Vienna / Madrid: Urban Act(ivat)ors

URBAN ACT(IVAT)ORS California College of the Arts - Study Abroad - Vienna / Madrid - June/July 2015

TABLE OF CONTENTS BRIEF 3 THE TEAM 5 THE SITE 6 VIENNA 7 MADRID 8 TIMELINE 9 DAY 1 10 DAY 2 13 DAY 3 19 DAY 4 22 DAY 5 25 DAY 6 28 DAY 7 31 DAY 8 32 DAY 9 34 FINAL EVENT 37

APPENDIX 40 FUTURE ACTIVATIONS 41 CONSTRUCTION HANDBOOK

STAGE 51 SCREEN 60 SCALLOP 68 ACTIVACIÓN PARA EL FUTURO 74 MANUAL DE CONSTRUCCION ESCENARIO 81 PANTALLA 90 MOLUSCO 98

INTRODUCTION _the context The nature and form of urban social spaces has been changing considerably over the past two decades, and so have the mechanisms for the activation of public space. Traditionally, the shaping of public space was the domain of governments and city planners. While many of the resulting spaces accommodate a wide range of activities by a diverse group of citizens, their design and process of formation also reflects hierarchies of political power and mechanisms for control of public gatherings.

In recent years, cities have opened up to new participatory models of shaping public space that integrate entrepreneurial approaches to enabling new types of social interactions. This has led to an environment in which bottomup short-term initiatives increasingly find government approval, if not instrumentalization within long-term planning strategies. In the process, a new critical discourse is emerging on the nature of citizen participation in the formation of urban space, on the potentials of acupunctural bottom-up interventions to have broader impact, and on the types of expertise, skill sets, and processes that are needed for the short-term transformation and long-term evolution of successful public spaces in the contemporary city. In the context of both historic and contemporary models of public space formation, this studio becomes a platform for conversation about how architects, designers and artists in the role of ‘urban act(ivat)ors’ can insert themselves in innovative ways into the larger physical, economic and cultural forces that produce urban space.

_the cities The mechanism for the creation of public space range from large-scale, governmentinitiated interventions that took place without any direct public input, to spaces appropriated, programmed, financed and maintained by citizen groups. The urban space of Madrid and Vienna represents mechanisms that can be positioned at either end of this spectrum and a range of organizational models

inbetween. Vienna has a long history of investing in both the public realm and social initiatives. It offers a range of recent projects that combine innovative strategies for producing contemporary, flexible, and highly programmed spaces within a range of formal urban space typologies from several centuries: from the historic Museumsquartier in the city center, to locally and communally developed neighborhood spaces, to family-oriented urban beaches within the infrastructural flood-protection development of the Donauinsel. Madrid’s recent economic struggle, on the other hand, has sparked the evolution of a culture of bottom-up initiatives to impact the public realm, fostering opportunistic urban projects and a strong interest in social entrepreneurship. With the rapid expansion of the city in the 1950s-70s, many of Madrid’s historical plazas gave way to traffic circles as most of the city development efforts shifted to apartment blocks on the city’s periphery. In response, a range of case studies for bottom-up activation of public space emerged with organizational models that include entirely citizen-driven efforts as well as projects that involved Intermediae, a government organization that aids in the production of neighborhood public space projects. Together, the two cities provide a rich set of case studies for a dialog about the factors that shape public space: its physical formation, the social and economic parameters necessary for its success, its evolving cultural significance through time, and opportunistic adaptations of how they are used. evolving cultural significance through time, and opportunistic adaptations of how they are used.

background knowledge and a broader perspective on the work. The course framework posits that a combination of entrepreneurial thinking, organizational skills, and nimble design decisionmaking are needed for the successful activation of urban space. Furthermore, any intervention in a specific urban context necessitates interaction with local inhabitants and research into their needs. In order to create a public space that links available space with local needs and resources, the process of neighborhood engagement needs to be designed with the same attention to detail as any physical intervention in the space. This requires collaboration and mediation between different stakeholders and actors. As a consequence, the student team is understood as a ‘mobile think tank of urban actors’ who partake in and contribute to the existing collaborations. In order to configure a team that brings the necessary multi-disciplinary skillset to the project, the course sought to attract Architecture and Design Strategy MBA students, as well as students from other design or fine arts disciplines who have an interest in public space intervention and social practice. The scope of

the work included an installation for a short-term event, whose physical components can also facilitates longer-term activities in the space.

