Community, Immigration, Right to the City

My Visual Portfolio

Here’s a preview of my visual portfolio!

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To see the full portfolio please download by clicking on the following link: Jordan’s visual portfolio


Want to collaborate?

Need a new team member? Want to know more? Are you in the Greater NYC area and would like to meet up for coffee? Let’s link up!

Use the below contact form to send me an email and I’d be happy to meet you and see how our interests collide! noun_766494-1

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Community, Right to the City

“Shaping urbanization for children”: A handbook for planners – created with UNICEF

I had the honor of working with Jens Aerts, an Urban Planning Specialist at UNICEF, to create a handbook for urban planners to better plan cities for and with children. The general idea is that if cities are planned with children in mind, the most vulnerable population, then cities are made safer for all, and more conducive for a more productive, healthier, and enjoyable life. Below is an introduction to the handbook, its purpose, a list of the 10 guiding principles for children’s rights and urban planning, as well as the essential “Why, What, How” to plan cities for children.

August 29th, 2018 UPDATE: Unfortunately, the handbook has not officially launched yet to the UNICEF website. Below is a brief description of the handbook. Stay tuned for the official launch! noun_766494-1

Please fill out the contact form at the bottom of this post if you would like to receive an email from me that will direct you to the handbook the day it launches.

Image credit: UNICEF/UNI123447/Pirozzi


Purpose of the Handbook

Shaping urbanization for children, a handbook on child-responsive urban planning, presents concepts, evidence and technical strategies to bring children to the foreground of urban planning. By focusing on children, this publication provides guidance on the central role that urban planning should play in achieving the Sustainable Development Goals (SDGs), from a global perspective to a local context, by creating thriving and equitable cities where children live in healthy, safe, inclusive, green and prosperous communities.

The handbook aims to inspire everyone involved in planning, designing, transforming, building and managing the built environment:

  • Urban planning professionals that use different tools in spatial planning and stakeholder engagement on a daily basis to help shape the built environment;
  • City governments that are responsible for city development and management decisions;
  • Private sector, such as developers, investors, service providers and technology companies that build the large majority of urban infrastructure;
  • Civil society organizations that support local communities in raising their voices to define which spaces, services and land are needed.

 

The 10 Children’s Rights and Urban Planning Principles

The handbook is structured along 10 Children’s Rights and Urban Planning Principles that cities should commit to so they will not only support children’s development, but thrive as homes for future generations:

Principle 1: Investments – Respect children’s rights and invest in child-responsive urban planning that ensures a safe and clean environment for children and involves children’s participation in area-based interventions, stakeholder engagement and evidence-based decision making, securing children’s health, safety, citizenship, environmental sustainability and prosperity, from early childhood to adolescent life.

Principle 2: Housing and Land Tenure – Provide affordable and adequate housing and secure land tenure for children and the community, where they feel safe and secure, to live, to sleep, to play and to learn.

Principle 3: Public Amenities – Provide infrastructure for health, educational and social services for children and the community, which they have access to, to thrive and to develop life skills.

Principle 4: Public Spaces – Provide safe and inclusive public and green spaces for children and the community, where they can meet and engage in outdoor activities.

Principle 5: Transportation Systems – Develop active transportation and public transit systems and ensure independent mobility for children and the community, so they have equal and safe access to all services and opportunities in their city.

Principle 6: Integrated Water and Sanitation Management Systems – Develop safely managed water and sanitation services and ensure an Integrated Urban Water Management system for children and the community, so they have adequate and equitable access to safe and affordable water, sanitation and hygiene.

Principle 7: Food Systems – Develop a food system with farms, markets and vendors, so children and the community have permanent access to healthy, affordable and sustainably produced food and nutrition.

Principle 8: Waste Cycle Systems – Develop a zero waste system and ensure sustainable resource management, so children and the community can thrive in a safe and clean environment.

Principle 9: Energy Networks – Integrate clean energy networks and ensure reliable access to power, so children and the community have access to all urban services day and night.

Principle 10: Data and ICT Networks – Integrate data and ICT networks and ensure digital connectivity for children and the community, to universally accessible, affordable, safe and reliable information and communication.

The “Why, What, How” to plan cities for children

The handbook answers three questions:

  1. Why planning cities for children matters, collecting the evidence on the urban specific vulnerabilities of the most disadvantaged children and explaining how urban planning can support urban programmes for children.
  2. What to plan for children, based on the 10 principles and resulting in sustainable and children’s rights-based urban places, systems and networks that ensure children’s health, safety, citizenship, environmental sustainability and prosperity, from early childhood to adolescent life.
  3. How to plan for children, reviewing urban planning tools and practice that illustrates how cities can be planned to be child-responsive, building on three potential strengths of urban planning: to provide space for children, to include children in the process of change and to develop urban policy that is based on child-specific evidence.

