involve relevant stakeholders in the decision-making process prior to planning applications for support and process efficiency. Finding public opportunities to influence development other than land and capital in the UK is handled through the use of several public planning tools and publicprivate negotiations. The UK cases also provided various inspirational lessons for the Netherlands. First, the construction and application of a public ‘management toolbox’ consisting of various planning tools that shape, stimulate, regulate and activate the market could assist local authorities to view management more integratively and use existing instruments more consciously. Second, choosing a private development partner with professional expertise, track record and local knowledge, instead of an economically lucrative private tender offer for private sector-led urban development projects, has the advantage of creating a cooperative relationship. The reason for this is that flexible development concepts rather than fixed development plans are indicators of a cooperative attitude of a developer. Third, enabling partnership agreements between public, private and civic actors aimed at creating wide support and long-term commitment by expressing development intentions assists pulling together development resources from both investors and central government. Fourth, privately-owned public space based on a land lease agreement containing public space conditions creates several financial advantages. For local authorities it eliminates public maintenance costs, and for private actors the operation of the area and maintaining high quality standards can be beneficial for real estate sales and returns. Fifth, the value increase-oriented investment model of a long-term private development investor rather than a short-term project-oriented developer with a trade-off model between time, costs and quality has advantages. Large amounts of upfront investment can more easily be financed as high quality environments and properties increase the area’s competitive position and investment returns. Sixth, local authorities can establish partnerships that actively apply for public funding alternatives such as lottery funds. Such funds secure the development of public functions and create interest for commercial actors to invest, which can result possibilities to negotiate development packages which can results in a planning gain for public actors. Seventh, public and private leadership styles on different organizational levels for inner-city development projects result in more efficient processes. Appointing strategictactical operating political leaders and private firm directors and tactical-operational public and private project leaders streamlines internal and external communication and shared project commitment and support. Finally, the UK shows that a private sector-led approach can successfully be applied to complex inner-city developments. Despite the complex social and political character, fragmented land ownership situation, and high remediation costs UK developers can deliver such projects succesfully. Conditions seem a professionally skilled and financially empowered developer, and active local authorities that facilitate market initiatives. The likelihood of transfer of the inspirational UK lessons depends on some Dutch institutional characteristics (economics & politics, governance culture, planning system and policies). However, most lessons are context-independent and thus can be applied in the Dutch urban development practice. But, Table 8.2 also shows some institutional context-dependent features that limit the transfer of UK findings to the Netherlands. This includes the general short-term scope of Dutch developers and the general wish from municipalities to hold ‘control’ over development projects. Reflections on safeguarding public interests & alternative financing instruments The epilogue contains conceptual reflections about alternative ways for safeguarding public interests and private financing instruments in line with the current social-economic climate. These reflections are not based on research findings but on an additional literature review that provides food for thought for public and private actors in urban development. Hence, safeguarding public interests is an important concern for public actors, especially in market-oriented planning and private sector-led urban development projects. In our pluralistic society it has become impossible for one actor to determine the public interest in all occasions. In line with societal development it would not only be socially-coherent for governments to engage private and civic actors in safeguarding public interests, but even a social necessity. Consciously applying different public interest safeguarding strategies based on both hierarchical, market and network mechanisms (De Bruijn & Dicke, 2006) provide this opportunity. By using a combination of legitimized hierarchical mechanisms, competitionoriented market mechanisms, and inter-action oriented network mechanisms, public values become institutionalized in private and civic sectors. Then, the role of public planning institutions in safeguarding increasing economic values, social cohesion and public health is to use both legitimate planning tools and accountable planning activities. It enables other actors to become both more responsible for and involved in their own built environment. In market-oriented planning and private sector-led urban projects, safeguarding public interest instruments include non-negotiable general planning standards which secure basic needs of civilians, and negotiable development conditions which create involvement of other actors. Non-negotiable safeguarding instruments include; public tender requirements, land use plans, planning permissions and financial claims. Negotiable safeguarding instruments include; contractual conditions, competitive dialogues, spatial quality plans, developer contributions, development incentives, performance indicators, and ownership (see Figure 10.2). The reliance of private investment in private sector-led urban development projects asks for exploring alternative financing instruments for urban projects with less reliance on credit capital. This is a crucial subject being the result of the effect the current economic situation has on the land and property market. Hence, it is widely acknowledged that in many development practices around the globe property investment for urban development has changed radically as a result of the international credit crisis and economic downturn (Parkinson et al., 2009). ‘New financial models’ have the attention of several Dutch practitioners (e.g. Van Rooy, 2011) and academics (e.g. Van der Krabben, 2011b). In the current Dutch urban development practice, one notices an increased interest in demand-driven development strategies promoting; bottom-up development initiatives, value-oriented investment strategies, and de-risked phasing of development, which potentially increase the feasibility of urban projects. A literature review indicates promising alternative financing instruments for Dutch urban development practice and private sector-led urban development projects, including; Tax Increment Financing, Temporary Development/Investment Grants, Lottery Funds, DBFM/ Concession Light, Crowd Funding, Urban Development Trusts, Business Improvement Districts, and Urban Reparcelling. These instruments have different features such as investment source, development incentives, organizational requirements and object conditions, which need to be taken into account by public and private actors once applied (see Table 10.3).

IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and human interactions and demands, where creative art and design can make space and give voice to the dynamics of exchange between the landscape and its inhabitants. Consideration of three recent art and design projects based in the Midlands reveal the potential for cross-disciplinary research, embedded in both environment and community, to create distinctive and specific forms of connectivity that articulate a regional identify.The Tasmanian Midlands have been identified as a biodiversity hotspot (Australian Government), with a long history of Aboriginal cultural management disrupted by colonial invasion. Recent archaeological work in the Midlands, including the Kerry Lodge Archaeology and Art Project, has focused on the use of convict labour during the nineteenth century in opening up the Midlands for settler agriculture and transport. Now, the Midlands are placed under increasing pressure by changing agricultural practices such as large-scale irrigation. At the same time as this intensification of agricultural activity, significant progress has been made in protecting, preserving and restoring endemic ecologies. This progress has come through non-government conservation organisations, especially Greening Australia and their program Tasmanian Island Ark, and private landowners placing land under conservation covenants. These pressures and conservation activities give rise to research opportunities in the biological sciences, but also pose challenges in communicating the value of conservation and research outcomes to a wider public. The Species Hotel project, beginning in 2016, engaged with the aims of restoration ecology through speculative design while The Marathon Project, a multi-year curatorial art project based on a single property that contains both conservation and commercially farmed zones.This article questions the role of regionality in these three interconnected projects—Kerry Lodge, Species Hotel, and Marathon—sited in the Tasmanian Midlands: the three projects share a concern with the specificities of the region through engagement with specifics sites and their histories and ecologies, while also acknowledging the forces that shape these sites as far more mobile and global in scope. It also considers the interdisciplinary nature of these projects, in the crossover of art and design with ecological, archaeological and agricultural practices of measuring and intervening in the land, where communication and interpretation may be in tension with functionality. These projects suggest ways of working that connect the ecological and the cultural spheres; importantly, they see rural locations as sites of knowledge production; they test the value of small-scale and ephemeral interventions to explore the place of art and design as intervention within colonised landscape.Regions are also defined by overlapping circles of control, interest, and authority. We test the claim that these projects, which operate through cross-disciplinary collaboration and network with a range of stakeholders and community groups, successfully benefit the region in which they are placed. We are particularly interested in the challenges of working across institutions which both claim and enact connections to the region without being centred there. These projects are initiatives resulting from, or in collaboration with, University of Tasmania, an institution that has taken a recent turn towards explicitly identifying as place-based yet the placement of the Midlands as the gap between campuses risks attenuating the institution’s claim to be of this place. Paul Carter, in his discussion of a regional, site-specific collaboration in Alice Springs, flags how processes of creative place-making—operating through mythopoetic and story-based strategies—requires a concrete rather than imagined community that actively engages a plurality of voices on the ground. We identify similar concerns in these art and design projects and argue that iterative and long-term creative projects enable a deeper grappling with the complexities of shared regional place-making. The Midlands is aptly named: as a region, it is defined by its geographical constraints and relationships to urban centres. Heading south from the northern city of Launceston, travellers on the Midland Highway see scores of farming properties networking continuously for around 175 kilometres south to the outskirts of Brighton, the last major township before the Tasmanian capital city of Hobart. The town of Ross straddles latitude 42 degrees south—a line that has historically divided Tasmania into the divisions of North and South. The region is characterised by extensive agricultural usage and small remnant patches of relatively open dry sclerophyll forest and lowland grassland enabled by its lower attitude and relatively flatter terrain. The Midlands sit between the mountainous central highlands of the Great Western Tiers and the Eastern Tiers, a continuous range of dolerite hills lying south of Ben Lomond that slope coastward to the Tasman Sea. This area stretches far beyond the view of the main highway, reaching east in the Deddington and Fingal valleys. Campbell Town is the primary stopping point for travellers, superseding the bypassed towns, which have faced problems with lowering population and resulting loss of facilities.Image 1: Southern Midland Landscape, Ross, Tasmania, 2018. Image Credit: Patrick Sutczak.Predominantly under private ownership, the Tasmanian Midlands are a contested and fractured landscape existing in a state of ecological tension that has occurred with the dominance of western agriculture. For over 200 years, farmers have continually shaped the land and carved it up into small fragments for different agricultural agendas, and this has resulted in significant endemic species decline (Mitchell et al.). The open vegetation was the product of cultural management of land by Tasmanian Aboriginal communities (Gammage), attractive to settlers during their distribution of land grants prior to the 1830s and a focus for settler violence. As documented cartographically in the Centre for 21st Century Humanities’ Colonial Frontier Massacres in Central and Eastern Australia 1788–1930, the period 1820–1835, and particularly during the Black War, saw the Midlands as central to the violent dispossession of Aboriginal landowners. Clements argues that the culture of violence during this period also reflected the brutalisation that the penal system imposed upon its subjects. The cultivation of agricultural land throughout the Midlands was enabled by the provision of unfree convict labour (Dillon). Many of the properties granted and established during the colonial period have been held in multi-generational family ownership through to the present.Within this patchwork of private ownership, the tension between visibility and privacy of the Midlands pastures and farmlands challenges the capacity for people to understand what role the Midlands plays in the greater Tasmanian ecology. Although half of Tasmania’s land areas are protected as national parks and reserves, the Midlands remains largely unprotected due to private ownership. When measured against Tasmania’s wilderness values and reputation, the dry pasturelands of the Midland region fail to capture an equivalent level of visual and experiential imagination. Jamie Kirkpatrick describes misconceptions of the Midlands when he writes of “[f]latness, dead and dying eucalypts, gorse, brown pastures, salt—environmental devastation […]—these are the common impression of those who first travel between Spring Hill and Launceston on the Midland Highway” (45). However, Kirkpatrick also emphasises the unique intimate and intricate qualities of this landscape, and its underlying resilience. In the face of the loss of paddock trees and remnants to irrigation, change in species due to pasture enrichment and introduction of new plant species, conservation initiatives that not only protect but also restore habitat are vital. The Tasmanian Midlands, then, are pastoral landscapes whose seeming monotonous continuity glosses over the radical changes experienced in the processes of colonisation and intensification of agriculture.Underlying the Present: Archaeology and Landscape in the Kerry Lodge ProjectThe major marker of the Midlands is the highway that bisects it. Running from Hobart to Launceston, the construction of a “great macadamised highway” (Department of Main Roads 10) between 1820–1850, and its ongoing maintenance, was a significant colonial project. The macadam technique, a nineteenth century innovation in road building which involved the laying of small pieces of stone to create a surface that was relatively water and frost resistant, required considerable but unskilled labour. The construction of the bridge at Kerry Lodge, in 1834–35, was simultaneous with significant bridge buildings at other major water crossings on the highway, (Department of Main Roads 16) and, as the first water crossing south of Launceston, was a pinch-point through which travel of prisoners could be monitored and controlled. Following the completion of the bridge, the site was used to house up to 60 male convicts in a road gang undergoing secondary punishment (1835–44) and then in a labour camp and hiring depot until 1847. At the time of the La Trobe report (1847), the buildings were noted as being in bad condition (Brand 142–43). After the station was disbanded, the use of the buildings reverted to the landowners for use in accommodation and agricultural storage.Archaeological research at Kerry Lodge, directed by Eleanor Casella, investigated the spatial and disciplinary structures of smaller probation and hiring depots and the living and working conditions of supervisory staff. Across three seasons (2015, 2016, 2018), the emerging themes of discipline and control and as well as labour were borne out by excavations across the site, focusing on remnants of buildings close to the bridge. This first season also piloted the co-presence of a curatorial art project, which grew across the season to include eleven practitioners in visual art, theatre and poetry, and three exhibition outcomes. As a crucial process for the curatorial art project, creative practitioners spent time on site as participants and observers, which enabled the development of responses that interrogated the research processes of archaeological fieldwork as well as making connections to the wider historical and cultural context of the site. Immersed in the mundane tasks of archaeological fieldwork, the practitioners involved became simultaneously focused on repetitive actions while contemplating the deep time contained within earth. This experience then informed the development of creative works interrogating embodied processes as a language of site.The outcome from the first fieldwork season was earthspoke, an exhibition shown at Sawtooth, an artist-run initiative in Launceston in 2015, and later re-installed in Franklin House, a National Trust property in the southern suburbs of Launceston.Images 2 and 3: earthspoke, 2015, Installation View at Sawtooth ARI (top) and Franklin House (bottom). Image Credits: Melanie de Ruyter.This recontextualisation of the work, from contemporary ARI (artist run initiative) gallery to National Trust property enabled the project to reach different audiences but also raised questions about the emphases that these exhibition contexts placed on the work. Within the white cube space of the contemporary gallery, connections to site became more abstracted while the educational and heritage functions of the National Trust property added further context and unintended connotations to the art works.Image 4: Strata, 2017, Installation View. Image Credit: Karen Hall.The two subsequent exhibitions, Lines of Site (2016) and Strata (2017), continued to test the relationship between site and gallery, through works that rematerialised the absences on site and connected embodied experiences of convict and archaeological labour. The most recent iteration of the project, Strata, part of the Ten