_the project The project site for this studio was the San Cristóbal neighborhood of Madrid. On the outskirts of the city and home to different immigrant groups, this area has been lacking in public spaces, employment opportunities and social/youth infrastructure. Basurama, a local organization concerned with issues of urban consumption and waste at multiple scales and one of our main collaborators, has been working with this community in the framework of their Autobarrios (Self-Made Neighborhoods) project.

Autobarrios reflects a way of space-making that is based on a collaboration between different professionals and local citizens. It is reliant on building a network between a range of urban ‘agents’ that contribute their expertise towards a specific goal. In the case of San Cristóbal, this has led to the transformation of an abandoned space under an overpass, reinventing its use, and

_the course This course was designed around the immersion into an ongoing process of formation of a neighborhood public space in Madrid. As a travel studio, it exposed students to the contemporary discourse about entrepreneurial approaches to urban social space in two cities in order to build

Professors: Antje Steinmuller & Mauricio Soto

BRIEF

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INTRODUCTION [CONTINUED] converting it to an evocative urban space by and for neighborhood youth and residents: local artists collaborated on murals, and the french architecture group collectif etc collaborated on the design of multifunctional urban furniture.

Over the course of the project in the past two years, Basurama has created a network of local non-profits, professional partnerships and industry as resources that have supported the project through funding, donations and expertise. Supporters of the ongoing evolution of the project include the French Consulate, Renault and Matadero Madrid, a local arts center. The community is now managing the programming, use and maintenance of the space with the guidance of Basurama. During our stay in Madrid, the community hosted a TEDx Salon on the site in July 2015. The CCA travel studio was responsible for the design and construction of the space for the TEDx event, including a stage and background for projection, and was tasked with developing plans for the long-term use of the physical components in conjunction with community activities.

TEAMLABS, an educational cooperative that designs, launches and implements business ecosystems, facilitated the integration of CCA students into the ongoing conversations about the TEDx project within the community, and provided input on the design of the longerterm activation of the space.TEAMLABS, an educational cooperative that designs, launches and implements business ecosystems, facilitated the integration of CCA students into the ongoing conversations about the TEDx project within the community, and the design of the longer-term activation of the space.

_framing the work Urban public space is tasked with offering a space that caters to a broad spectrum of users. At the same time, it reflects community identity while often taking a role in the image a city presents towards the outside. Today’s increasing orientation towards event and spectacle as devices for space activation poses additional challenges. Architect and Planner Andreas Feldtkeller described a public space

that combined different types of activation as a theater for directed and informal social interactions1 . The disciplines of both urban design and sociology have put forth a range of theories on the components needed to create successful urban social spaces: It can be seen as resulting from the interdependence of the physical form of a space and the social interactions taking place within it 2. Others have argued that an organizational framework for the regulation of what takes place in the space is also necessary3. Urbanist Kevin Lynch has written about the critical role of the perception of a space in the context of the city. Its use and activation imprint themselves onto the narrative experience of the inhabitants, forming associations and mental images that open up the collective imagination of what might happen there in the future. In her book “Staged Urbanism”, Mona El Khafif has termed these four components of successful contemporary public space activation “hardware”, “software”, “orgware”, and “brandware”4 .