Within the handbook there is a central place reserved for a checklist Children’s Rights and Urban Planning Principles that allows every stakeholder to quickly evaluate what can be done to take up responsibilities and improve the situation of children, respecting capacities and resources. The checklist takes a central place in the handbook, providing the main reference for starting, monitoring and evaluating investments of every stakeholder involved in child-responsive urban planning, in the short-term, mid-term and long-term. noun_766494-1

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Community, Right to the City

Community, art, and placemaking: The incomplete transformation of The Bushwick Collective outdoor street gallery

“Give some of the streetscape back to the pedestrians”

– William H. Whyte

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In the book, The Social Life of Small Urban Spaces, Whyte (1980) foresees the increasing need for cities to seek opportunities for placemaking in small spaces. The Bushwick Collective is an outdoor street gallery that runs mainly along Troutman Street between Wyckoff and Cypress avenues in Bushwick, Brooklyn. If you’ve never been there, it is an extremely small space but it is an exemplary space. The area is fascinating because, despite its crime-ridden past, street art has livened up the old abandoned manufacturing buildings and has helped generate a booming street front, complete with cool bars and restaurants. Even the pizza chain, Artichoke Pizza, has entered the neighborhood on the corner of Wyckoff and Troutman, which is directly across the street from a giant Bushwick Collective mural of cartoon-like skulls reminiscent of Romeo and Juliet. However, I would argue that the space is compromised by its appeal because of the Collective’s exclusivity regarding how they select street and graffiti artists, which impacts the types of audiences attracted to the space. I would also argue that the physical design of the space is in need of alteration considering the lack of adequate infrastructure, such as benches and trees, that would attract more members from the community. There are various ways to improve the area’s connection to the community and design.

Even though the area has reached great commercial success, the space is too disconnected from the community who live there. Physical distance from local residents is not the issue. Just a few blocks southeast of the Collective is a local nursing home, and just a few blocks east and west of the Collective are a couple of elementary schools. Although the physical distance between The Bushwick Collective and neighborhood residents is relatively small, the cultural divide is quite vast.

My main contention with the outdoor street gallery is that locals do not participate in co-creating the space. Only world renowned graffiti and street artists have the luxury of creating street art with The Bushwick Collective, if they are lucky. Space is limited and the Collective is very selective. I will say, it is important not to dismiss what The Bushwick Collective has achieved for street and graffiti art due to their expansive popularity. In many places graffiti art is still stigmatized and misunderstood as being associated with gang activity and vandalism, thus it is often widely discouraged and degraded to less than art. The work of The Bushwick Collective helps to reduce these stigmas. Furthermore, the Collective acquires permits for their art, and it is a safe place for artists to show off their talents. Despite all of the good The Bushwick Collective achieves for graffiti and street art and artists, the art has limited meaning to the community who have lived there for perhaps generations (before gentrification). While The Bushwick Collective focuses on garnering national and international talent to produce incredible works of graffiti art, it mainly attracts non-Bushwick natives. Visitors from around the world often go on walking tours to see the murals, and take selfies with the murals along the way. These tourists are often hipsters who also shop at the neighborhood’s overpriced vintage stores. But what about other members of the community? Where are they?

What you see is not always what you get. The overwhelming presence of hipsters at The Bushwick Collective outdoor street gallery and at the shops and restaurants popping up throughout the area (a token to the Collective’s spillover effects on local commercial businesses and housing prices) successfully masks what inspired Joe Ficalora to create the organization in the first place, which is actually deeply rooted in the neighborhood’s history and culture of violence and poverty. In fact, Ficalora had a rough childhood growing up in Bushwick. In the short documentary published by Tribeca Film called, “Born and Bred: The Bushwick Collective” (Hybenova, 2015), Ficalora talks about his story and why he got into street art:

My father got murdered. I was in eighth grade. He was murdered here in Bushwick, on Starr Street and Wyckoff. I asked some owners for permission to use their buildings for this idea, and they asked me, ‘For what?’ I said, ‘Well I gotta work here every day, I live here, I gotta drive this street every day. So when people come, they got something beautiful to look at.’

It takes a strong person to convert a space that evokes so much pain and suffering into a place that others can enjoy and appreciate; into a place that could fill others with hope and inspiration. What Joe Ficalora did with The Bushwick Collective was, for all intents and purposes, placemaking. But when I last went to The Bushwick Collective along Troutman Street between Wyckoff and Cypress avenues, the connection between the site’s current status and its legacy felt disjointed. Like with ancient Egyptian hieroglyphs, I was hoping the art would speak to me in some way; I was hoping it would tell a story with pictorial elegance of this place and the people who live here. It’s not that the art isn’t impressive, on the contrary, it is extraordinarily artistic and colorful. It may even have soul, but it does not contain the soul of this neighborhood.

It’s not that the art isn’t impressive, on the contrary, it is extraordinarily artistic and colorful. It may even have soul, but it does not contain the soul of this neighborhood.