Days on the Island art festival in 2017, involved installing works at the site, marking with their presence the traces, fragments and voids that had been reburied when the landscape returned to agricultural use following the excavations. Here, the interpretive function of the works directly addressed the layered histories of the landscape and underscored the scope of the human interventions and changes over time within the pastoral landscape. The interpretative role of the artworks formed part of a wider, multidisciplinary approach to research and communication within the project. University of Manchester archaeology staff and postgraduate students directed the excavations, using volunteers from the Launceston Historical Society. Staff from Launceston’s Queen Victorian Museum and Art Gallery brought their archival and collection-based expertise to the site rather than simply receiving stored finds as a repository, supporting immediate interpretation and contextualisation of objects. In 2018, participation from the University of Tasmania School of Education enabled a larger number of on-site educational activities than afforded by previous open days. These multi-disciplinary and multi-organisational networks, drawn together provisionally in a shared time and place, provided rich opportunities for dialogue. However, the challenges of sustaining these exchanges have meant ongoing collaborations have become more sporadic, reflecting different institutional priorities and competing demands on participants. Even within long-term projects, continued engagement with stakeholders can be a challenge: while enabling an emerging and concrete sense of community, the time span gives greater vulnerability to external pressures. Making Home: Ecological Restoration and Community Engagement in the Species Hotel ProjectImages 5 and 6: Selected Species Hotels, Ross, Tasmania, 2018. Image Credits: Patrick Sutczak. The Species Hotels stand sentinel over a river of saplings, providing shelter for animal communities within close range of a small town. At the township of Ross in the Southern Midlands, work was initiated by restoration ecologists to address the lack of substantial animal shelter belts on a number of major properties in the area. The Tasmania Island Ark is a major Greening Australia restoration ecology initiative, connecting 6000 hectares of habitat across the Midlands. Linking larger forest areas in the Eastern Tiers and Central Highlands as well as isolated patches of remnant native vegetation, the Ark project is vital to the ongoing survival of local plant and animal species under pressure from human interventions and climate change. With fragmentation of bush and native grasslands in the Midland landscape resulting in vast open plains, the ability for animals to adapt to pasturelands without shelter has resulted in significant decline as animals such as the critically endangered Eastern Barred Bandicoot struggle to feed, move, and avoid predators (Cranney). In 2014 mass plantings of native vegetation were undertaken along 16km of the serpentine Macquarie River as part of two habitat corridors designed to bring connectivity back to the region. While the plantings were being established a public art project was conceived that would merge design with practical application to assist animals in the area, and draw community and public attention to the work that was being done in re-establishing native forests. The Species Hotel project, which began in 2016, emerged from a collaboration between Greening Australia and the University of Tasmania’s School of Architecture and Design, the School of Land and Food, the Tasmanian College of the Arts and the ARC Centre for Forest Value, with funding from the Ian Potter Foundation. The initial focus of the project was the development of interventions in the landscape that could address the specific habitat needs of the insect, small mammal, and bird species that are under threat. First-year Architecture students were invited to design a series of structures with the brief that they would act as ‘Species Hotels’, and once created would be installed among the plantings as structures that could be inhabited or act as protection. After installation, the privately-owned land would be reconfigured so to allow public access and observation of the hotels, by residents and visitors alike. Early in the project’s development, a concern was raised during a Ross community communication and consultation event that the surrounding landscape and its vistas would be dramatically altered with the re-introduced forest. While momentary and resolved, a subtle yet obvious tension surfaced that questioned the re-writing of an established community’s visual landscape literacy by non-residents. Compact and picturesque, the architectural, historical and cultural qualities of Ross and its location were not only admired by residents, but established a regional identity. During the six-week intensive project, the community reach was expanded beyond the institution and involved over 100 people including landowners, artists, scientists and school children from the region (Wright), attempting to address and channel the concerns of residents about the changing landscape. The multiple timescales of this iterative project—from intensive moments of collaboration between stakeholders to the more-than-human time of tree growth—open spaces for regional identity to shift as both as place and community. Part of the design brief was the use of fully biodegradable materials: the Species Hotels are not expected to last forever. The actual installation of the Species Hotelson site took longer than planned due to weather conditions, but once on site they were weathering in, showing signs of insect and bird habitation. This animal activity created an opportunity for ongoing engagement. Further activities generated from the initial iteration of Species Hotel were the Species Hotel Day in 2017, held at the Ross Community Hall where presentations by scientists and designers provided feedback to the local community and presented opportunities for further design engagement in the production of ephemeral ‘species seed pies’ placed out in and around Ross. Architecture and Design students have gone on to develop more examples of ‘ecological furniture’ with a current focus on insect housing as well as extrapolating from the installation of the Species Hotels to generate a VR visualisation of the surrounding landscape, game design and participatory movement work that was presented as part of the Junction Arts Festival program in Launceston, 2017. The intersections of technologies and activities amplified the lived in and living qualities of the Species Hotels, not only adding to the connectivity of social and environmental actions on site and beyond, but also making a statement about the shared ownership this project enabled.Working Property: Collaboration and Dialogues in The Marathon Project The potential of iterative projects that engage with environmental concerns amid questions of access, stewardship and dialogue is also demonstrated in The Marathon Project, a collaborative art project that took place between 2015 and 2017. Situated in the Northern Midland region of Deddington alongside the banks of the Nile River the property of Marathon became the focal point for a small group of artists, ecologists and theorists to converge and engage with a pastoral landscape over time that was unfamiliar to many of them. Through a series of weekend camps and day trips, the participants were able to explore and follow their own creative and investigative agendas. The project was conceived by the landowners who share a passion for the history of the area, their land, and ideas of custodianship and ecological responsibility. The intentions of the project initially were to inspire creative work alongside access, engagement and dialogue about land, agriculture and Deddington itself. As a very small town on the Northern Midland fringe, Deddington is located toward the Eastern Tiers at the foothills of the Ben Lomond mountain ranges. Historically, Deddington is best known as the location of renowned 19th century landscape painter John Glover’s residence, Patterdale. After Glover’s death in 1849, the property steadily fell into disrepair and a recent private restoration effort of the home, studio and grounds has seen renewed interest in the cultural significance of the region. With that in mind, and with Marathon a neighbouring property, participants in the project were able to experience the area and research its past and present as a part of a network of working properties, but also encouraging conversation around the region as a contested and documented place of settlement and subsequent violence toward the Aboriginal people. Marathon is a working property, yet also a vital and fragile ecosystem. Marathon consists of 1430 hectares, of which around 300 lowland hectares are currently used for sheep grazing. The paddocks retain their productivity, function and potential to return to native grassland, while thickets of gorse are plentiful, an example of an invasive species difficult to control. The rest of the property comprises eucalypt woodlands and native grasslands that have been protected under a conservation covenant by the landowners since 2003. The Marathon creek and the Nile River mark the boundary between the functional paddocks and the uncultivated hills and are actively managed in the interface between native and introduced species of flora and fauna. This covenant aimed to preserve these landscapes, linking in with a wider pattern of organisations and landowners attempting to address significant ecological degradation and isolation of remnant bushland patches through restoration ecology. Measured against the visibility of Tasmania’s wilderness identity on the national and global stage, many of the ecological concerns affecting the Midlands go largely unnoticed. The Marathon Project was as much a project about visibility and communication as it was about art and landscape. Over the three years and with its 17 participants, The Marathon Project yielded three major exhibitions along with numerous public presentations and research outputs. The length of the project and the autonomy and perspectives of its participants allowed for connections to be formed, conversations initiated, and greater exposure to the productivity and sustainability complexities playing out on rural Midland properties. Like Kerry Lodge, the 2015 first year exhibition took place at Sawtooth ARI. The exhibition was a testing ground for artists, and a platform for audiences, to witness the cross-disciplinary outputs of work inspired by a single sheep grazing farm. The interest generated led to the rethinking of the 2016 exhibition and the need to broaden the scope of what the landowners and participants were trying to achieve. Image 7: Panel Discussion at Open Weekend, 2016. Image Credit: Ron Malor.In November 2016, The Marathon Project hosted an Open Weekend on the property encouraging audiences to visit, meet the artists, the landowners, and other invited guests from a number of restoration, conservation, and rehabilitation organisations. Titled Encounter, the event and accompanying exhibition displayed in the shearing shed, provided an opportunity for a rhizomatic effect with the public which was designed to inform and disseminate historical and contemporary perspectives of land and agriculture, access, ownership, visitation and interpretation. Concluding with a final exhibition in 2017 at the University of Tasmania’s Academy Gallery, The Marathon Project had built enough momentum to shape and inform the practice of its participants, the knowledge and imagination of the public who engaged with it, and make visible the precarity of the cultural and rural Midland identity.Image 8. Installation View of The Marathon Project Exhibition, 2017. Image Credit: Patrick Sutczak.ConclusionThe Marathon Project, Species Hotel and the Kerry Lodge Archaeology and Art Project all demonstrate the potential of site-based projects to articulate and address concerns that arise from the environmental and cultural conditions and histories of a region. Beyond the Midland fence line is a complex environment that needed to be experienced to be understood. Returning creative work to site, and opening up these intensified experiences of place to a public forms a key stage in all these projects. Beyond a commitment to site-specific practice and valuing the affective and didactic potential of on-site installation, these returns grapple with issues of access, visibility and absence that characterise the Midlands. Paul Carter describes his role in the convening of a “concretely self-realising creative community” in an initiative to construct a meeting-place in Alice Springs, a community defined and united in “its capacity to imagine change as a negotiation between past, present and future” (17). Within that regional context, storytelling, as an encounter between histories and cultures, became crucial in assembling a community that could in turn materialise story into place. In these Midlands projects, a looser assembly of participants with shared interests seek to engage with the intersections of plant, human and animal activities that constitute and negotiate the changing environment. The projects enabled moments of connection, of access, and of intervention: always informed by the complexities of belonging within regional locations.These projects also suggest the need to recognise the granularity of regionalism: the need to be attentive to the relations of site to bioregion, of private land to small town to regional centre. The numerous partnerships that allow such interconnect projects to flourish can be seen as a strength of regional areas, where proximity and scale can draw together sets of related institutions, organisations and individuals. However, the tensions and gaps within these projects reveal differing priorities, senses of ownership and even regional belonging. Questions of who will live with these project outcomes, who will access them, and on what terms, reveal inequalities of power. Negotiations of this uneven and uneasy terrain require a more nuanced account of projects that do not rely on the geographical labelling of regions to paper over the complexities and fractures within the social environment.These projects also share a commitment to the intersection of the social and natural environment. They recognise the inextricable entanglement of human and more than human agencies in shaping the landscape, and material consequences of colonialism and agricultural intensification. Through iteration and duration, the projects mobilise processes that are responsive and reflective while being anchored to the materiality of site. Warwick Mules suggests that “regions are a mixture of data and earth, historically made through the accumulation and condensation of material and informational configurations”. Cross-disciplinary exchanges enable all three projects to actively participate in data production, not interpretation or illustration afterwards. Mules’ call for ‘accumulation’ and ‘configuration’ as productive regional modes speaks directly to the practice-led methodologies employed by these projects. The Kerry Lodge and Marathon projects collect, arrange and transform material taken from each site to provisionally construct a regional material language, extended further in the dual presentation of the projects as off-site exhibitions and as interventions returning to site. The Species Hotel project shares that dual identity, where materials are chosen for their ability over time, habitation and decay to become incorporated into the site yet, through other iterations of the project, become digital presences that nonetheless invite an embodied engagement.These projects centre the Midlands as fertile ground for the production of knowledge and experiences that are distinctive and place-based, arising from the unique qualities of this place, its history and its ongoing challenges. Art and design practice enables connectivity to plant, animal and human communities, utilising cross-disciplinary collaborations to bring together further accumulations of the region’s intertwined cultural and ecological landscape.ReferencesAustralian Government Department of the Environment and Energy. Biodiversity Conservation. Canberra: Commonwealth of Australia, 2018. 1 Apr. 2019 <http://www.environment.gov.au/biodiversity/conservation>.Brand, Ian. The Convict Probation System: Van Diemen’s Land 1839–1854. Sandy Bay: Blubber Head Press, 1990.Carter, Paul. “Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions.” Creative Communities: Regional Inclusion & the Arts. Eds. Janet McDonald and Robert Mason. Bristol: Intellect, 2015. 13–30.Centre for 21st Century Humanities. Colonial Frontier Massacres in Central and Eastern Australia 1788–1930. Newcastle: Centre for 21st Century Humanitie, n.d. 1 Apr. 2019 <https://c21ch.newcastle.edu.au/colonialmassacres/>.Clements, Nicholas. The Black War: Fear, Sex and Resistance in Tasmania. St Lucia: U of Queensland P, 2014. Cranney, Kate. Ecological Science in the Tasmanian Midlands. Melbourne: Bush Heritage Australia, 2016. 1 Apr. 2019 <https://www.bushheritage.org.au/blog/ecological-science-in-the-tasmanian-midlands>.Davidson N. “Tasmanian Northern Midlands Restoration Project.” EMR Summaries, Journal of Ecological Management & Restoration, 2016. 10 Apr. 2019 <https://site.emrprojectsummaries.org/2016/03/07/tasmanian-northern-midlands-restoration-project/>.Department of Main Roads, Tasmania. Convicts & Carriageways: Tasmanian Road Development until 1880. Hobart: Tasmanian Government Printer, 1988.Dillon, Margaret. “Convict Labour and Colonial Society in the Campbell Town Police District: 1820–1839.” PhD Thesis. U of Tasmania, 2008. <https://eprints.utas.edu.au/7777/>.Gammage, Bill. The Biggest Estate on Earth: How Aborigines Made Australia. Crows Nest: Allen & Unwin, 2012.Greening Australia. Building Species Hotels, 2016. 1 Apr. 2019 <https://www.greeningaustralia.org.au/projects/building-species-hotels/>.Kerry Lodge Archaeology and Art Project. Kerry Lodge Convict Site. 10 Mar. 2019 <http://kerrylodge.squarespace.com/>.Kirkpatrick, James. “Natural History.” Midlands Bushweb, The Nature of the Midlands. Ed. Jo Dean. Longford: Midlands Bushweb, 2003. 45–57.Mitchell, Michael, Michael Lockwood, Susan Moore, and Sarah Clement. “Building Systems-Based Scenario Narratives for Novel Biodiversity Futures in an Agricultural Landscape.” Landscape and Urban Planning 145 (2016): 45–56.Mules, Warwick. “The Edges of the Earth: Critical Regionalism as an Aesthetics of the Singular.” Transformations 12 (2005). 1 Mar. 2019 <http://transformationsjournal.org/journal/issue_12/article_03.shtml>.The Marathon Project. <http://themarathonproject.virb.com/home>.University of Tasmania. Strategic Directions, Nov. 2018. 1 Mar. 2019 <https://www.utas.edu.au/vc/strategic-direction>.Wright L. “University of Tasmania Students Design ‘Species Hotels’ for Tasmania’s Wildlife.” Architecture AU 24 Oct. 2016. 1 Apr. 2019 <https://architectureau.com/articles/university-of-tasmania-students-design-species-hotels-for-tasmanias-wildlife/>.