We also projected the four terms onto the TEAM3 : ORGWARE / BRANDWARE organization of our work for San Cristóbal: our internal think tank operated in three teams that task: assemble and tell the story of the site (internal each took on the intersection between two of + external, community + city/country) these areas. team 1: hardware/software team 2: software / orgware team 3: orgware / brandware TEAM1:

HARDWARE / SOFTWARE

prototype: website + social media plan

tasks: develop components that serve both short- NOTES term (TEDx) and long-term (various events 1 Andreas Feldtkeller Die zweckentfremde Stadt, wider die Zerand activities on the site) störung des öffentlichen Raums, (Frankfurt / New York: Campus parameters (short-term): stage back-drop, projection screen, projected signage, space definition

parameters (long-term): space definition at multiple scales and for simultaneous events, accommodating a set of previous and proposed activities (overlap with The studio think tank used these terms as team 2) devices to unfold the complexity of the San Cristóbal site into different, yet interconnected prototype: topics: “Hardware” denoted both the space full-scale installation at Teamlabs under the overpass and its existing interventions from earlier phases of the Autobarrios project.

“Software” considered how the space has been TEAM2: SOFTWARE / ORGWARE used in the past (both scheduled events, and informal daily use), and what future activities task: might need to be supported (e.g. through develop potential activities for the site in the studio intervention). Providing “orgware” conjunction with the urban networks that make for future activities under the overpass them possible meant researching actual and potential parameters: networks between local stakeholders and evaluate and visualize the activation other organizations (for material donations, mechanisms for spaces we have visited; organization of events/activities, or financial gather previous activities that have taken place support).

Lastly, “brandware” involved on the site understanding and potentially changing the perception of the space by local residents, and prototype: creating a public ‘face’ that brings its history, connect local organizations and institutions evolution and future events to both residents, towards the realization of one activity/event the Madrid metropolitan area, and beyond. on site; temporary engagement with summer camp kids on site

parameters: develop ways of telling the past and evolving story of the site; propose a media strategy

Verlag, 1994)

2 see for example Martina Löw, Raumsoziologie, (Frankfurt am Main: Suhrkamp, 2001) 3 Dieter Läpple, Essay über den Raum. Für ein gesellschaftswissenschaftliches Raumkonzept, in Hartmut Häußermann, (Hersg.) u.a.: Stadt und Raum, (Pfaffenweiler: Centaurus, 1991)

4 Mona El Khafif, Inszenierter Urbanismus: Stadtraum für Kunst, Kultur und Konsum im Zeitalter der Erlebnisgesellschaft (Saarbruecken: VDM, 2009)

BRIEF

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History of the Urban Act(ivat)ors

5 Design MBA, 1 M.Arch, 1 Sculpture BFA, and 11 B.Arch students from California College of Arts, San Francisco (CCA) gathered May 11- 14, 2015 in San Francisco to begin designing on the structure below the Puente de Colores, in San Cristóbal, Madrid. The students designed several “families” of prototypes, using tensile membrane and flexible structures for the July TEDx Madrid Salon event. On June 24, we gathered in Vienna to begin exploring urban social spaces such as Museumquartier and Sargfabrik. On June 27, the group flew to Madrid to further our exploration and study of urban public spaces and begin our collaborative work with Basurama, TEAMLABS, and the community of San Cristóbal.

Mauricio Soto

Antje Steinmuller

Whitney Bush

Ryan Montgomery

Joy Fu

Anh Vu

Cole Shiflett

Lujac Desautel

Sara Haag

Pixie Kaminski

Fernanda Bernardes

Ernesto Preciado-Canez

Leticia Murray

Jonathan Woong

Jessica Zamora

Emily Robin

Anne Steeves

Gloria Asaba Kiiza

Jessica Ayran

Brett Petty

THE TEAM

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History of Autobarrios San Cristóbal

Autobarrios San Cristóbal was launched in 2012 as a collective process of revival of an abandoned space that evolves in real time.

