Kristine Samson

The article discuss the conflicts, potentials and possible alliances of do-it-yourself (DIY) urbanism when it takes the form of spontaneous place appropriations, when it is performed as participatory urban design and when it is integrated strategically in planning. DIY urbanism and experimentation with participation are currently strong influential factors in Danish planning. The article explores the use of participatory DIY urban design in two cases: the relocation of beer drinkers in Enghave Square and the Carlsberg City development in Copenhagen, Denmark. Carlsberg City is the most thorough Danish example of how DIY urban design is employed as an investment and planning tool. It discusses the implications of DIY urbanism in terms of how it can be understood in the context of the struggles over ‘the right to the city’, how it applies different activist tactics for the appropriation of space, and how it is integrated in planning and the development logic.

The paper proposes a reparative turn in co-design towards an attention and sensitivity to more-than-human world-making practices in our urban environments. The notion of ‘reparative’ hold strings with the reparative system that an organism starts when damage is experienced. Thinking-with this biological, cultural and performatively, we propose the reparative as the starting point for learning to notice life-giving potentialities in the Anthropocene. Reparative practices are ethical and political in the sense that we are searching for life-giving practices that can move us beyond design practices in the Anthropocene. Hence, by bringing attention to environmental enchantments related to sensory everyday practices we propose that designers and citizens alike can initiate reparative futures.

I de seneste ar er begreber som det flydende og det processuelle blevet inddraget i byens teoretisering og design. Inden for bysociologien skriver forskeren John Ploger, at byen er som et rum, der formes af intersubjektivitet, latente kraefter, processer og praksisser. Ploger peger pa, at arkitekturens virkningsmader er “affektive, kropslige og kognitive”. Byen, som ogsa er en fysisk og kvantificerbar storrelse, bliver intensiveret, nar mennesker oplever og sanser arkitekturen. Det er derfor ikke laengere nok at forsta byens rum og bygninger i relation til en malbar menneskelig skala, som eksempelvis arkitekten Jan Gehl har argumenteret for. Vi ma ogsa vaere bevidste om, at byens rum og arkitektur stimulerer det sensitive ved at bringe brugeren i en saerlig stemning. I denne forstand er arkitekturen orienteret mod at skabe atmosfaerer og artikulere den aestetiske og individbundne sansning. I denne artikel onsker vi at vise, hvordan orienteringen imod det aestetiske, sanselige og pro...

This article examines the conditions and expressions of how refugees in Denmark become citizens. Through visual and collaborative ethnographic fieldwork, which took place during 2017, the case study follows the everyday life of an Eritrean community living in a former retirement home in the town of Hørsholm. The article investigates how becoming citizen can be understood as mediatised, spatial and expressive negotiations between the refugees and the local society. We look at the conditions of becoming citizen through the local framing of the Eritrean community—understood as political, social, cultural and material framing conditions. We draw on Engin Isin’s concept of performative citizenship (Isin, 2017), and we suggest how everyday life and becoming potentially hold the capacity to re-formulate and add to the understanding of citizenship. We suggest that becoming citizen is not merely about obtaining Danish citizenship and civic rights nor tantamount with settling down. On the con...

Life in contemporary society is saturated by design. We live in designed environments, we are surrounded by design objects, and in many situations our attention, capacity, and movement are affected by design. Today design penetrates areas far beyond the traditional craftsmanship-based design professions. It takes place in domains as different as health, culture, education, business, transportation, and planning and involves “ shaping and changing society ”through processes that are at the same time “ intentional, situated and emerging ”( Simonsen et al. 2010 , 203). In addition, design is spreading to universities, which engage in design research and initiate new designoriented study programs worldwide. The act of designing involves many participants. As such a participatory endeavor, design can be defined as “ a process of investigating, understanding, reflecting upon, establishing, developing, and supporting mutual learning between multiple participants ”( Simonsen and Robertson 2012 , 2). In this book, we employ the notion of situated design because design processes take place in particular situations and are carried out from embedded positions ( Haraway 1988 ; Suchman 1987 , 2007 ). To say that design is situated is to highlight the interactions and interdependencies between designers, designs, design methods, and the use situation with its actors, activities, structures, particulars, and broader context. Situated design acknowledges the tinkering and negotiation involved in designing things — tangible as well as intangible — and making them happen as intended. Phrased in a slightly different manner, a situated design deals with all the “ thinging ”that goes into the making of things. Bj ö gvinsson, Ehn, and Hillgren (2012 , 102) emphasize that “ things ”being designed are not merely objects: “ A fundamental challenge for designers and the design community is to move from designing ‘ things ’(objects) to designing Things (socio-material assemblies). ”

All design is situated -- carried out from an embedded position. Design involves many participants and encompasses a range of interactions and interdependencies among designers, designs, design methods, and users. Design is also multidisciplinary, extending beyond the traditional design professions into such domains as health, culture, education, and transportation. This book presents eighteen situated design methods, offering cases and analyses of projects that range from designing interactive installations, urban spaces, and environmental systems to understanding customer experiences. Each chapter presents a different method, combining theoretical, methodological, and empirical discussions with accounts of actual experiences. The book describes methods for defining and organizing a design project, organizing collaborative processes, creating aesthetic experiences, and incorporating sustainability into processes and projects. The diverse and multidisciplinary methods presented include a problem- and project-based approach to design studies; a "Wheel of Rituals" intended to promote creativity; a pragmatist method for situated experience design that derives from empirical studies of film production and performance design; and ways to transfer design methods in a situated manner. The book will be an important resource for researchers, students, and practitioners of interdisciplinary design.

Explorations and analysis of soundscapes have, since Canadian R. Murray Schafer's work during the early 1970's, developed into various established research - and artistic disciplines. The interest in sonic environments is today present within a broad range of contemporary art projects and in architectural design. Aesthetics, psychoacoustics, perception, and cognition are all present in this expanding field embracing such categories as soundscape composition, sound art, sonic art, sound design, sound studies and auditory culture. Of greatest significance to the overall field is the investigation of sound, site and the social, and how the spatial, the visual, and the bodily interact in sonic environments, how they are constructed and how they are entangled in other practices.With the Seismograf special issue Fluid Sounds, we bring this knowledge into the dissemination of audio research itself by introducing a new format: The Audio Paper. The purpose of the audio paper is to ex...

Within recent years, there has been a renewed focus on sound in urban environments. From sound installations in public space to sound festivals in alternative settings, we find a common interest in sound art relating to the urban environment. Artworks or interventions presented in such contexts share the characteristics of site specificity. However, this article will consider the artwork in a broader context by re-examining how sound installations relate to the urban environment. For that purpose, this article brings together ecology terms from acoustic ecology of the sound theories of the 1970s while developing them into recent definitions of ecology in urban studies. Finally, we unfold our framing of urban sound ecologies with three case analyses: a sound intervention in Berlin, a symphony for wind instruments in Copenhagen and a video walk in a former railway station in Kassel. The article concludes that the ways in which recent sound installations work with urban ecologies vary....