IntroductionI have been studying the creation of Metro style train travel in Sydney for over a decade. My focus has been on the impact that media has had on the process (see Richardson, “Curatorial”; “Upheaval”; “Making”). Through extensive expert, public, and media research, I have investigated the coalitions and alliances that have formed (and disintegrated) between political, bureaucratic, news media, and public actors and the influences at work within these actor-networks. As part of this project, I visited an underground Métro turning fifty in Montreal, Canada. After many years studying the development of a train that wasn’t yet tangible, I wanted to ask a functional train the simple ethnomethodological/Latourian style question, “what do you do for a city and its people?” (de Vries). Therefore, in addition to research conducted in Montreal, I spent ten days wandering through many of the entrances, tunnels, staircases, escalators, mezzanines, platforms, doorways, and carriages of which the Métro system consists. The purpose was to observe the train in situ in order to broaden potential conceptualisations of what a train does for a city such as Montreal, with a view of improving the ideas and messages that would be used to “sell” future rapid rail projects in other cities such as Sydney. This article outlines a selection of the pathways wandered, not only to illustrate the power of social research based on physical wandering, but also the potential power the metaphorical and conceptual wandering an Actor-Network Theory (ANT) assemblage affords social research for media communications.Context, Purpose, and ApproachANT is a hybrid theory/method for studying an arena of the social, such as the significance of a train to a city like Montreal. This type of study is undertaken by following the actors (Latour, Reassembling 12). In ANT, actors do something, as the term suggests. These actions have affects and effects. These might be contrived and deliberate influences or completely circumstantial and accidental impacts. Actors can be people as we are most commonly used to understanding them, and they can also be texts, technological devices, software programs, natural phenomena, or random occurrences. Most significantly though, actors are their “relations” (Harman 17). This means that they are only present if they are relating to others. These relations and the resulting influences and impacts are called networks. A network in the ANT sense is not as simple as the lines that connect train stations on a rail map. Without actions, relations, influences, and impacts, there are no actors. Hence the hyphen in actor-network; the actor and the network are symbiotic. The network, rendered visible through actor associations, consists of the tenuous connections that “shuttle back and forth” between actors even in spite of the fact their areas of knowledge and reality may be completely separate (Latour Modern 3). ANT, therefore, may be considered an empirical practice of tracing the actors and the network of influences and impacts that they both help to shape and are themselves shaped by. To do this, central ANT theorist Bruno Latour employs a simple research question: “what do you do?” This is because in the process of doing, somebody or something is observed to be affecting other people or things and an actor-network becomes identifiable. Latour later learned that his approach shared many parallels with ethnomethodology. This was a discovery that more concretely set the trajectory of his work away from a social science that sought explanations “about why something happens, to ontological ones, that is, questions about what is going on” (de Vries). So, in order to make sense of people’s actions and relations, the focus of research became asking the deceptively simple question while refraining as much as possible “from offering descriptions and explanations of actions in terms of schemes taught in social theory classes” (14).In answering this central ANT question, studies typically wander in a metaphorical sense through an array or assemblage (Law) of research methods such as formal and informal interviews, ethnographic style observation, as well as the content analysis of primary and secondary texts (see Latour, Aramis). These were the methods adopted for my Montreal research—in addition to fifteen in-depth expert and public interviews conducted in October 2017, ten days were spent physically wandering and observing the train in action. I hoped that in understanding what the train does for the city and its people, the actor-network within which the train is situated would be revealed. Of course, “what do you do?” is a very broad question. It requires context. In following the influence of news media in the circuitous development of rapid rail transit in Sydney, I have been struck by the limited tropes through which the potential for rapid rail is discussed. These tropes focus on technological, functional, and/or operational aspects (see Budd; Faruqi; Hasham), costs, funding and return on investment (see Martin and O’Sullivan; Saulwick), and the potential to alleviate peak hour congestion (see Clennell; West). As an expert respondent in my Sydney research, a leading Australian architect and planner, states, “How boring and unexciting […] I mean in Singapore it is the most exciting […] the trains are fantastic […] that wasn’t sold to the [Sydney] public.” So, the purpose of the Montreal research is to expand conceptualisations of the potential for rapid rail infrastructure to influence a city and improve communications used to sell projects in the future, as well as to test the role of both physical and metaphorical ANT style wanderings in doing so. Montreal was chosen for three reasons. First, the Métro had recently turned fifty, which made the comparison between the fledgling and mature systems topical. Second, the Métro was preceded by decades of media discussion (Gilbert and Poitras), which parallels the development of rapid transit in Sydney. Finally, a different architect designed each station and most stations feature art installations (Magder). Therefore, the Métro appeared to have transcended the aforementioned functional and numerically focused tropes used to justify the Sydney system. Could such a train be considered a long-term success?Wandering and PathwaysIn ten days I rode the Montreal Métro from end to end. I stopped at all the stations. I wandered around. I treated wandering not just as a physical research activity, but also as an illustrative metaphor for an assemblage of research practices. This assemblage culminates in testimony, anecdotes, stories, and descriptions through which an actor-network may be glimpsed. Of course, it is incomplete—what I have outlined below represents only a few pathways. However, to think that an actor-network can ever be traversed in its entirety is to miss the point. Completion is a fallacy. Wandering doesn’t end at a finish line. There are always pathways left untrodden. I have attempted not to overanalyse. I have left contradictions unresolved. I have avoided the temptation to link paths through tenuous byways. Some might consider that I have meandered, but an actor-network is never linear. I can only hope that my wanderings, as curtailed as they may be, prove nuanced, colourful, and rich—if not compelling. ANT encourages us to rethink social research (Latour, Reassembling). Central to this is acknowledging (and becoming comfortable with) our own role as researcher in the illumination of the actor-network itself.Here are some of the Montreal pathways wandered:First Impressions I arrive at Montreal airport late afternoon. The apartment I have rented is conveniently located between two Métro stations—Mont Royal and Sherbrooke. I use my phone and seek directions by public transport. To my surprise, the only option is the bus. Too tired to work out connections, I decide instead to follow the signs to the taxi rank. Here, I queue. We are underway twenty minutes later. Travelling around peak traffic, we move from one traffic jam to the next. The trip is slow. Finally ensconced in the apartment, I reflect on how different the trip into Montreal had been, from what I had envisaged. The Métro I had travelled to visit was conspicuous in its total absence.FloatingIt is a feeling of floating that first strikes me when riding the Métro. It runs on rubber tyres. The explanation for the choice of this technology differs. There are reports that it was the brainchild of strong-willed mayor, Jean Drapeau, who believed the new technology would showcase Montreal as a modern world-scale metropolis (Gilbert and Poitras). However, John Martins-Manteiga provides a less romantic account, stating that the decision was made because tyres were cheaper (47). I assume the rubber tyres create the floating sensation. Add to this the famous warmth of the system (Magder; Hazan, Hot) and it has a thoroughly calming, even lulling, effect.Originally, I am planning to spend two whole days riding the Métro in its entirety. I make handwritten notes. On the first day, at mid-morning, nausea develops. I am suffering motion sickness. This is a surprise. I have always been fine to read and write on trains, unlike in a car or bus. It causes a moment of realisation. I am effectively riding a bus. This is an unexpected side-effect. My research program changes—I ride for a maximum of two hours at a time and my note taking becomes more circumspect. The train as actor is influencing the research program and the data being recorded in unexpected ways. ArtThe stained-glass collage at Berri-Uquam, by Pierre Gaboriau and Pierre Osterrath, is grand in scale, intricately detailed and beautiful. It sits above the tunnel from which the trains enter and leave the platform. It somehow seems wholly connected to the train as a result—it frames and announces arrivals and departures. Other striking pieces include the colourful, tiled circles from the mezzanine above the platform at station Peel and the beautiful stained-glass panels on the escalator at station Charlevoix. As a public respondent visiting from Chicago contends, “I just got a sense of exploration—that I wanted to have a look around”.Urban FormAn urban planner asserts that the Métro is responsible for the identity and diversity of urban culture that Montreal is famous for. As everyone cannot live right above a Métro station, there are streets around stations where people walk to the train. As there is less need for cars, these streets are made friendlier for walkers, precipitating a cycle. Furthermore, pedestrian-friendly streets promote local village style commerce such as shops, cafes, bars, and restaurants. So, there is not only more access on foot, but also more incentive to access. The walking that the Métro induces improves the dynamism and social aspects of neighbourhoods, a by-product of which is a distinct urban form and culture for different pockets of the city. The actor-network broadens. In following the actors, I now have to wander beyond the physical limits of the system itself. The streets I walk around station Mont Royal are shopping and restaurant strips, rich with foot traffic at all times of day; it is a vibrant and enticing place to wander.Find DiningThe popular MTL blog published a map of the best restaurants the Métro provides access to (Hazan, Restaurant).ArchitectureStation De La Savane resembles a retro medieval dungeon. It evokes thoughts of the television series Game of Thrones. Art and architecture work in perfect harmony. The sculpture in the foyer by Maurice Lemieux resembles a deconstructed metal mace hanging on a brutalist concrete wall. It towers above a grand staircase and abuts a fence that might ring a medieval keep. Up close I realise it is polished, precisely cut cylindrical steel. A modern fence referencing another time and place. Descending to the platform, craggy concrete walls are pitted with holes. I get the sense of peering through these into the hidden chambers of a crypt. Overlaying all of this is a strikingly modern series of regular and irregular, bold vertical striations cut deeply into the concrete. They run from floor to ceiling to add to a cathedral-like sense of scale. It’s warming to think that such a whimsical train station exists anywhere in the world. Time WarpA public respondent describes the Métro:It’s a little bit like a time machine. It’s a piece of the past and piece of history […] still alive now. I think that it brings art or form or beauty into everyday life. […] You’re going from one place to the next, but because of the history and the story of it you could stop and breathe and take it in a little bit more.Hold ups and HostagesA frustrated General Manager of a transport advocacy group states in an interview:Two minutes of stopping in the Métro is like Armageddon in Montreal—you see it on every media, on every smartphone [...] We are so captive in the Métro [there is a] loss of control.Further, a transport modelling expert asserts:You’re a hostage when you’re in transportation. If the Métro goes out, then you really are stuck. Unfortunately, it does go out often enough. If you lose faith in a mode of transportation, it’s going to be very hard to get you back.CommutingIt took me a good week before I started to notice how tired some of the Métro stations had grown. I felt my enthusiasm dip when I saw the estimated arrival time lengthen on the electronic noticeboard. Anger rose as a young man pushed past me from behind to get out of a train before I had a chance to exit. These tendrils of the actor-network were not evident to me in the first few days. Most interview respondents state that after a period of time passengers take less notice of the interesting and artistic aspects of the Métro. They become commuters. Timeliness and consistency become the most important aspects of the system.FinaleI deliberately visit station Champ-de-Mars last. Photos convince me that I am going to end my Métro exploration with an experience to savour. The station entry and gallery is iconic. Martins-Manteiga writes, “The stained-glass artwork by Marcelle Ferron is almost a religious experience; it floods in and splashes down below” (306). My timing is off though. On this day, the soaring stained-glass windows are mostly hidden behind protective wadding. The station is undergoing restoration. Travelling for the last time back towards station Mont Royal, my mood lightens. Although I had been anticipating this station for some time, in many respects this is a revealing conclusion to my Métro wanderings.What Do You Do?When asked what the train does, many respondents took a while to answer or began with common tropes around moving people. As a transport project manager asserts, “in the world of public transport, the perfect trip is the one you don’t notice”. A journalist gives the most considered and interesting answer. He contends:I think it would say, “I hold the city together culturally, economically, physically, logistically—that’s what I do […] I’m the connective tissue of this city”. […] How else do you describe infrastructure that connects poor neighbourhoods to rich neighbourhoods, downtown to outlying areas, that supports all sorts of businesses both inside it and immediately adjacent to it and has created these axes around the city that pull in almost everybody [...] And of course, everyone takes it for granted […] We get pissed off when it’s late.ConclusionNo matter how real a transportation system may be, it can always be made a little less real. Today, for example, the Paris metro is on strike for the third week in a row. Millions of Parisians are learning to get along without it, by taking their cars or walking […] You see? These enormous hundred-year-old technological monsters are no more real than the four-year-old Aramis is unreal: They all need allies, friends […] There’s no inertia, no irreversibility; there’s no autonomy to keep them alive. (Latour, Aramis 86)Through ANT-based physical and metaphorical wanderings, we find many pathways that illuminate what a train does. We learn from various actors in the actor-network through which the train exists. We seek out its “allies” and “friends”. We wander, piecing together as much of the network as we can. The Métro does lots of things. It has many influences and it influences many. It is undeniably an actor in an actor-network. Transport planners would like it to appear seamless—commuters entering and leaving without really noticing the in-between. And sometimes it appears this way. However, when the commuter is delayed, this appearance is shattered. If a signal fails or an engine falters, the Métro, through a process mediated by word of mouth and/or social and mainstream media, is suddenly rendered tired and obsolete. Or is it historic and quaint? Is the train a technical problem for the city of Montreal or is it characterful and integral to the city’s identity? It is all these things and many more. The actor-network is illusive and elusive. Pathways are extensive. The train floats. The train is late. The train makes us walk. The train has seeded many unique villages, much loved. The train is broken. The train is healthy for its age. The train is all that is right with Montreal. The train is all that is wrong with Montreal. The artwork and architecture mean nothing. The artwork and architecture mean everything. Is the train overly limited by the tyres that keep it underground? Of course, it is. Of course, it isn’t. Does 50 years of history matter? Of course, it does. Of course, it doesn’t. It thrives. It’s tired. It connects. It divides. It’s functional. It’s dirty. It’s beautiful. It’s something to be proud of. It’s embarrassing. A train offers many complex and fascinating pathways. It is never simply an object; it lives and breathes in the network because we live and breathe around it. It stops being effective. It starts becoming affective. Sydney must learn from this. My wanderings demonstrate that the Métro cannot be extricated from what Montreal has become over the last half century. In May 2019, Sydney finally opened its first Metro rail link. And yet, this link and other ongoing metro projects continue to be discussed through statistics and practicalities (Sydney Metro). This offers no affective sense of the pathways that are, and will one day be, created. By selecting and appropriating relevant pathways from cities such as Montreal, and through our own wanderings and imaginings, we can make projections of what a train will do for a city like Sydney. We can project a rich and vibrant actor-network through the media in more emotive and powerful ways. Or, can we not at least supplement the economic, functional, or technocratic accounts with other wanderings? Of course, we can’t. Of course, we can. ReferencesBudd, Henry. “Single-Deck Trains in North West Rail Link.” The Daily Telegraph 20 Jun. 2012. 17 Jan. 2018 <https://www.dailytelegraph.com.au/news/nsw/single-deck-trains-in-north-west-rail-link/news-story/f5255d11af892ebb3938676c5c8b40da>.Clennell, Andrew. “All Talk as City Chokes to Death.” The Daily Telegraph 7 Nov. 2011. 2 Jan 2012 <http://www.dailytelegraph.com.au/news/opinion/all-talk-as-city-chokes-to-death/story-e6frezz0-1226187007530>.De Vries, Gerard. Bruno Latour. Cambridge, UK: Polity, 2016.Faruqi, Mehreen. “Is the New Sydney Metro Privatization of the Rail Network by Stealth?” Sydney Morning Herald 7 July 2015. 19 Jan. 2018 <http://www.smh.com.au/comment/is-the-new-sydney-metro-privatisation-of-the-rail-network-by-stealth-20150707-gi6rdg.html>.Game of Thrones. HBO, 2011–2019.Gilbert, Dale, and Claire Poitras. “‘Subways Are Not Outdated’: Debating the Montreal Métro 1940–60.” The Journal of Transport History 36.2 (2015): 209–227. Harman, Graham. Prince of Networks: Bruno Latour and Metaphysics. Melbourne: re.press, 2009.Hasham, Nicole. “Driverless Trains Plan as Berejiklian Does a U-Turn.” Sydney Morning Herald 6 Jun. 2013. 16 Jan. 2018 <https://www.smh.com.au/national/nsw/driverless-trains-plan-as-berejiklian-does-a-u-turn-20130606-2ns4h.html>.Hazan, Jeremy. “Montreal’s First-Ever Official Metro Restaurant Map.” MTL Blog 17 May 2010. 11 Oct. 2017 <https://www.mtlblog.com/things-to-do-in-mtl/montreals-first-ever-official-metro-restaurant-map/1>.———. “This Is Why Montreal’s STM Metro Has Been So Hot Lately.” MTL Blog 22 Sep. 2017. 11 Oct. 2017 <https://www.mtlblog.com/whats-happening/this-is-why-montreals-stm-metro-has-been-so-hot-lately>. Latour, Bruno. We Have Never Been Modern. Cambridge: Harvard University Press, 1993.———. Aramis: Or the Love of Technology. Cambridge: Harvard University Press, 1996. ———. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press, 2005.Law, John. After Method: Mess in Social Science Research. New York: Routledge, 2004.Magder, Jason. “The Metro at 50: Building the Network.” Montreal Gazette 13 Oct. 2016. 18 Oct. 2017 <http://montrealgazette.com/news/local-news/the-metro-at-50-building-the-network>.Martin, Peter, and Matt O’Sullivan. “Cabinet Leak: Sydney to Parramatta in 15 Minutes Possible, But Not Preferred.” Sydney Morning Herald 14 Aug. 2017. 7 Dec. 2017 <https://www.smh.com.au/national/nsw/cabinet-leak-sydney-to-parramatta-in-15-minutes-possible-but-not-preferred-20170813-gxv226.html>.Martins-Manteiga, John. Métro: Design in Motion. Dominion Modern: Canada 2011.Richardson, Nicholas. “Political Upheaval in Australia: Media, Foucault and Shocking Policy.” ANZCA Conference Proceedings 2015. Eds. D. Paterno, M. Bourk, and D. Matheson.———. “A Curatorial Turn in Policy Development? Managing the Changing Nature of Policymaking Subject to Mediatisation” M/C Journal 18.4 (2015). 7 Aug. 2019 <http://journal.media-culture.org.au/index.php/mcjournal/article/view/998>.———. “‘Making it Happen’: Deciphering Government Branding in Light of the Sydney Building Boom.” M/C Journal 20.2 (2017). 7 Aug. 2019 <http://journal.media-culture.org.au/index.php/mcjournal/article/view/1221>.Saulwick, Jacob. “Plenty of Sums in Rail Plans But Not Everything Adds Up.” Sydney Morning Herald 7 Nov. 2011. 17 Apr. 2012 <http://www.smh.com.au/opinion/politics/plenty-of-sums-in-rail-plans-but-not-everything-adds-up-20111106-1n1wn.html>.Sydney Metro. 16 July 2019. <https://www.sydneymetro.info/>.West, Andrew. “Second Harbour Crossing – or Chaos.” Sydney Morning Herald 31 May 2010. 17 Jan. 2018 <http://www.smh.com.au/nsw/second-harbour-crossing--or-chaos-20100530-wnik.html>.