The project was completed in phases: Phase 1 was inviting a collective of artists and the community to the space and have them paint it in a dynamic, interesting pattern. For phase 2, a group of graphic designers were invited to the space to design the columns. Phase 3 involved leveling the ground and improving the drainage system of the area. In phase 4, recycled material was used to make furniture for the space (i.e. recycled triangular trusses). And last but not least, in phase 5, outdoor pieces were planned to be used for different events. We are considering our work on site as phase 6.

Photo of bridge before the AutoBarrios /Basurama project. Image Source: Boa Mistura’s online portfolio.

Collaborators of Autobarrios San Cristóbal and Urban Act(ivat)ors The Autobarrios San Cristóbal project began as a collaboration between the San Cristóbal community, Basurama and the architect Sara Fernández Deutsch, and the first phase was supported by Fundación Montemadrid.

The second phase was a collaboration with BoaMistura, a collective of local mural artists, and a local paint shop that provided the paint.

The next phases were a collaboration with French collective Collectif Etc, which designed and built the modular furniture in the space.

Bridge after Phase 2, Mural by Boa Mistura. Image from Yorokobu’s online archive; Un puente de colores inyecta vida a un barrio de Madrid 2015 [www.yorokobu.es/autobarrios/]

Image from Boa Mistura’s online portfolio; San Cris in Colors 2013 [www.boamistura.com]

THE SITE

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SELECTED PRECEDENT SITES

The public interacting with the Enzis in the Museum Quartier.

Museumsquartier Wien

The MQ is one of the world’s largest cultural centers. Flanked by museums, cafes, and a dance centre the public space in the centre is an well-used and inviting gathering place. The space is open 24 hours for Wieners and tourists to use the space and relax on the now-famous, enzis & enzos (by PPAG) which have community input of their annual color. What we learned from this experience was that public space’s success is dependent on flexible furniture. Activating an urban space needs to have a component of constant user input in order to achieve a sense of ownership.

Looking through the interior courtyard at the Sargfabrik residents’ suites..

Sargfabrik Wien

This housing cooperative started as a social experiment and has matured into a brilliant example of community living. The village consists of a cafe, roof garden, kindergarten, bathing house, playground, communal garden, library and communal kitchens. From Sargfabrik, we learned that a community thrives by living alongside others, and that cultivating a sense of ownership comes from the strength of its community.

VIENNA

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SELECTED PRECEDENT SITES Campo de Cebada

Known as one of the oldest markets in Madrid (1875), Campo de Cebada was a metal-structured indoor market that transformed from a sports center (1968) into a cultural, social centre (2009).

Through the collaboration between architects Exyzt and Basurama, it was transformed into the public center it is today: a space for the neighborhood built by the neighborhood. Campo de Cebada has different types of spaces to attract the different interests of the public, such as a futbol (soccer) court, bike and skate ramps, a geodesic dome, staging with seating, and a occupiable shack. During our visit, we learned how the activity and leisure spaces created were highly used and effective in attracting neighboring youngsters.

Esta es una Plaza

Previously a silver shop, Esto es una Plaza now occupies the space as an open community garden and park for neighborhood families within the remnant walls. Targeting intergenerational ages within families, Esta es una Plaza activates the space through tree swings, shaded seating areas, a small performance stage, mural art opportunities, and communal gardens. We learned about the success of using intergenerational activities to attract families, as well as the values and patience held by the founding members to activate the space.

La Huerta de Tetuรกn

We stopped by this community garden, which was built and managed by local vecinos (neighbors).

A gorgeous site on our tour of the Tetuรกn neighborhood, it has been the focus of a project called Paisaje de Tetuรกn by the government group Intermediae. Intermediate has sponsored a number of street art and installations in the community by famous artists, which has been received with varying degrees of enthusiasm by the community. La Huerta de Tetuรกn was particularly inspiring to the urban act(ivat)ors because of the permanently installed photography exhibit displaying shots of community members. This project was warmly received by the community: it was was creative and funky, and involved the community in a way they connected with, as they can still see themselves on the walls of their garden whenever they visit.