Joe Ficalora’s vision for beautifying the Bushwick streetscape and placemaking is incomplete without enhanced community ownership. As noted earlier, street art along The Bushwick Collective outdoor street gallery is not co-created by the community. Other non-profit organizations with similar missions of beautifying decaying neighborhoods in outer New York City boroughs, such as 7 Train Murals in Queens, have done remarkably well at involving the local community in beautification projects. On their website, 7 Train Murals proudly proclaims in all capital letters, “ALL MURALS 100% PAINTED AND MAINTAINED BY VOLUNTEERS WHO LIVE AND WORK IN THE NEIGHBORHOOD!” (n.d., p. 1).  By contrasting the missions of these two nonprofits it is easy to see the difference in priorities between a community-based mural organization and an outdoor street gallery featuring artists from all over the world.

In the book The Social Life of Small Urban Spaces, Whyte (1980) explains that city streets serve as informal recreation areas. He hinges his analysis on observations he made of the street life on 101st Avenue in East Harlem. On 101st street, the street was the play area – not because children had no other place to play, but because they liked to play on the street (Whyte, 1980, p.10-12). In addition to serving as a play area, a city street is something of an “art area” for children to create and recreate the streetscape. In Bushwick, children often draw colorful figurines and hop scotch games onto sidewalks and streets during the summer. The Bushwick Collective outdoor street gallery is the perfect place to activate neighborhood children in the arts and harness their creative minds through the co-creation of murals along with professionals and other community members. To avoid mission creep, perhaps The Bushwick Collective could partner with the City, local schools, businesses, non-profits, and/or organizations to co-sponsor this type of artwork. However, the issue of children lacking exposure to art may already be near and dear to Ficalora’s heart because in the short film he mentions not having access to artistic pathways growing up (Hybenova, 2015). Perhaps he would be open to expanding his legacy and impacting the community in this profound way, too. Additionally, to further engage the surrounding community, The Bushwick Collective could partner with other organizations to participate and sponsor in neighborhood networking clean-up events, which is another creative idea developed by 7 Train Murals.

In addition to engaging children and the community in placemaking, expanding the publicness of The Bushwick Collective outdoor street gallery requires important structural elements, too. In my most recent visit to the space, I noticed there were very few benches to sit on, which were all fixed, shallow and very uncomfortable looking. Few trees lined the sidewalks to shade pedestrians from blazing hot summer days. According to Whyte (1980), the availability of sitting areas impacts the usage of the space. Therefore, more benches may attract the elderly, such as those living in the nearby nursing home, who may wish to admire the art but have nowhere to sit.

More benches may attract the elderly, such as those living in the nearby nursing home, who may wish to admire the art but have nowhere to sit.

A critical juncture to optimizing the publicness of the space would be to permanently close off The Bushwick Collective outdoor street gallery from cars altogether (particularly along Troutman Avenue, between Wyckoff Avenue and Saint Nicholas Avenue). Closing off the street to cars would make it safer for children to play in the street; it would allow the space to act more as a public plaza, opening up the street for outdoor seating, street vendors, and three dimensional artsy structures. However, a barista informed me during one of my observations of the space that street parking is an issue in the area, and local shop owners and trucks park along the street in the mornings until about one in the afternoon. Still, considering the level to which The Bushwick Collective outdoor street gallery is already public, and in spirit of Whyte’s plea to “give some of the streetscape back to the pedestrians” (p. 100), a compromise, at the very least, should be considered.

Since I moved to Bushwick in January of 2014, I have admired the The Bushwick Collective outdoor street gallery, and how frequently the street art changes like the seasons. It’s like I get to experience my neighborhood for the first time all over again each time a new mural goes up. Surely, The Bushwick Collective have helped liven up a neighborhood previously known for high crime rates and abandoned manufacturing buildings, which felt more like streets lined of abandoned dreams. The organization has successfully transformed a space into a place, and involving the community in placemaking and incorporating structural improvements would help complete its transformation. noun_766494-1


UPDATE (3/30/2017): I have contacted Joe, the creator of The Bushwick Collective, to gather more information (that may not be available on the web) regarding whether or not The Bushwick Collective has had the opportunity to partner with local public schools or community-based groups/organizations to create murals in the neighborhood. And if this is something The Bushwick Collective has done in the past, or if this something that the organization is potentially interested in doing in the near future. There may be bottlenecks to such collaborations (particularly with the City) to which I am currently unaware. I really look forward to hearing from him (fingers crossed). Hopefully more to follow on this soon. Thanks for reading!

References

7 Train Murals. (n.d.). 7 Train Murals [Website home page]. Retrieved on March 27, 2017, from Link

The Bushwick Collective. (2017). The Bushwick Collective: Facebook homepage. Retrieved from Link

Hybenova, K. (2015, June 4). Tribeca Film published a short film about The Bushwick Collective: Just in time for this Saturday’s Bushwick Collective Block Party, Tribeca Film. Bushwick Daily. Retrieved from Link

Whyte, W. H. (1980). The Social Life of Small Urban Spaces. New York, NY: Project for Public Spaces.

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