The National Cultural Policy Discussion Paper—drafted to assist the Australian Government in developing the first national Cultural Policy since Creative Nation nearly two decades ago—envisages a future in which arts, cultural and creative activities directly support the development of an inclusive, innovative and productive Australia. "The policy," it says, "will be based on an understanding that a creative nation produces a more inclusive society and a more expressive and confident citizenry by encouraging our ability to express, describe and share our diverse experiences—with each other and with the world" (Australian Government 3). Even a cursory reading of this Discussion Paper makes it clear that the question of impact—in aesthetic, cultural and economic terms—is central to the Government's agenda in developing a new Cultural Policy. Hand-in-hand with the notion of impact comes the process of measurement of progress. The Discussion Paper notes that progress "must be measurable, and the Government will invest in ways to assess the impact that the National Cultural Policy has on society and the economy" (11). If progress must be measurable, this raises questions about what arts, cultural and creative workers do, whether it is worth it, and whether they could be doing it better. In effect, the Discussion Paper pushes artsworkers ever closer to a climate in which they have to be skilled not just at making work, but at making the impact of this work clear to stakeholders. The Government in its plans for Australia's cultural future, is clearly most supportive of artsworkers who can do this, and the scholars, educators and employers who can best train the artsworkers of the future to do this. Teaching Artsworkers to Measure the Impact of Their Work: The Challenges How do we train artsworkers to assess, measure and articulate the impact of what they do? How do we prepare them to be ready to work in a climate that will—as the National Cultural Policy Discussion Paper makes clear—emphasise measuring impact, communicating impact, and communicating impact across aesthetic, cultural and economic categories? As educators delivering training in this area, the Discussion Paper has made this already compelling question even more pressing as we work to develop the career-ready graduates the Government seeks. Our program, the Master of Creative Industries (Creative Production & Arts Management) offered in the Creative Industries Faculty at Queensland University of Technology in Brisbane, Australia, is, like most programs in arts and cultural management in the US, UK, Europe and Australia, offering a three-Semester postgraduate program that allows students to develop the career-ready skills required to work as managers of arts, cultural or creative organisations. That we need to train our graduates to work not just as producers of plays, paintings or recordings, but as entrepreneurial arts advocates who can measure and articulate the value of their programs to others, is not news (Hadley "Creating" 647-48; cf. Brkic; Ebewo and Sirayi; Beckerman; Sikes). Our program—which offers training in arts policy, management, marketing and budgeting followed by training in entrepreneurship and a practical project—is already structured around this necessity. The question of how to teach students this diverse skill set is, however, still a subject of debate; and the question of how to teach students to measure the impact of this work is even more difficult. There is, of course, a body of literature on the impact of arts, cultural and creative activities, value and evaluation that has been developed over the past decade, particularly through landmark reports like Matarasso's Use or Ornament? The Social Impact of Participation in the Arts (1997) and the RAND Corporation's Gifts of the Muse: Reframing the Debate about the Benefits of the Arts (2004). There are also emergent studies in an Australian context: Madden's "Cautionary Note" on using economic impact studies in the arts (2001); case studies on arts and wellbeing by consultancy firm Effective Change (2003); case studies by DCITA (2003); the Asia Pacific Journal of Arts and Cultural Management (2009) issue on "value"; and Australia Council publications on arts, culture and economy. As Richards has explained, "evaluation is basically a straightforward concept. E-value-ation = a process of enquiry that allows a judgment of amount, value or worth to be made" (99). What makes arts evaluation difficult is not the concept, but the measurement of intangible values—aesthetic quality, expression, engagement or experience. In the literature, discussion has been plagued by debate about what is measured, what method is used, and whether subjective values can in fact be measured. Commentators note that in current practice, questions of value are still deferred because they are too difficult to measure (Bilton and Leary 52), discussed only in terms of economic measures such as market share or satisfaction which are statistically quantifiable (Belfiore and Bennett "Rethinking" 137), or done through un-rigorous surveys that draw only ambiguous, subjective, or selective responses (Merli 110). According to Belfiore and Bennett, Public debate about the value of the arts thus comes to be dominated by what might best be termed the cult of the measurable; and, of course, it is those disciplines primarily concerned with measurement, namely, economics and statistics, which are looked upon to find the evidence that will finally prove why the arts are so important to individuals and societies. A corollary of this is that the humanities are of little use in this investigation. ("Rethinking" 137) Accordingly, Ragsdale states, Arts organizations [still] need to find a way to assess their progress in …making great art that matters to people—as evidenced, perhaps, by increased enthusiasm, frequency of attendance, the capacity and desire to talk or write about one's experience, or in some other way respond to the experience, the curiosity to learn about the art form and the ideas encountered, the depth of emotional response, the quality of the social connections made, and the expansion of one's aesthetics over time. Commentators are still looking for a balanced approach (cf. Geursen and Rentschler; Falk and Dierkling), which evaluates aesthetic practices, business practices, audience response, and results for all parties, in tandem. An approach which evaluates intrinsic impacts, instrumental impacts, and the way each enables the other, in tandem—with an emphasis not on the numbers but on whether we are getting better at what we are doing. And, of course, allows evaluators of arts, cultural and creative activities to use creative arts methods—sketches, stories, bodily movements and relationships and so forth—to provide data to inform the assessment, so they can draw not just on statistical research methods but on arts, culture and humanities research methods. Teaching Artsworkers to Measure the Impact of Their Work: Our Approach As a result of this contested terrain, our method for training artsworkers to measure the impact of their programs has emerged not just from these debates—which tend to conclude by declaring the needs for better methods without providing them—but from a research-teaching nexus in which our own trial-and-error work as consultants to arts, cultural and educational organisations looking to measure the impact of or improve their programs has taught us what is effective. Each of us has worked as managers of professional associations such as Drama Australia and Australasian Association for Theatre, Drama and Performance Studies (ADSA), members of boards or committees for arts organisations such as Youth Arts Queensland and Young People and the Arts Australia (YPAA), as well as consultants to major cultural organisations like the Queensland Performing Arts Centre and the Brisbane Festival. The methods for measuring impact we have developed via this work are based not just on surveys and statistics, but on our own practice as scholars and producers of culture—and are therefore based in arts, culture and humanities approaches. As scholars, we investigate the way marginalised groups tell stories—particularly groups marked by age, gender, race or ability, using community, contemporary and public space performance practices (cf. Hadley, "Bree"; Gattenhof). What we have learned by bringing this sort of scholarly analysis into dialogue with a more systematised approach to articulating impact to government, stakeholders and sponsors is that there is no one-size-fits-all approach. What is needed, instead, is a toolkit, which incorporates central principles and stages, together with qualitative, quantitative and performative tools to track aesthetics, accessibility, inclusivity, capacity-building, creativity etc., as appropriate on a case-by-case basis. Whatever the approach, it is critical that the data track the relationship between the experience the artists, audience or stakeholders anticipated the activity should have, the aspects of the activity that enabled that experience to emerge (or not), and the effect of that (or not) for the arts organisation, their artists, their partners, or their audiences. The combination of methods needs to be selected in consultation with the arts organisation, and the negotiations typically need to include detailed discussion of what should be evaluated (aesthetics, access, inclusivity, or capacity), when it should be evaluated (before, during or after), and how the results should be communicated (including the difference between evaluation for reporting purposes and evaluation for program improvement purposes, and the difference between evaluation and related processes like reflection, documentary-making, or market research). Translating what we have learned through our cultural research and consultancy into a study package for students relies on an understanding of what they want from their study. This, typically, is practical career-ready skills. Students want to produce their own arts, or produce other people's arts, and most have not imagined themselves participating in meta-level processes in which they argue the value of arts, cultural and creative activities (Hadley, "Creating" 652). Accordingly, most have not thought of themselves as researchers, using cultural research methods to create reports that inform how the Australian government values, supports, and services the arts. The first step in teaching students to operate effectively as evaluators of arts, cultural and creative activities is, then, to re-orient their expectations to include this in their understanding of what artsworkers do, what skills artsworkers need, and where they deploy these skills. Simply handing over our own methods, as "the" methods, would not enable graduates to work effectively in a climate were one size will not fit all, and methods for evaluating impact need to be negotiated again for each new context. 1. Understanding the Need for Evaluation: Cause and Effect The first step in encouraging students to become effective evaluators is asking them to map their sector, the major stakeholders, the agendas, alignments and misalignments in what the various players are trying to achieve, and the programs, projects and products through which the players are trying to achieve it. This starting point is drawn from Program Theory—which, as Joon-Yee Kwok argues in her evaluation of the SPARK National Mentoring Program for Young and Emerging Artists (2010) is useful in evaluating cultural activities. The Program Theory approach starts with a flow chart that represents relationships between activities in a program, allowing evaluators to unpack some of the assumptions the program's producers have about what activities have what sort of effect, then test whether they are in fact having that sort of effect (cf. Hall and Hall). It could, for example, start with a flow chart representing the relationship between a community arts policy, a community arts organisation, a community-devised show it is producing, and a blog it has created because it assumes it will allow the public to become more interested in the show the participants are creating, to unpack the assumptions about the sort of effect this is supposed to have, and test whether this is in fact having this sort of effect. Masterclasses, conversations and debate with peers and industry professionals about the agendas, activities and assumptions underpinning programs in their sector allows students to look for elements that may be critical in their programs' ability to achieve (or not) an anticipated impact. In effect to start asking about, "the way things are done now, […] what things are done well, and […] what could be done better" (Australian Government 12).2. Understanding the Nature of Evaluation: PurposeOnce students have been alerted to the need to look for cause-effect assumptions that can determine whether or not their program, project or product is effective, they are asked to consider what data they should be developing about this, why, and for whom. Are they evaluating a program to account to government, stakeholders and sponsors for the money they have spent? To improve the way it works? To use that information to develop innovative new programs in future? In other words, who is the audience? Being aware of the many possible purposes and audiences for evaluation information can allow students to be clear not just about what needs to be evaluated, but the nature of the evaluation they will do—a largely statistical report, versus a narrative summary of experiences, emotions and effects—which may differ depending on the audience.3. Making Decisions about What to Evaluate: Priorities When setting out to measure the impact of arts, cultural or creative activities, many people try to measure everything, measure for the purposes of reporting, improvement and development using the same methods, or gather a range of different sorts of data in the hope that something in it will answer questions about whether an activity is having the anticipated effect, and, if so, how. We ask students to be more selective, making strategic decisions about which anticipated effects of a program, project or product need to be evaluated, whether the evaluation is for reporting, improvement or innovation purposes, and what information stakeholders most require. In addition to the concept of collecting data about critical points where programs succeed or fail in achieving a desired effect, and different approaches for reporting, improvement or development, we ask students to think about the different categories of effect that may be more or less interesting to different stakeholders. This is not an exhaustive list, or a list of things every evaluation should measure. It is a tool to demonstrate to would-be evaluators points of focus that could be developed, depending on the stakeholders' priorities, the purpose of the evaluation, and the critical points at which desired effects need to occur to ensure success. Without such framing, evaluators are likely to end up with unusable data, which become a difficulty to deal with rather than a benefit for the artsworkers, arts organisations or stakeholders. 4. Methods for Evaluation: Process To be effective, methods for collecting data about how arts, cultural or creative activities have (or fail to have) anticipated impact need to include conventional survey, interview and focus group style tools, and creative or performative tools such as discussion, documentation or observation. We encourage students to use creative practice to draw out people's experience of arts events—for example, observation, documentation still images, video or audio documentation, or facilitated development of sketches, stories or scenes about an experience, can be used to register and record people's feelings. These sorts of methods can capture what Mihaly Csikszentmihalyi calls "flow" of experience (cf. Belfiore and Bennett, "Determinants" 232)—for example, photos of a festival space at hourly intervals or the colours a child uses to convey memory of a performance can capture to flow of movement, engagement, and experience for spectators more clearly than statistics. These, together with conventional surveys or interviews that comment on the feelings expressed, allow for a combination of quantitative, qualitative and performative data to demonstrate impact. The approach becomes arts- and humanities- based, using arts methods to encourage people to talk, write or otherwise respond to their experience in terms of emotion, connection, community, or expansion of aesthetics. The evaluator still needs to draw out the meaning of the responses through content, text or discourse analysis, and teaching students how to do a content analysis of quantitative, qualitative and performative data is critical at this stage. When teaching students how to evaluate their data, our method encourages students not just to focus on the experience, or the effect of the experience, but the relationship between the two—the things that act as "enablers" "determinants" (White and Hede; Belfiore and Bennett, "Determinants" passim) of effect. This approach allows the evaluator to use a combination of conventional and creative methods to describe not just what effect an activity had, but, more critically, what enabled it to have that effect, providing a firmer platform for discussing the impact, and how it could be replicated, developed or deepened next time, than a list of effects and numbers of people who felt those effects alone. 