MADRID

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Collaboration between teams

TEAM FLOW

team 1

scallop building the structure

team 2

screen

design of structure

community board

class discussion

community research

team 3

TEDx event

activities with neighborhood kids

stage

day 10

day 9

day 8

day 7

day 6

day 5

day 4

day 3

day 2

day 1

reaching out to the community

With the precedent projects as background, the Urban Act(ivat)ors began the process of collaboration and design with the San Cristobal community. The following pages document the work as it evolved within each team, and the milestones / presentations when all teams came together and redefined their next steps based on external and internal feedback.

TIMELINE

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TEAM 1

TEAM 2

TEAM 3

Team Kick-Offs

Each team was initially assigned different areas of focus, and at this point in the process, the members of each team put their brains together to figure out what was the best way for them to proceed. Each team broke down their tasks into more focused assignments, and by the end of the day, each team had a strategy in place to drive them forward.

DAY 1

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DESIGN PROCESS: BRAINSTORMING & DAY PLANNING

Presenting to Juan Lopez-Aranguren from Basurama for initial feedback and revision direction.

TEAM 1

On day 1, the Design team begin by creating an idea board, including design requirements, as well as questions for both Basurama and the community of San Cristóbal. We worked together at TEAMLABS to create a series of models for the designs for the stage, and free-standing pieces. We decided as a group to go with the design logic of the ‘Twist’ family, which was one of the previous four group options that we explored in our initial design phase back in San Francisco. These designs seemed to provide the most flexibility of use because of opportunity for aggregation, and layering of the forms. The ‘scallop’ form, was decided upon at this point in time to be both free standing forms that could connect with one another, and also connect together to provide the stage backdrop. For the screen, we chose the simple design of the free standing screen with a simple loop and square, which had been highly regarded in our initial design exploration phase back in San Francisco.

TEAM 2

Day 1 for the orgware team was an energetic start. Before going full steam ahead, though, we began with a brainstorming session, adapting a design sprint process that the DMBA students used previously for their business models projects. From the sprint, we prioritized activation via cross-cultural and multi-generational inclusion, keeping a regular schedule of programming at the Puente, and understanding the network of organizations that could sustain the space as an active collective luxury.

TEAM 3

The brandware team began our work focused on the idea of Puente de Colores as a space with a presence and identity, and broadcasting that identity both within and outside San Cristóbal. We understood that we were phase 6 of a very successful project, and that our job was to capture the story of what came before us as well as figure out and articulate how we fit into the story. We spent our first day brainstorming ways to do that; our first idea was to try to change the name of the TEDxMadridSalon event, which our group had struggled to find information about, to TEDxPuentedeColores. These images are our initial prototypes for these new logos. Additionally, we partnered with the orgware group to quickly create a flyer for the community engagement activities they organized that day— effectively a handout publicizing the TEDx event. Our group was quick on our feet— we’re unicorns.

DAY 1

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SITE: PUENTE DE COLORES

We re-visited the site to evaluate the main stage and verify the dimensions. We reviewed the flow of pedestrians through the site. Based on this information, we proposed the ideal proportion and angle of the screen. We also were able to select which seating design (provided by Basurama) would be best suited for our plans.

DAY 1

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TEAM 1 DESIGN ITERATIONS On day 2, the Design team continued iterating on the models and making several of the ‘scallop’ model at scale, in order to test various ways in which they could be aggregated. We also printed out the site plan to scale and started to test them formally in that space. Using this scallop shape, and making a model at scale of the triangular platforms, we were able to test out the relationship and size for the scallops as a backdrop for the stage, in relation to the dimensions of the site, overpass, and triangular platforms. At this point, we were also unsure if the stage could be moved at all, or if the seating plan could be altered, so we showed two different iterations of possibilities for the stage and seating. In this version, the screen is shown as a free-standing structure, to the right of the stage, so that the park can become more of an extension with the event, and because of the location of the stage and curved seating which points to the northeast area and at the stage.