5. Communicating Results: Politics Often arts, cultural or creative organisations can be concerned about the image of their work an evaluation will create. The final step in our approach is to alert students to the professional, political and ethical implications of evaluation. Students learn to share their knowledge with organisations, encouraging them to see the value of reporting both correct and incorrect assumptions about the impact of their activities, as part of a continuous improvement process. Then we assist them in drawing the results of this sort of cultural research into planning, development and training documents which may assist the organisation in improving in the future. In effect, it is about encouraging organisations to take the Australian government at its word when, in the National Cultural Policy Discussion Paper, it says it that measuring impact is about measuring progress—what we do well, what we could do better, and how, not just success statistics about who is most successful—as it is this that will ultimately be most useful in creating an inclusive, innovative, productive Australia. Teaching Artsworkers to Measure the Impact of Their Work: The Impact of Our Approach What, then, is the impact of our training on graduates' ability to measure the impact of work? Have we made measurable progress in our efforts to teach artsworkers to assess and articulate the impact of their work? The MCI (CP&AM) has been offered for three years. Our approach is still emergent and experimental. We have, though, identified a number of impacts of our work. First, our students are less fearful of becoming involved in measuring the value or impact of arts, cultural and creative programs. This is evidenced by the number who chooses to do some sort of evaluation for their Major Project, a 15,000 word individual project or internship which concludes their degree. Of the 50 or so students who have reached the Major Project in three years—35 completed and 15 in planning for 2012—about a third have incorporated evaluation into their Major Project. This includes evaluation of sector, business or producing models (5), youth arts and youth arts mentorship programs (4), audience development programs (2), touring programs (4), and even other arts management training programs (1). Indeed, after internships in programming or producing roles, this work—aligned with the Government's interest in improving training of young artists, touring, audience development, and economic development—has become a most popular Major Project option. This has enabled students to work with a range of arts, cultural and creative organisations, share their training—their methods, their understanding of what their methods can measure, when, and how—with Industry. Second, this Industry-engaged training has helped graduates in securing employment. This is evidenced by the fact that graduates have gone on to be employed with organisations they have interned with as part of their Major Project, or other organisations, including some of Brisbane's biggest cultural organisations—local and state government departments, Queensland Performing Arts Centre, Brisbane Festival, Metro Arts, Backbone Youth Arts, and Youth Arts Queensland, amongst others. Thirdly, graduates' contribution to local organisations and industry has increased the profile of a relatively new program. This is evidenced by the fact that it enrols 40 to 50 new students a year across Graduate Certificate / MCI (CP&AM) programs, typically two thirds domestic students and one third international students from Canada, Germany, France, Denmark, Norway and, of course, China. Indeed, some students are now disseminating this work globally, undertaking their Major Project as an internship or industry project with an organisation overseas. In effect, our training's impact emerges not just from our research, or our training, but from the fact that our graduates disseminate our approach to a range of arts, cultural and creative organisations in a practical way. We have, as a result, expanded the audience for this approach, and the number of people and contexts via which it is being adapted and made useful. Whilst few of students come into our program with a desire to do this sort of work, or even a working knowledge of the policy that informs it, on completion many consider it a viable part of their practice and career pathway. When they realise what they can achieve, and what it can mean to the organisations they work with, they do incorporate research, research consultant and government roles as part of their career portfolio, and thus make a contribution to the strong cultural sector the Government envisages in the National Cultural Policy Discussion Paper. Our work as scholars, practitioners and educators has thus enabled us to take a long-term, processual and grassroots approach to reshaping agendas for approaches to this form of cultural research, as our practices are adopted and adapted by students and industry stakeholders. Given the challenges commentators have identified in creating and disseminating effective evaluation methods in arts over the past decade, this, for us—though by no means work that is complete—does count as measurable progress. References Beckerman, Gary. "Adventuring Arts Entrepreneurship Curricula in Higher Education: An Examination of Present Efforts, Obstacles, and Best pPractices." The Journal of Arts Management, Law, and Society 37.2 (2007): 87-112. Belfiore, Eleaonora, and Oliver Bennett. "Determinants of Impact: Towards a Better Understanding of Encounters with the Arts." Cultural Trends 16.3 (2007): 225-75. ———. "Rethinking the Social Impacts of the Arts." International Journal of Cultural Policy 13.2 (2007): 135-51. Bilton, Chris, and Ruth Leary. "What Can Managers Do for Creativity? Brokering Creativity in the Creative Industries." International Journal of Cultural Policy 8.1 (2002): 49-64. Brkic, Aleksandar. "Teaching Arts Management: Where Did We Lose the Core Ideas?" Journal of Arts Management, Law and Society 38.4 (2009): 270-80. Czikszentmihalyi, Mihaly. "A Systems Perspective on Creativity." Creative Management. Ed. Jane Henry. Sage: London, 2001. 11-26. Australian Government. "National Cultural Policy Discussion Paper." Department of Prime Minster and Cabinet – Office for the Arts 2011. 1 Oct. 2011 ‹http://culture.arts.gov.au/discussion-paper›. Ebewo, Patrick, and Mzo Sirayi. "The Concept of Arts/Cultural Management: A Critical Reflection." Journal of Arts Management, Law and Society 38.4 (2009): 281-95. Effective Change and VicHealth. Creative Connections: Promoting Mental Health and Wellbeing through Community Arts Participation 2003. 1 Oct. 2011 ‹http://www.vichealth.vic.gov.au/en/Publications/Social-connection/Creative-Connections.aspx›. Effective Change. Evaluating Community Arts and Community Well Being 2003. 1 Oct. 2011 ‹http://www.arts.vic.gov.au/Research_and_Resources/Resources/Evaluating_Community_Arts_and_Wellbeing›. Falk, John H., and Lynn. D Dierking. "Re-Envisioning Success in the Cultural Sector." Cultural Trends 17.4 (2008): 233-46. Gattenhof, Sandra. "Sandra Gattenhof." QUT ePrints Article Repository. Queensland University of Technology, 2011. 1 Oct. 2011 ‹http://eprints.qut.edu.au/view/person/Gattenhof,_Sandra.html›. Geursen, Gus and Ruth Rentschler. "Unravelling Cultural Value." The Journal of Arts Management, Law and Society 33.3 (2003): 196-210. Hall, Irene and David Hall. Evaluation and Social Research: Introducing Small Scale Practice. London: Palgrave McMillan, 2004. Hadley, Bree. "Bree Hadley." QUT ePrints Article Repository. Queensland University of Technology, 2011. 1 Oct. 2011 ‹http://eprints.qut.edu.au/view/person/Hadley,_Bree.html›. ———. "Creating Successful Cultural Brokers: The Pros and Cons of a Community of Practice Approach in Arts Management Education." Asia Pacific Journal of Arts and Cultural Management 8.1 (2011): 645-59. Kwok, Joon. When Sparks Fly: Developing Formal Mentoring Programs for the Career Development of Young and Emerging Artists. Masters Thesis. Brisbane: Queensland University of Technology, 2010. Madden, Christopher. "Using 'Economic' Impact Studies in Arts and Cultural Advocacy: A Cautionary Note." Media International Australia, Incorporating Culture & Policy 98 (2001): 161-78. Matarasso, Francis. Use or Ornament? The Social Impact of Participation in the Arts. Bournes Greens, Stroud: Comedia, 1997. McCarthy, Kevin. F., Elizabeth H. Ondaatje, Laura Zakaras, and Arthur Brooks. Gifts of the Muse: Reframing the Debate about the Benefits of the Arts. Santa Monica: RAND Corporation, 2004. Merli, Paola. "Evaluating the Social Impact of Participation in Arts Activities." International Journal of Cultural Policy 8.1 (2002): 107-18. Muir, Jan. The Regional Impact of Cultural Programs: Some Case Study Findings. Communications Research Unit - DCITA, 2003. Ragsdale, Diana. "Keynote - Surviving the Culture Change." Australia Council Arts Marketing Summit. Australia Council for the Arts: 2008. Richards, Alison. "Evaluation Approaches." Creative Collaboration: Artists and Communities. Melbourne: Victorian College of the Arts, University of Melbourne, 2006. Sikes, Michael. "Higher Education Training in Arts Administration: A Millennial and Metaphoric Reappraisal. Journal of Arts Management, Law and Society 30.2 (2000): 91-101.White, Tabitha, and Anne-Marie Hede. "Using Narrative Inquiry to Explore the Impact of Art on Individuals." 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Permaculture is a creative design process that is based on ethics and design principles. It guides us to mimic the patterns and relationships we can find in nature and can be applied to all aspects of human habitation, from agriculture to ecological building, from appropriate technology to education and even economics. (permacultureprinciples.com)This paper considers permaculture as an example of counterculture in Australia. Permaculture is a neologism, the result of a contraction of ‘permanent’ and ‘agriculture’. In accordance with David Holmgren and Richard Telford definition quoted above, we intend permaculture as a design process based on a set of ethical and design principles. Rather than describing the history of permaculture, we choose two moments as paradigmatic of its evolution in relation to counterculture.The first moment is permaculture’s beginnings steeped in the same late 1960s turbulence that saw some people pursue an alternative lifestyle in Northern NSW and a rural idyll in Tasmania (Grayson and Payne). Ideas of a return to the land circulating in this first moment coalesced around the publication in 1978 of the book Permaculture One: A Perennial Agriculture for Human Settlements by Bill Mollison and David Holmgren, which functioned as “a disruptive technology, an idea that threatened to disrupt business as usual, to change the way we thought and did things”, as Russ Grayson writes in his contextual history of permaculture. The second moment is best exemplified by the definitions of permaculture as “a holistic system of design … most often applied to basic human needs such as water, food and shelter … also used to design more abstract systems such as community and economic structures” (Milkwood) and as “also a world wide network and movement of individuals and groups working in both rich and poor countries on all continents” (Holmgren).We argue that the shift in understanding of permaculture from the “back to the land movement” (Grayson) as a more wholesome alternative to consumer society to the contemporary conceptualisation of permaculture as an assemblage and global network of practices, is representative of the shifting dynamic between dominant paradigms and counterculture from the 1970s to the present. While counterculture was a useful way to understand the agency of subcultures (i.e. by countering mainstream culture and society) contemporary forms of globalised capitalism demand different models and vocabularies within which the idea of “counter” as clear cut alternative becomes an awkward fit.On the contrary we see the emergence of a repertoire of practices aimed at small-scale, localised solutions connected in transnational networks (Pink 105). These practices operate contrapuntally, a concept we borrow from Edward Said’s Culture and Imperialism (1993), to define how divergent practices play off each other while remaining at the edge, but still in a relation of interdependence with a dominant paradigm. In Said’s terms “contrapuntal reading” reveals what is left at the periphery of a mainstream narrative, but is at the same time instrumental to the development of events in the narrative itself. To illustrate this concept Said makes the case of novels where colonial plantations at the edge of the Empire make possible a certain lifestyle in England, but don’t appear in the narrative of that lifestyle itself (66-67).In keeping with permaculture design ecological principles, we argue that today permaculture is best understood as part of an assemblage of design objects, bacteria, economies, humans, plants, technologies, actions, theories, mushrooms, policies, affects, desires, animals, business, material and immaterial labour and politics and that it can be read as contrapuntal rather than as oppositional practice. Contrapuntal insofar as it is not directly oppositional preferring to reframe and reorientate everyday practices. The paper is structured in three parts: in the first one we frame our argument by providing a background to our understanding of counterculture and assemblage; in the second we introduce the beginning of permaculture in its historical context, and in third we propose to consider permaculture as an assemblage.Background: Counterculture and Assemblage We do not have the scope in this article to engage with contested definitions of counterculture in the Australian context, or their relation to contraculture or subculture. There is an emerging literature (Stickells, Robinson) touched on elsewhere in this issue. In this paper we view counterculture as social movements that “undermine societal hierarchies which structure urban life and create, instead a city organised on the basis of values such as action, local cultures, and decentred, participatory democracy” (Castells 19-20). Our focus on cities demonstrates the ways counterculture has shifted away from oppositional protest and towards ways of living sustainably in an increasingly urbanised world.Permaculture resonates with Castells’s definition and with other forms of protest, or what Musgrove calls “the dialectics of utopia” (16), a dynamic tension of political activism (resistance) and personal growth (aesthetics and play) that characterised ‘counterculture’ in the 1970s. McKay offers a similar view when he says such acts of counterculture are capable of “both a utopian gesture and a practical display of resistance” (27). But as a design practice, permaculture goes beyond the spectacle of protest.In this sense permaculture can be understood as an everyday act of resistance: “The design act is not a boycott, strike, protest, demonstration, or some other political act, but lends its power of resistance from being precisely a designerly way of intervening into people’s lives” (Markussen 38). We view permaculture design as a form of design activism that is embedded in everyday life. It is a process that aims to reorient a practice not by disrupting it but by becoming part of it.Guy Julier cites permaculture, along with the appropriate technology movement and community architecture, as one of many examples of radical thinking in design that emerged in the 1970s (225). This alignment of permaculture as a design practice that is connected to counterculture in an assemblage, but not entirely defined by it, is important in understanding the endurance of permaculture as a form of activism.In refuting the common and generalized narrative of failure that is used to describe the sixties (and can be extended to the seventies), Julie Stephens raises the many ways that the dominant ethos of the time was “revolutionised by the radicalism of the period, but in ways that bore little resemblance to the announced intentions of activists and participants themselves” (121). Further, she argues that the “extraordinary and paradoxical aspects of the anti-disciplinary protest of the period were that while it worked to collapse the division between opposition and complicity and problematised received understandings of the political, at the same time it reaffirmed its commitment to political involvement as an emancipatory, collective endeavour” (126).Many foresaw the political challenge of counterculture. From the belly of the beast, in 1975, Craig McGregor wrote that countercultures are “a crucial part of conventional society; and eventually they will be judged on how successful they transform it” (43). In arguing that permaculture is an assemblage and global network of practices, we contribute to a description of the shifting dynamic between dominant paradigms and counterculture that was identified by McGregor at the time and Stephens retrospectively, and we open up possibilities for reexamining an important moment in the history of Australian protest movements.Permaculture: Historical Context Together with practical manuals and theoretical texts permaculture has produced its foundation myths, centred around two father figures, Bill Mollison and David Holmgren. The pair, we read in accounts on the history of permaculture, met in the 1970s in Hobart at the University of Tasmania, where Mollison, after a polymath career, was a senior lecturer in Environmental Psychology, and Holmgren a student. Together they wrote the first article on permaculture in 1976 for the Organic Farmer and Gardener magazine (Grayson and Payne), which together with the dissemination of ideas via radio, captured the social imagination of the time. Two years later Holmgren and Mollison published the book Permaculture One: A Perennial Agricultural System for Human Settlements (Mollison and Holmgren).These texts and Mollison’s talks articulated ideas and desires and most importantly proposed solutions about living on the land, and led to the creation of the first ecovillage in Australia, Max Lindegger’s Crystal Waters in South East Queensland, the first permaculture magazine (titled Permaculture), and the beginning of the permaculture network (Grayson and Payne). In 1979 Mollison taught the first permaculture course, and published the second book. Grayson and Payne stress how permaculture media practices, such as the radio interview mentioned above and publications like Permaculture Magazine and Permaculture International Journal were key factors in the spreading of the design system and building a global network.The ideas developed around the concept of permaculture were shaped by, and in turned contributed to shape, the social climate of the late 1960s and early 1970s that captured the discontent with both capitalism and the Cold War, and that coalesced in “alternative lifestyles groups” (Metcalf). In 1973, for instance, the Aquarius Festival in Nimbin was not only a countercultural landmark, but also the site of emergence of alternative experiments in living that found their embodiment in experimental housing design (Stickells). The same interest in technological innovation mixed with rural skills animated one of permaculture’s precursors, the “back to the land movement” and its attempt “to blend rural traditionalism and technological and ideological modernity” (Grayson).This character of remix remains one of the characteristics of permaculture. Unlike movements based mostly on escape from the mainstream, permaculture offered a repertoire, and a system of adaptable solutions to live both in the country and the city. Like many aspects of the “alternative lifestyle” counterculture, permaculture was and is intensely biopolitical in the sense that it is concerned with the management of life itself “from below”: one’s own, people’s life and life on planet earth more generally. This understanding of biopolitics as power of life rather than over life is translated in permaculture into malleable design processes across a range of diversified practices. These are at the basis of the endurance of permaculture beyond the experiments in alternative lifestyles.In distinguishing it from sustainability (a contested concept among permaculture practitioners, some of whom prefer the notion of “planning for abundance”), Barry sees permaculture as:locally based and robustly contextualized implementations of sustainability, based on the notion that there is no ‘one size fits all’ model of sustainability. Permaculture, though rightly wary of more mainstream, reformist, and ‘business as usual’ accounts of sustainability can be viewed as a particular localized, and resilience-based conceptualization of sustainable living and the creation of ‘sustainable communities’. (83)The adaptability of permaculture to diverse solutions is stressed by Molly Scott-Cato, who, following David Holmgren, defines it as follows: “Permaculture is not a set of rules; it is a process of design based around principles found in the natural world, of cooperation and mutually beneficial relationships, and translating these principles into actions” (176).Permaculture Practice as Assemblage Scott Cato’s definition of permaculture helps us to understand both its conceptual framework as it is set out in permaculture manuals and textbooks, and the way it operates in practice at an individual, local, regional, national and global level, as an assemblage. Using the idea of assemblage, as defined by Jane Bennett, we are able to understand permaculture as part of an “ad hoc grouping”, a “collectivity” made up of many types of actors, humans, non humans, nature and culture, whose “coherence co-exists with energies and countercultures that exceed and confound it” (445-6). Put slightly differently, permaculture is part of “living” assemblage whose existence is not dependent on or governed by a “central power”. Nor can it be influenced by any single entity or member (445-6). Rather, permaculture is a “complex, gigantic whole” that is “made up variously, of somatic, technological, cultural, and atmospheric elements” (447).In considering permaculture as an assemblage that includes countercultural elements, we specifically adhere to John Law’s description of Actor Network Theory as an approach that relies on an empirical foundation rather than a theoretical one in order to “tell stories about ‘how’ relationships assemble or don’t” (141). The hybrid nature of permaculture design involving both human and non human stakeholders and their social and material dependencies can be understood as an “assembly” or “thing,” where everything not only plays its part relationally but where “matters of fact” are combined with “matters of concern” (Latour, "Critique"). As Barry explains, permaculture is a “holistic and systems-based approach to understanding and designing human-nature relations” (82). Permaculture principles are based on the enactment of interconnections, continuous feedback and reshuffling among plants, humans, animals, chemistry, social life, things, energy, built and natural environment, and tools.Bruno Latour calls this kind of relationality a “sphere” or a “network” that comprises of many interconnected nodes (Latour, "Actor-Network" 31). The connections between the nodes are not arbitrary, they are based on “associations” that dissolve the “micro-macro distinctions” of near and far, emphasizing the “global entity” of networks (361-381). Not everything is globalised but the global networks that structure the planet affect everything and everyone. In the context of permaculture, we argue that despite being highly connected through a network of digital and analogue platforms, the movement remains localised. In other words, permaculture is both local and global articulating global matters of concern such as food production, renewable energy sources, and ecological wellbeing in deeply localised variants.These address how the matters of concerns engendered by global networks in specific places interact with local elements. A community based permaculture practice in a desert area, for instance, will engage with storing renewable energy, or growing food crops and maintaining a stable ecology using the same twelve design principles and ethics as an educational business doing rooftop permaculture in a major urban centre. The localised applications, however, will result in a very different permaculture assemblage of animals, plants, technologies, people, affects, discourses, pedagogies, media, images, and resources.Similarly, if we consider permaculture as a network of interconnected nodes on a larger scale, such as in the case of national organisations, we can see how each node provides a counterpoint that models ecological best practices with respect to ingrained everyday ways of doing things, corporate and conventional agriculture, and so on. This adaptability and ability to effect practices has meant that permaculture’s sphere of influence has grown to include public institutions, such as city councils, public and private spaces, and schools.A short description of some of the nodes in the evolving permaculture assemblage in Sydney, where we live, is an example of the way permaculture has advanced from its alternative lifestyle beginnings to become part of the repertoire of contemporary activism. These practices, in turn, make room for accepted ways of doing things to move in new directions. In this assemblage each constellation operates within well established sites: local councils, public spaces, community groups, and businesses, while changing the conventional way these sites operate.The permaculture assemblage in Sydney includes individuals and communities in local groups coordinated in a city-wide network, Permaculture Sydney, connected to similar regional networks along the NSW seaboard; local government initiatives, such as in Randwick, Sydney, and Pittwater and policies like Sustainable City Living; community gardens like the inner city food forest at Angel Street or the hybrid public open park and educational space at the Permaculture Interpretive Garden; private permaculture gardens; experiments in grassroot urban permaculture and in urban agriculture; gardening, education and landscape business specialising in permaculture design, like Milkwood and Sydney Organic Gardens; loose groups of permaculturalists gathering around projects, such as Permablitz Sydney; media personalities and programs, as in the case of the hugely successful garden show Gardening Australia hosted by Costa Georgiadis; germane organisations dedicated to food sovereignty or seed saving, the Transition Towns movement; farmers’ markets and food coops; and multifarious private/public sustainability initiatives.Permaculture is a set of practices that, in themselves are not inherently “against” anything, yet empower people to form their own lifestyles and communities. After all, permaculture is a design system, a way to analyse space, and body of knowledge based on set principles and ethics. The identification of permaculture as a form of activism, or indeed as countercultural, is externally imposed, and therefore contingent on the ways conventional forms of housing and food production are understood as being in opposition.As we have shown elsewhere (2014) thinking through design practices as assemblages can describe hybrid forms of participation based on relationships to broader political movements, disciplines and organisations.Use Edges and Value the Marginal The eleventh permaculture design principle calls for an appreciation of the marginal and the edge: “The interface between things is where the most interesting events take place. These are often the most valuable, diverse and productive elements in the system” (permacultureprinciples.com). In other words the edge is understood as the site where things come together generating new possible paths and interactions. In this paper we have taken this metaphor to think through the relations between permaculture and counterculture. We argued that permaculture emerged from the countercultural ferment of the late 1960s and 1970s and intersected with other fringe alternative lifestyle experiments. In its contemporary form the “counter” value needs to be understood as counterpoint rather than as a position of pure oppositionality to the mainstream.The edge in permaculture is not a boundary on the periphery of a design, but a site of interconnection, hybridity and exchange, that produces adaptable and different possibilities. Similarly permaculture shares with forms of contemporary activism “flexible action repertoires” (Mayer 203) able to interconnect and traverse diverse contexts, including mainstream institutions. Permaculture deploys an action repertoire that integrates not segregates and that is aimed at inviting a shift in everyday practices and at doing things differently: differently from the mainstream and from the way global capital operates, without claiming to be in a position outside global capital flows. In brief, the assemblages of practices, ideas, and people generated by permaculture, like the ones described in this paper, as a counterpoint bring together discordant elements on equal terms.ReferencesBarry, John. The Politics of Actually Existing Unsustainability: Human Flourishing in a Climate-Changed, Carbon Constrained World. 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Introduction With a deluge of mouthwatering pre-publicity, the opening of The Spotted Pig, the USA’s first self-identified British-styled gastropub, in Manhattan in February 2004 was much anticipated. The late Australian chef, food writer and restauranteur Mietta O’Donnell has noted how “taking over a building or business which has a long established reputation can be a mixed blessing” because of the way that memories “can enrich the experience of being in a place or they can just make people nostalgic”. Bistro Le Zoo, the previous eatery on the site, had been very popular when it opened almost a decade earlier, and its closure was mourned by some diners (Young; Kaminsky “Feeding Time”; Steinhauer & McGinty). This regret did not, however, appear to affect The Spotted Pig’s success. As esteemed New York Times reviewer Frank Bruni noted in his 2006 review: “Almost immediately after it opened […] the throngs started to descend, and they have never stopped”. The following year, The Spotted Pig was awarded a Michelin star—the first year that Michelin ranked New York—and has kept this star in the subsequent annual rankings. Writing Restaurant Biography Detailed studies have been published of almost every type of contemporary organisation including public institutions such as schools, hospitals, museums and universities, as well as non-profit organisations such as charities and professional associations. These are often written to mark a major milestone, or some significant change, development or the demise of the organisation under consideration (Brien). Detailed studies have also recently been published of businesses as diverse as general stores (Woody), art galleries (Fossi), fashion labels (Koda et al.), record stores (Southern & Branson), airlines (Byrnes; Jones), confectionary companies (Chinn) and builders (Garden). In terms of attracting mainstream readerships, however, few such studies seem able to capture popular reader interest as those about eating establishments including restaurants and cafés. This form of restaurant life history is, moreover, not restricted to ‘quality’ establishments. Fast food restaurant chains have attracted their share of studies (see, for example Love; Jakle & Sculle), ranging from business-economic analyses (Liu), socio-cultural political analyses (Watson), and memoirs (Kroc & Anderson), to criticism around their conduct and effects (Striffler). Eric Schlosser’s Fast Food Nation: The Dark Side of the All-American Meal is the most well-known published critique of the fast food industry and its effects with, famously, the Rolling Stone article on which it was based generating more reader mail than any other piece run in the 1990s. The book itself (researched narrative creative nonfiction), moreover, made a fascinating transition to the screen, transformed into a fictionalised drama (co-written by Schlosser) that narrates the content of the book from the point of view of a series of fictional/composite characters involved in the industry, rather than in a documentary format. Akin to the range of studies of fast food restaurants, there are also a variety of studies of eateries in US motels, caravan parks, diners and service station restaurants (see, for example, Baeder). Although there has been little study of this sub-genre of food and drink publishing, their popularity can be explained, at least in part, because such volumes cater to the significant readership for writing about food related topics of all kinds, with food writing recently identified as mainstream literary fare in the USA and UK (Hughes) and an entire “publishing subculture” in Australia (Dunstan & Chaitman). Although no exact tally exists, an informed estimate by the founder of the Gourmand World Cookbook Awards and president of the Paris Cookbook Fair, Edouard Cointreau, has more than 26,000 volumes on food and wine related topics currently published around the world annually (ctd. in Andriani “Gourmand Awards”). The readership for publications about restaurants can also perhaps be attributed to the wide range of information that can be included a single study. My study of a selection of these texts from the UK, USA and Australia indicates that this can include narratives of place and architecture dealing with the restaurant’s location, locale and design; narratives of directly food-related subject matter such as menus, recipes and dining trends; and narratives of people, in the stories of its proprietors, staff and patrons. Detailed studies of contemporary individual establishments commonly take the form of authorised narratives either written by the owners, chefs or other staff with the help of a food journalist, historian or other professional writer, or produced largely by that writer with the assistance of the premise’s staff. These studies are often extensively illustrated with photographs and, sometimes, drawings or reproductions of other artworks, and almost always include recipes. Two examples of these from my own collection include a centennial history of a famous New Orleans eatery that survived Hurricane Katrina, Galatoire’s Cookbook. Written by employees—the chief operating officer/general manager (Melvin Rodrigue) and publicist (Jyl Benson)—this incorporates reminiscences from both other staff and patrons. The second is another study of a New Orleans’ restaurant, this one by the late broadcaster and celebrity local historian Mel Leavitt. The Court of Two Sisters Cookbook: With a History of the French Quarter and the Restaurant, compiled with the assistance of the Two Sisters’ proprietor, Joseph Fein Joseph III, was first published in 1992 and has been so enduringly popular that it is in its eighth printing. These texts, in common with many others of this type, trace a triumph-over-adversity company history that incorporates a series of mildly scintillating anecdotes, lists of famous chefs and diners, and signature recipes. Although obviously focused on an external readership, they can also be characterised as an instance of what David M. Boje calls an organisation’s “story performance” (106) as the process of creating these narratives mobilises an organisation’s (in these cases, a commercial enterprise’s) internal information processing and narrative building activities. Studies of contemporary restaurants are much more rarely written without any involvement from the eatery’s personnel. When these are, the results tend to have much in common with more critical studies such as Fast Food Nation, as well as so-called architectural ‘building biographies’ which attempt to narrate the historical and social forces that “explain the shapes and uses” (Ellis, Chao & Parrish 70) of the physical structures we create. Examples of this would include Harding’s study of the importance of the Boeuf sur le Toit in Parisian life in the 1920s and Middlebrook’s social history of London’s Strand Corner House. Such work agrees with Kopytoff’s assertion—following Appadurai’s proposal that objects possess their own ‘biographies’ which need to be researched and expressed—that such inquiry can reveal not only information about the objects under consideration, but also about readers as we examine our “cultural […] aesthetic, historical, and even political” responses to these narratives (67). The life story of a restaurant will necessarily be entangled with those of the figures who have been involved in its establishment and development, as well as the narratives they create around the business. This following brief study of The Spotted Pig, however, written without the assistance of the establishment’s personnel, aims to outline a life story for this eatery in order to reflect upon the pig’s place in contemporary dining practice in New York as raw foodstuff, fashionable comestible, product, brand, symbol and marketing tool, as well as, at times, purely as an animal identity. The Spotted Pig Widely profiled before it even opened, The Spotted Pig is reportedly one of the city’s “most popular” restaurants (Michelin 349). It is profiled in all the city guidebooks I could locate in print and online, featuring in some of these as a key stop on recommended itineraries (see, for instance, Otis 39). A number of these proclaim it to be the USA’s first ‘gastropub’—the term first used in 1991 in the UK to describe a casual hotel/bar with good food and reasonable prices (Farley). The Spotted Pig is thus styled on a shabby-chic version of a traditional British hotel, featuring a cluttered-but-well arranged use of pig-themed objects and illustrations that is described by latest Michelin Green Guide of New York City as “a country-cute décor that still manages to be hip” (Michelin 349). From the three-dimensional carved pig hanging above the entrance in a homage to the shingles of traditional British hotels, to the use of its image on the menu, website and souvenir tee-shirts, the pig as motif proceeds its use as a foodstuff menu item. So much so, that the restaurant is often (affectionately) referred to by patrons and reviewers simply as ‘The Pig’. The restaurant has become so well known in New York in the relatively brief time it has been operating that it has not only featured in a number of novels and memoirs, but, moreover, little or no explanation has been deemed necessary as the signifier of “The Spotted Pig” appears to convey everything that needs to be said about an eatery of quality and fashion. In the thriller Lethal Experiment: A Donovan Creed Novel, when John Locke’s hero has to leave the restaurant and becomes involved in a series of dangerous escapades, he wants nothing more but to get back to his dinner (107, 115). The restaurant is also mentioned a number of times in Sex and the City author Candace Bushnell’s Lipstick Jungle in relation to a (fictional) new movie of the same name. The joke in the book is that the character doesn’t know of the restaurant (26). In David Goodwillie’s American Subversive, the story of a journalist-turned-blogger and a homegrown terrorist set in New York, the narrator refers to “Scarlett Johansson, for instance, and the hostess at the Spotted Pig” (203-4) as the epitome of attractiveness. The Spotted Pig is also mentioned in Suzanne Guillette’s memoir, Much to Your Chagrin, when the narrator is on a dinner date but fears running into her ex-boyfriend: ‘Jack lives somewhere in this vicinity […] Vaguely, you recall him telling you he was not too far from the Spotted Pig on Greenwich—now, was it Greenwich Avenue or Greenwich Street?’ (361). The author presumes readers know the right answer in order to build tension in this scene. Although this success is usually credited to the joint efforts of backer, music executive turned restaurateur Ken Friedman, his partner, well-known chef, restaurateur, author and television personality Mario Batali, and their UK-born and trained chef, April Bloomfield (see, for instance, Batali), a significant part has been built on Bloomfield’s pork cookery. The very idea of a “spotted pig” itself raises a central tenet of Bloomfield’s pork/food philosophy which is sustainable and organic. That is, not the mass produced, industrially farmed pig which produces a leaner meat, but the fatty, tastier varieties of pig such as the heritage six-spotted Berkshire which is “darker, more heavily marbled with fat, juicier and richer-tasting than most pork” (Fabricant). Bloomfield has, indeed, made pig’s ears—long a Chinese restaurant staple in the city and a key ingredient of Southern US soul food as well as some traditional Japanese and Spanish dishes—fashionable fare in the city, and her current incarnation, a crispy pig’s ear salad with lemon caper dressing (TSP 2010) is much acclaimed by reviewers. This approach to ingredients—using the ‘whole beast’, local whenever possible, and the concentration on pork—has been underlined and enhanced by a continuing relationship with UK chef Fergus Henderson. In his series of London restaurants under the banner of “St. John”, Henderson is famed for the approach to pork cookery outlined in his two books Nose to Tail Eating: A Kind of British Cooking, published in 1999 (re-published both in the UK and the US as The Whole Beast: Nose to Tail Eating), and Beyond Nose to Tail: A Kind of British Cooking: Part II (coauthored with Justin Piers Gellatly in 2007). Henderson has indeed been identified as starting a trend in dining and food publishing, focusing on sustainably using as food the entirety of any animal killed for this purpose, but which mostly focuses on using all parts of pigs. In publishing, this includes Hugh Fearnley-Whittingstall’s The River Cottage Meat Book, Peter Kaminsky’s Pig Perfect, subtitled Encounters with Some Remarkable Swine and Some Great Ways to Cook Them, John Barlow’s Everything but the Squeal: Eating the Whole Hog in Northern Spain and Jennifer McLagan’s Fat: An Appreciation of a Misunderstood Ingredient, with Recipes (2008). In restaurants, it certainly includes The Spotted Pig. So pervasive has embrace of whole beast pork consumption been in New York that, by 2007, Bruni could write that these are: “porky times, fatty times, which is to say very good times indeed. Any new logo for the city could justifiably place the Big Apple in the mouth of a spit-roasted pig” (Bruni). This demand set the stage perfectly for, in October 2007, Henderson to travel to New York to cook pork-rich menus at The Spotted Pig in tandem with Bloomfield (Royer). He followed this again in 2008 and, by 2009, this annual event had become known as “FergusStock” and was covered by local as well as UK media, and a range of US food weblogs. By 2009, it had grown to become a dinner at the Spotted Pig with half the dishes on the menu by Henderson and half by Bloomfield, and a dinner the next night at David Chang’s acclaimed Michelin-starred Momofuku Noodle Bar, which is famed for its Cantonese-style steamed pork belly buns. A third dinner (and then breakfast/brunch) followed at Friedman/Bloomfield’s Breslin Bar and Dining Room (discussed below) (Rose). The Spotted Pig dinners have become famed for Henderson’s pig’s head and pork trotter dishes with the chef himself recognising that although his wasn’t “the most obvious food to cook for America”, it was the case that “at St John, if a couple share a pig’s head, they tend to be American” (qtd. in Rose). In 2009, the pigs’ head were presented in pies which Henderson has described as “puff pastry casing, with layers of chopped, cooked pig’s head and potato, so all the lovely, bubbly pig’s head juices go into the potato” (qtd. in Rose). Bloomfield was aged only 28 when, in 2003, with a recommendation from Jamie Oliver, she interviewed for, and won, the position of executive chef of The Spotted Pig (Fabricant; Q&A). Following this introduction to the US, her reputation as a chef has grown based on the strength of her pork expertise. Among a host of awards, she was named one of US Food & Wine magazine’s ten annual Best New Chefs in 2007. In 2009, she was a featured solo session titled “Pig, Pig, Pig” at the fourth Annual International Chefs Congress, a prestigious New York City based event where “the world’s most influential and innovative chefs, pastry chefs, mixologists, and sommeliers present the latest techniques and culinary concepts to their peers” (Starchefs.com). Bloomfield demonstrated breaking down a whole suckling St. Canut milk raised piglet, after which she butterflied, rolled and slow-poached the belly, and fried the ears. As well as such demonstrations of expertise, she is also often called upon to provide expert comment on pork-related news stories, with The Spotted Pig regularly the subject of that food news. For example, when a rare, heritage Hungarian pig was profiled as a “new” New York pork source in 2009, this story arose because Bloomfield had served a Mangalitsa/Berkshire crossbreed pig belly and trotter dish with Agen prunes (Sanders) at The Spotted Pig. Bloomfield was quoted as the authority on the breed’s flavour and heritage authenticity: “it took me back to my grandmother’s kitchen on a Sunday afternoon, windows steaming from the roasting pork in the oven […] This pork has that same authentic taste” (qtd. in Sanders). Bloomfield has also used this expert profile to support a series of pork-related causes. These include the Thanksgiving Farm in the Catskill area, which produces free range pork for its resident special needs children and adults, and helps them gain meaningful work-related skills in working with these pigs. Bloomfield not only cooks for the project’s fundraisers, but also purchases any excess pigs for The Spotted Pig (Estrine 103). This strong focus on pork is not, however, exclusive. The Spotted Pig is also one of a number of American restaurants involved in the Meatless Monday campaign, whereby at least one vegetarian option is included on menus in order to draw attention to the benefits of a plant-based diet. When, in 2008, Bloomfield beat the Iron Chef in the sixth season of the US version of the eponymous television program, the central ingredient was nothing to do with pork—it was olives. Diversifying from this focus on ‘pig’ can, however, be dangerous. Friedman and Bloomfield’s next enterprise after The Spotted Pig was The John Dory seafood restaurant at the corner of 10th Avenue and 16th Street. This opened in November 2008 to reviews that its food was “uncomplicated and nearly perfect” (Andrews 22), won Bloomfield Time Out New York’s 2009 “Best New Hand at Seafood” award, but was not a success. The John Dory was a more formal, but smaller, restaurant that was more expensive at a time when the financial crisis was just biting, and was closed the following August. Friedman blamed the layout, size and neighbourhood (Stein) and its reservation system, which limited walk-in diners (ctd. in Vallis), but did not mention its non-pork, seafood orientation. When, almost immediately, another Friedman/Bloomfield project was announced, the Breslin Bar & Dining Room (which opened in October 2009 in the Ace Hotel at 20 West 29th Street and Broadway), the enterprise was closely modeled on the The Spotted Pig. In preparation, its senior management—Bloomfield, Friedman and sous-chefs, Nate Smith and Peter Cho (who was to become the Breslin’s head chef)—undertook a tasting tour of the UK that included Henderson’s St. John Bread & Wine Bar (Leventhal). Following this, the Breslin’s menu highlighted a series of pork dishes such as terrines, sausages, ham and potted styles (Rosenberg & McCarthy), with even Bloomfield’s pork scratchings (crispy pork rinds) bar snacks garnering glowing reviews (see, for example, Severson; Ghorbani). Reviewers, moreover, waxed lyrically about the menu’s pig-based dishes, the New York Times reviewer identifying this focus as catering to New York diners’ “fetish for pork fat” (Sifton). This representative review details not only “an entree of gently smoked pork belly that’s been roasted to tender goo, for instance, over a drift of buttery mashed potatoes, with cabbage and bacon on the side” but also a pig’s foot “in gravy made of reduced braising liquid, thick with pillowy shallots and green flecks of deconstructed brussels sprouts” (Sifton). Sifton concluded with the proclamation that this style of pork was “very good: meat that is fat; fat that is meat”. Concluding remarks Bloomfield has listed Michael Ruhlman’s Charcuterie as among her favourite food books. Publishers Weekly reviewer called Ruhlman “a food poet, and the pig is his muse” (Q&A). In August 2009, it was reported that Bloomfield had always wanted to write a cookbook (Marx) and, in July 2010, HarperCollins imprint Ecco publisher and foodbook editor Dan Halpern announced that he was planning a book with her, tentatively titled, A Girl and Her Pig (Andriani “Ecco Expands”). As a “cookbook with memoir running throughout” (Maurer), this will discuss the influence of the pig on her life as well as how to cook pork. This text will obviously also add to the data known about The Spotted Pig, but until then, this brief gastrobiography has attempted to outline some of the human, and in this case, animal, stories that lie behind all businesses. References Andrews, Colman. “Its Up To You, New York, New York.” Gourmet Apr. (2009): 18-22, 111. Andriani, Lynn. “Ecco Expands Cookbook Program: HC Imprint Signs Up Seven New Titles.” Publishers Weekly 12 Jul. (2010) 3 Sep. 2010 http://www.publishersweekly.com/pw/by-topic/book-news/cooking/article/43803-ecco-expands-cookbook-program.html Andriani, Lynn. “Gourmand Awards Receive Record Number of Cookbook Entries.” Publishers Weekly 27 Sep. 2010 http://www.publishersweekly.com/pw/by-topic/book-news/cooking/article/44573-gourmand-awards-receive-record-number-of-cookbook-entries.html Appadurai, Arjun. 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Brien, Donna Lee. “Writing to Understand Ourselves: An Organisational History of the Australian Association of Writing Programs 1996–2010.” TEXT: Journal of Writing and Writing Courses Apr. 2010 http://www.textjournal.com.au/april10/brien.htm Bruni, Frank. “Fat, Glorious Fat, Moves to the Center of the Plate.” New York Times 13 Jun. 2007. 3 Sep. 2010 http://www.nytimes.com/2007/06/13/dining/13glut.html Bruni, Frank. “Stuffed Pork.” New York Times 25 Jan. 2006. 4 Sep. 2010 http://events.nytimes.com/2006/01/25/dining/reviews/25rest.html Bushnell, Candace. Lipstick Jungle. New York: Hyperion Books, 2008. Byrnes, Paul. Qantas by George!: The Remarkable Story of George Roberts. Sydney: Watermark, 2000. Chinn, Carl. The Cadbury Story: A Short History. Studley, Warwickshire: Brewin Books, 1998. Dunstan, David and Chaitman, Annette. “Food and Drink: The Appearance of a Publishing Subculture.” Ed. David Carter and Anne Galligan. Making Books: Contemporary Australian Publishing. St Lucia: U of Queensland P, 2007: 333-351. Ellis, W. Russell, Tonia Chao and Janet Parrish. “Levi’s Place: A Building Biography.” Places 2.1 (1985): 57-70. Estrine, Darryl. Harvest to Heat: Cooking with America’s Best Chefs, Farmers, and Artisans. Newton CT: The Taunton Press, 2010 Fabricant, Florence. “Food stuff: Off the Menu.” New York Times 26 Nov. 2003. 3 Sep. 2010 http://www.nytimes.com/2003/11/26/dining/food-stuff-off-the-menu.html?ref=april_bloomfield Fabricant, Florence. “Food Stuff: Fit for an Emperor, Now Raised in America.” New York Times 23 Jun. 2004. 2 Sep. 2010 http://www.nytimes.com/2004/06/23/dining/food-stuff-fit-for-an-emperor-now-raised-in-america.html Farley, David. “In N.Y., An Appetite for Gastropubs.” The Washington Post 24 May 2009. 1 Sep. 2010 http://www.washingtonpost.com/wp-dyn/content/article/2009/05/22/AR2009052201105.html Fearnley-Whittingstall, Hugh. The River Cottage Meat Book. London: Hodder & Stoughton, 2004. Food & Wine Magazine. “Food & Wine Magazine Names 19th Annual Best New Chefs.” Food & Wine 4 Apr. 2007. 3 Sep. 2010 http://www.foodandwine.com/articles/2007-best-new-chefs Fossi, Gloria. Uffizi Gallery: Art, History, Collections. 4th ed. Florence Italy: Giunti Editore, 2001. Garden, Don. Builders to the Nation: The A.V. Jennings Story. Carlton: Melbourne U P, 1992. Ghorbani, Liza. “Boîte: In NoMad, a Bar With a Pub Vibe.” New York Times 26 Mar. 2010. 3 Sep. 2010 http://www.nytimes.com/2010/03/28/fashion/28Boite.html Goodwillie, David. American Subversive. New York: Scribner, 2010. Guillette, Suzanne. Much to Your Chagrin: A Memoir of Embarrassment. New York, Atria Books, 2009. Henderson, Fergus. Nose to Tail Eating: A Kind of British Cooking. London: Pan Macmillan, 1999 Henderson, Fergus and Justin Piers Gellatly. Beyond Nose to Tail: A Kind of British Cooking: Part I1. London: Bloomsbury Publishing, 2007. Hughes, Kathryn. “Food Writing Moves from Kitchen to bookshelf.” The Guardian 19 Jun. 2010. 1 Sep. 2010 http://www.guardian.co.uk/books/2010/jun/19/anthony-bourdain-food-writing Jakle, John A. and Keith A. Sculle. Fast Food: Roadside Restaurants in the Automobile Age. Baltimore: Johns Hopkins U P, 1999. Jones, Lois. EasyJet: The Story of Britain's Biggest Low-cost Airline. London: Aurum, 2005. Kaminsky, Peter. “Feeding Time at Le Zoo.” New York Magazine 12 Jun. 1995: 65. Kaminsky, Peter. Pig Perfect: Encounters with Some Remarkable Swine and Some Great Ways To Cook Them. New York: Hyperion 2005. Koda, Harold, Andrew Bolton and Rhonda K. Garelick. Chanel. New York: Metropolitan Museum of Art, 2005. Kopytoff, Igor. “The Cultural Biography of Things: Commoditization as Process.” The Social Life of things: Commodities in Cultural Perspectives. Ed. Arjun Appadurai. Cambridge (UK): Cambridge U P, 2003. 64-94. (First pub. 1986). Kroc, Ray and Robert Anderson. Grinding It Out: The Making of McDonald’s, Chicago: H. Regnery, 1977 Leavitt, Mel. The Court of Two Sisters Cookbook: With a History of the French Quarter and the Restaurant. Gretna, LA: Pelican Publishing, 2005. Pub. 1992, 1994, 1996, 1998, 2000, 2001, 2003. Leventhal, Ben. “April Bloomfield & Co. Take U.K. Field Trip to Prep for Ace Debut.” Grub Street 14 Apr. 2009. 3 Sep. 2010 http://newyork.grubstreet.com/2009/04/april_bloomfield_co_take_uk_field_trip_to_prep_for_ace_debut.html Fast Food Nation. R. Linklater (Dir.). Fox Searchlight Pictures, 2006. Liu, Warren K. KFC in China: Secret Recipe for Success. Singapore & Hoboken, NJ: John Wiley (Asia), 2008. Locke, John. Lethal Experiment: A Donovan Creed Novel. Bloomington: iUniverse, 2009. Love, John F. McDonald’s: Behind the Arches. Toronto & New York: Bantam, 1986. Marx, Rebecca. “Beyond the Breslin: April Bloomfield is Thinking Tea, Bakeries, Cookbook.” 28 Aug. 2009. 3 Sep. 2010 http://blogs.villagevoice.com/forkintheroad/archives/2009/08/beyond_the_bres.php Maurer, Daniel. “Meatball Shop, April Bloomfield Plan Cookbooks.” Grub Street 12 Jul. 2010. 3 Sep. 2010 http://newyork.grubstreet.com/2010/07/meatball_shop_april_bloomfield.html McLagan, Jennifer. Fat: An Appreciation of a Misunderstood Ingredient, with Recipes. Berkeley: Ten Speed Press, 2008. Michelin. Michelin Green Guide New York City. Michelin Travel Publications, 2010. O’Donnell, Mietta. “Burying and Celebrating Ghosts.” Herald Sun 1 Dec. 1998. 3 Sep. 2010 http://www.miettas.com.au/restaurants/rest_96-00/buryingghosts.html Otis, Ginger Adams. New York Encounter. Melbourne: Lonely Planet, 2007. “Q and A: April Bloomfield.” New York Times 18 Apr. 2008. 3 Sep. 2010 http://dinersjournal.blogs.nytimes.com/2008/04/18/q-and-a-april-bloomfield Rodrigue, Melvin and Jyl Benson. Galatoire’s Cookbook: Recipes and Family History from the Time-Honored New Orleans Restaurant. New York: Clarkson Potter, 2005. Rose, Hilary. “Fergus Henderson in New York.” The Times (London) Online, 5 Dec. 2009. 23 Aug. 2010 http://www.timesonline.co.uk/tol/life_and_style/food_and_drink/recipes/article6937550.ece Rosenberg, Sarah & Tom McCarthy. “Platelist: The Breslin’s April Bloomfield.” ABC News/Nightline 4 Dec. 2009. 23 Aug. 2010 http://abcnews.go.com/Nightline/april-bloomfield-spotted-pig-interview/story?id=9242079 Royer, Blake. “Table for Two: Fergus Henderson at The Spotted Pig.” The Paupered Chef 11 Oct. 2007. 23 Aug. 2010 http://thepauperedchef.com/2007/10/table-for-two-f.html Ruhlman, Michael and Brian Polcyn. Charcuterie: The Craft of Salting, Smoking, and Curing. New York: W. Norton, 2005. 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Special Care Notice This article contains images of deceased people that might cause sadness or distress to Aboriginal and Torres Strait Islander readers. Introduction Like many cities, Perth was founded on wetlands that have been integral to its history and culture (Seddon 226–32). However, in order to promote a settlement agenda, early mapmakers sought to erase the city’s wetlands from cartographic depictions (Giblett, Cities). Since the colonial era, inner-Perth’s swamps and lakes have been drained, filled, significantly reduced in size, or otherwise reclaimed for urban expansion (Bekle). Not only have the swamps and lakes physically disappeared, the memories of their presence and influence on the city’s development over time are also largely forgotten. What was the site of Perth, specifically its wetlands, like before British settlement? In 2014, an interdisciplinary team at Edith Cowan University developed a digital visualisation process to re-imagine Perth prior to colonisation. This was based on early maps of the Swan River Colony and a range of archival information. The images depicted the city’s topography, hydrology, and vegetation and became the centerpiece of a physical exhibition entitled Re-imagining Perth’s Lost Wetlands and a virtual exhibition hosted by the Western Australian Museum. Alongside historic maps, paintings, photographs, and writings, the visual reconstruction of Perth aimed to foster appreciation of the pre-settlement environment—the homeland of the Whadjuck Nyoongar, or Bibbulmun, people (Carter and Nutter). The exhibition included the narrative of Fanny Balbuk, a Nyoongar woman who voiced her indignation over the “usurping of her beloved home ground” (Bates, The Passing 69) by flouting property lines and walking through private residences to reach places of cultural significance. Beginning with Balbuk’s story and the digital tracing of her walking route through colonial Perth, this article discusses the project in the context of contemporary pressures on the city’s extant wetlands. The re-imagining of Perth through historically, culturally, and geographically-grounded digital visualisation approaches can inspire the conservation of its wetlands heritage. Balbuk’s Walk through the City For many who grew up in Perth, Fanny Balbuk’s perambulations have achieved legendary status in the collective cultural imagination. In his memoir, David Whish-Wilson mentions Balbuk’s defiant walks and the lighting up of the city for astronaut John Glenn in 1962 as the two stories that had the most impact on his Perth childhood. From Gordon Stephenson House, Whish-Wilson visualises her journey in his mind’s eye, past Government House on St Georges Terrace (the main thoroughfare through the city centre), then north on Barrack Street towards the railway station, the site of Lake Kingsford where Balbuk once gathered bush tucker (4). He considers the footpaths “beneath the geometric frame of the modern city […] worn smooth over millennia that snake up through the sheoak and marri woodland and into the city’s heart” (Whish-Wilson 4). Balbuk’s story embodies the intertwined culture and nature of Perth—a city of wetlands. Born in 1840 on Heirisson Island, Balbuk (also known as Yooreel) (Figure 1) had ancestral bonds to the urban landscape. According to Daisy Bates, writing in the early 1900s, the Nyoongar term Matagarup, or “leg deep,” denotes the passage of shallow water near Heirisson Island where Balbuk would have forded the Swan River (“Oldest” 16). Yoonderup was recorded as the Nyoongar name for Heirisson Island (Bates, “Oldest” 16) and the birthplace of Balbuk’s mother (Bates, “Aboriginal”). In the suburb of Shenton Park near present-day Lake Jualbup, her father bequeathed to her a red ochre (or wilgi) pit that she guarded fervently throughout her life (Bates, “Aboriginal”).Figure 1. Group of Aboriginal Women at Perth, including Fanny Balbuk (far right) (c. 1900). Image Credit: State Library of Western Australia (Image Number: 44c). Balbuk’s grandparents were culturally linked to the site. At his favourite camp beside the freshwater spring near Kings Park on Mounts Bay Road, her grandfather witnessed the arrival of Lieutenant-Colonel Frederick Irwin, cousin of James Stirling (Bates, “Fanny”). In 1879, colonial entrepreneurs established the Swan Brewery at this significant locale (Welborn). Her grandmother’s gravesite later became Government House (Bates, “Fanny”) and she protested vociferously outside “the stone gates guarded by a sentry [that] enclosed her grandmother’s burial ground” (Bates, The Passing 70). Balbuk’s other grandmother was buried beneath Bishop’s Grove, the residence of the city’s first archibishop, now Terrace Hotel (Bates, “Aboriginal”). Historian Bob Reece observes that Balbuk was “the last full-descent woman of Kar’gatta (Karrakatta), the Bibbulmun name for the Mount Eliza [Kings Park] area of Perth” (134). According to accounts drawn from Bates, her home ground traversed the area between Heirisson Island and Perth’s north-western limits. In Kings Park, one of her relatives was buried near a large, hollow tree used by Nyoongar people like a cistern to capture water and which later became the site of the Queen Victoria Statue (Bates, “Aboriginal”). On the slopes of Mount Eliza, the highest point of Kings Park, at the western end of St Georges Terrace, she harvested plant foods, including zamia fruits (Macrozamia riedlei) (Bates, “Fanny”). Fanny Balbuk’s knowledge contributed to the native title claim lodged by Nyoongar people in 2006 as Bennell v. State of Western Australia—the first of its kind to acknowledge Aboriginal land rights in a capital city and part of the larger Single Nyoongar Claim (South West Aboriginal Land and Sea Council et al.). Perth’s colonial administration perceived the city’s wetlands as impediments to progress and as insalubrious environments to be eradicated through reclamation practices. For Balbuk and other Nyoongar people, however, wetlands were “nourishing terrains” (Rose) that afforded sustenance seasonally and meaning perpetually (O’Connor, Quartermaine, and Bodney). Mary Graham, a Kombu-merri elder from Queensland, articulates the connection between land and culture, “because land is sacred and must be looked after, the relation between people and land becomes the template for society and social relations. Therefore all meaning comes from land.” Traditional, embodied reliance on Perth’s wetlands is evident in Bates’ documentation. For instance, Boojoormeup was a “big swamp full of all kinds of food, now turned into Palmerston and Lake streets” (Bates, “Aboriginal”). Considering her cultural values, Balbuk’s determination to maintain pathways through the increasingly colonial Perth environment is unsurprising (Figure 2). From Heirisson Island: a straight track had led to the place where once she had gathered jilgies [crayfish] and vegetable food with the women, in the swamp where Perth railway station now stands. Through fences and over them, Balbuk took the straight track to the end. When a house was built in the way, she broke its fence-palings with her digging stick and charged up the steps and through the rooms. (Bates, The Passing 70) One obstacle was Hooper’s Fence, which Balbuk broke repeatedly on her trips to areas between Kings Park and the railway station (Bates, “Hooper’s”). Her tenacious commitment to walking ancestral routes signifies the friction between settlement infrastructure and traditional Nyoongar livelihood during an era of rapid change. Figure 2. Determination of Fanny Balbuk’s Journey between Yoonderup (Heirisson Island) and Lake Kingsford, traversing what is now the central business district of Perth on the Swan River (2014). Image background prepared by Dimitri Fotev. Track interpolation by Jeff Murray. Project Background and Approach Inspired by Fanny Balbuk’s story, Re-imagining Perth’s Lost Wetlands began as an Australian response to the Mannahatta Project. Founded in 1999, that project used spatial analysis techniques and mapping software to visualise New York’s urbanised Manhattan Island—or Mannahatta as it was called by indigenous people—in the early 1600s (Sanderson). Based on research into the island’s original biogeography and the ecological practices of Native Americans, Mannahatta enabled the public to “peel back” the city’s strata, revealing the original composition of the New York site. The layers of visuals included rich details about the island’s landforms, water systems, and vegetation. Mannahatta compelled Rod Giblett, a cultural researcher at Edith Cowan University, to develop an analogous model for visualising Perth circa 1829. The idea attracted support from the City of Perth, Landgate, and the University. Using stories, artefacts, and maps, the team—comprising a cartographer, designer, three-dimensional modelling expert, and historical researchers—set out to generate visualisations of the landscape at the time of British colonisation. Nyoongar elder Noel Nannup approved culturally sensitive material and contributed his perspective on Aboriginal content to include in the exhibition. The initiative’s context remains pressing. In many ways, Perth has become a template for development in the metropolitan area (Weller). While not unusual for a capital, the rate of transformation is perhaps unexpected in a city less than 200 years old (Forster). There also remains a persistent view of existing wetlands as obstructions to progress that, once removed, are soon forgotten (Urban Bushland Council). Digital visualisation can contribute to appreciating environments prior to colonisation but also to re-imagining possibilities for future human interactions with land, water, and space. Despite the rapid pace of change, many Perth area residents have memories of wetlands lost during their lifetimes (for example, Giblett, Forrestdale). However, as the clearing and drainage of the inner city occurred early in settlement, recollections of urban wetlands exist exclusively in historical records. In 1935, a local correspondent using the name “Sandgroper” reminisced about swamps, connecting them to Perth’s colonial heritage: But the Swamps were very real in fact, and in name in the [eighteen-] Nineties, and the Perth of my youth cannot be visualised without them. They were, of course, drying up apace, but they were swamps for all that, and they linked us directly with the earliest days of the Colony when our great-grandparents had founded this City of Perth on a sort of hog's-back, of which Hay-street was the ridge, and from which a succession of streamlets ran down its southern slope to the river, while land locked to the north of it lay a series of lakes which have long since been filled to and built over so that the only evidence that they have ever existed lies in the original street plans of Perth prepared by Roe and Hillman in the early eighteen-thirties. A salient consequence of the loss of ecological memory is the tendency to repeat the miscues of the past, especially the blatant disregard for natural and cultural heritage, as suburbanisation engulfs the area. While the swamps of inner Perth remain only in the names of streets, existing wetlands in the metropolitan area are still being threatened, as the Roe Highway (Roe 8) Campaign demonstrates. To re-imagine Perth’s lost landscape, we used several colonial survey maps to plot the location of the original lakes and swamps. At this time, a series of interconnecting waterbodies, known as the Perth Great Lakes, spread across the north of the city (Bekle and Gentilli). This phase required the earliest cartographic sources (Figure 3) because, by 1855, city maps no longer depicted wetlands. We synthesised contextual information, such as well depths, geological and botanical maps, settlers’ accounts, Nyoongar oral histories, and colonial-era artists’ impressions, to produce renderings of Perth. This diverse collection of primary and secondary materials served as the basis for creating new images of the city. Team member Jeff Murray interpolated Balbuk’s route using historical mappings and accounts, topographical data, court records, and cartographic common sense. He determined that Balbuk would have camped on the high ground of the southern part of Lake Kingsford rather than the more inundated northern part (Figure 2). Furthermore, she would have followed a reasonably direct course north of St Georges Terrace (contrary to David Whish-Wilson’s imaginings) because she was barred from Government House for protesting. This easier route would have also avoided the springs and gullies that appear on early maps of Perth. Figure 3. Townsite of Perth in Western Australia by Colonial Draftsman A. Hillman and John Septimus Roe (1838). This map of Perth depicts the wetlands that existed overlaid by the geomentric grid of the new city. Image Credit: State Library of Western Australia (Image Number: BA1961/14). Additionally, we produced an animated display based on aerial photographs to show the historical extent of change. Prompted by the build up to World War II, the earliest aerial photography of Perth dates from the late 1930s (Dixon 148–54). As “Sandgroper” noted, by this time, most of the urban wetlands had been drained or substantially modified. The animation revealed considerable alterations to the formerly swampy Swan River shoreline. Most prominent was the transformation of the Matagarup shallows across the Swan River, originally consisting of small islands. Now traversed by a causeway, this area was transformed into a single island, Heirisson—the general site of Balbuk’s birth. The animation and accompanying materials (maps, images, and writings) enabled viewers to apprehend the changes in real time and to imagine what the city was once like. Re-imagining Perth’s Urban Heart The physical environment of inner Perth includes virtually no trace of its wetland origins. Consequently, we considered whether a representation of Perth, as it existed previously, could enhance public understanding of natural heritage and thereby increase its value. For this reason, interpretive materials were exhibited centrally at Perth Town Hall. Built partly by convicts between 1867 and 1870, the venue is close to the site of the 1829 Foundation of Perth, depicted in George Pitt Morrison’s painting. Balbuk’s grandfather “camped somewhere in the city of Perth, not far from the Town Hall” (Bates, “Fanny”). The building lies one block from the site of the railway station on the site of Lake Kingsford, the subsistence grounds of Balbuk and her forebears: The old swamp which is now the Perth railway yards had been a favourite jilgi ground; a spring near the Town Hall had been a camping place of Maiago […] and others of her fathers' folk; and all around and about city and suburbs she had gathered roots and fished for crayfish in the days gone by. (Bates, “Derelicts” 55) Beginning in 1848, the draining of Lake Kingsford reached completion during the construction of the Town Hall. While the swamps of the city were not appreciated by many residents, some organisations, such as the Perth Town Trust, vigorously opposed the reclamation of the lake, alluding to its hydrological role: That, the soil being sand, it is not to be supposed that Lake Kingsford has in itself any material effect on the wells of Perth; but that, from this same reason of the sandy soil, it would be impossible to keep the lake dry without, by so doing, withdrawing the water from at least the adjacent parts of the townsite to the same depth. (Independent Journal of Politics and News 3) At the time of our exhibition, the Lake Kingsford site was again being reworked to sink the railway line and build Yagan Square, a public space named after a colonial-era Nyoongar leader. The project required specialised construction techniques due to the high water table—the remnants of the lake. People travelling to the exhibition by train in October 2014 could have seen the lake reasserting itself in partly-filled depressions, flush with winter rain (Figure 4).Figure 4. Rise of the Repressed (2014). Water Rising in the former site of Lake Kingsford/Irwin during construction, corner of Roe and Fitzgerald Streets, Northbridge, WA. Image Credit: Nandi Chinna (2014). The exhibition was situated in the Town Hall’s enclosed undercroft designed for markets and more recently for shops. While some visited after peering curiously through the glass walls of the undercroft, others hailed from local and state government organisations. Guest comments applauded the alternative view of Perth we presented. The content invited the public to re-imagine Perth as a city of wetlands that were both environmentally and culturally important. A display panel described how the city’s infrastructure presented a hindrance for Balbuk as she attempted to negotiate the once-familiar route between Yoonderup and Lake Kingsford (Figure 2). Perth’s growth “restricted Balbuk’s wanderings; towns, trains, and farms came through her ‘line of march’; old landmarks were thus swept away, and year after year saw her less confident of the locality of one-time familiar spots” (Bates, “Fanny”). Conserving Wetlands: From Re-Claiming to Re-Valuing? Imagination, for philosopher Roger Scruton, involves “thinking of, and attending to, a present object (by thinking of it, or perceiving it, in terms of something absent)” (155). According to Scruton, the feelings aroused through imagination can prompt creative, transformative experiences. While environmental conservation tends to rely on data-driven empirical approaches, it appeals to imagination less commonly. We have found, however, that attending to the present object (the city) in terms of something absent (its wetlands) through evocative visual material can complement traditional conservation agendas focused on habitats and species. The actual extent of wetlands loss in the Swan Coastal Plain—the flat and sandy region extending from Jurien Bay south to Cape Naturaliste, including Perth—is contested. However, estimates suggest that 80 per cent of wetlands have been lost, with remaining habitats threatened by climate change, suburban development, agriculture, and industry (Department of Environment and Conservation). As with the swamps and lakes of the inner city, many regional wetlands were cleared, drained, or filled before they could be properly documented. Additionally, the seasonal fluctuations of swampy places have never been easily translatable to two-dimensional records. As Giblett notes, the creation of cartographic representations and the assignment of English names were attempts to fix the dynamic boundaries of wetlands, at least in the minds of settlers and administrators (Postmodern 72–73). Moreover, European colonists found the Western Australian landscape, including its wetlands, generally discomfiting. In a letter from 1833, metaphors failed George Fletcher Moore, the effusive colonial commentator, “I cannot compare these swamps to any marshes with which you are familiar” (220). The intermediate nature of wetlands—as neither land nor lake—is perhaps one reason for their cultural marginalisation (Giblett, Postmodern 39). The conviction that unsanitary, miasmic wetlands should be converted to more useful purposes largely prevailed (Giblett, Black 105–22). Felicity Morel-EdnieBrown’s research into land ownership records in colonial Perth demonstrated that town lots on swampland were often preferred. By layering records using geographic information systems (GIS), she revealed modifications to town plans to accommodate swampland frontages. The decline of wetlands in the region appears to have been driven initially by their exploitation for water and later for fertile soil. Northern market gardens supplied the needs of the early city. It is likely that the depletion of Nyoongar bush foods predated the flourishing of these gardens (Carter and Nutter). Engaging with the history of Perth’s swamps raises questions about the appreciation of wetlands today. In an era where numerous conservation strategies and alternatives have been developed (for example, Bobbink et al. 93–220), the exploitation of wetlands in service to population growth persists. On Perth’s north side, wetlands have long been subdued by controlling their water levels and landscaping their boundaries, as the suburban examples of Lake Monger and Hyde Park (formerly Third Swamp Reserve) reveal. Largely unmodified wetlands, such as Forrestdale Lake, exist south of Perth, but they too are in danger (Giblett, Black Swan). The Beeliar Wetlands near the suburb of Bibra Lake comprise an interconnected series of lakes and swamps that are vulnerable to a highway extension project first proposed in the 1950s. Just as the Perth Town Trust debated Lake Kingsford’s draining, local councils and the public are fiercely contesting the construction of the Roe Highway, which will bisect Beeliar Wetlands, destroying Roe Swamp (Chinna). The conservation value of wetlands still struggles to compete with traffic planning underpinned by a modernist ideology that associates cars and freeways with progress (Gregory). Outside of archives, the debate about Lake Kingsford is almost entirely forgotten and its physical presence has been erased. Despite the magnitude of loss, re-imagining the city’s swamplands, in the way that we have, calls attention to past indiscretions while invigorating future possibilities. We hope that the re-imagining of Perth’s wetlands stimulates public respect for ancestral tracks and songlines like Balbuk’s. Despite the accretions of settler history and colonial discourse, songlines endure as a fundamental cultural heritage. Nyoongar elder Noel Nannup states, “as people, if we can get out there on our songlines, even though there may be farms or roads overlaying them, fences, whatever it is that might impede us from travelling directly upon them, if we can get close proximity, we can still keep our culture alive. That is why it is so important for us to have our songlines.” Just as Fanny Balbuk plied her songlines between Yoonderup and Lake Kingsford, the traditional custodians of Beeliar and other wetlands around Perth walk the landscape as an act of resistance and solidarity, keeping the stories of place alive. Acknowledgments The authors wish to acknowledge Rod Giblett (ECU), Nandi Chinna (ECU), Susanna Iuliano (ECU), Jeff Murray (Kareff Consulting), Dimitri Fotev (City of Perth), and Brendan McAtee (Landgate) for their contributions to this project. The authors also acknowledge the traditional custodians of the lands upon which this paper was researched and written. 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