Our idea was to have these structures have multiple uses depending on different activities.

By using the long term vision and goals of the site formulated by team 2, we formalized these uses by showing how these structures could be aggregated to support the multiple uses for the site (as shown in the images on this page). For size, our thought was that the pieces would be large enough and tall enough to make someone feel enveloped, but not be taller than about 6-8 feet.

DAY 2

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TEAM 1

First iteration of stage design The stage is composed by using four identical modules to create a backdrop and entrance for performers. The ideal location for the projection screen is to the right of the stage. A ‘floating’ module marks the entrance for visitors.

DAY 2

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TEAM 2 Project Site Park GMcash Madrid Villaverde

Miguelañez

Mercados Mercadona Parroquia Nuestra Señora de los Desamparados

Colegio Público de Educación Infantil y Primaria AZORIN

Centro Sociocultural San Cristóbal de los Ángeles

Biblioteca de San Cristóbal de los Ángeles Obra Social Caja Madrid

Instituto de Educación Secundaria Ies San Cristóbal de los Ángeles

San Cristóbal Station

Industrial

San Cristóbal The San Cristóbal Hot Spots The common area for kids to play during the hot days is in the main plaza where the water fountain is located. Kids and their families go out to the big park across from the Puente de Colores in the afternoons because there is shade and space to play soccer. The adults, on the other hand, use the same plaza but to play domino. They also go to the park to talk among friends. The elders only seem to enjoy the park because it is the only place with enough shade.

DAY 2

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TEAM 2

On day 2, the orgware team prepared a presentation for Isabel, including a summary of our community interviews and our short- and long-term recommendations for propelling activation at the Puente. We were very excited to hit the streets of San CristĂłbal and ask community members about their experience of living in their neighborhood and what they would like. We also placed three “I want _____ in my neighborhoodâ€? signs around the neighborhood with space for people to write down their wishes.

What we heard from the neighbors was: _ All knew that the Puente space is there, but they see it more as a entry and exit point for the neighborhood than as a place for activities. _ Because it is not seen as an active area, it is dark, neglected, a little dirty, and smelly. _ The neighbors would like supervised activities for kids, as well as areas for sports and recreation. _ Children and teens have a lot of things that they would like in their neighborhood, including sports facilities (e.g. football field), nature and parks with trees, video games, movies, music and dancing, arts, literature, poetry, crafts and cooking, swimming pool, and peace and wellness _ In general, we can explore with the neighbors possibilities for the use of the space -- to amplify their imagination!

DAY 2

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TEAM 3

Structure

Color Palette

Logo Simplification 1.

2.

3.

Our second day the brandware team was focused on putting together the work we had done so far into a comprehensive plan to present to our local community partner, Isabel.

With the help of our TEAMLABS partner Chiti, we put together a logo and articulated our efforts in Powerpoint slides: a Puente de Colores Facebook page; a “context� document that detailed the previous phases of the Puente de Colores project as well as the journey of the #urbanactivators so far; and Wikipedia pages in both Sp`anish and English for Puente de Colores. Our feedback from Isabel led us to a pivot which restructured our work in the following days.

DAY 2

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PRESENTATION WITH SAN CRISTOBAL COMMUNITY

Presentation to Isabel Reyes , Co-Chair of TEDx MadridSalon

TEAM 1 Isabel was very pleased with our TEAM 2 design proposal and really liked the idea of the design being something able to be used in a variety of different ways, and aggregated to create different kinds of spaces within the site.

We learned that the seating plan and stage had already been approved by TEDx, and that instead of re-thinking these things and changing them, that we needed to customize our design to work with these elements, and from here on out would now consider these elements ‘fixed’ for the purpose of this event.

Isabel was especially excited by our idea to install a message board to display upcoming events in the space and to host a photo shoot with some of the community children who would be coming during the week to help prepare for the TEDx event. Our hope was that we could get permission to use the photos as part of a slide show to be displayed while the audience is arriving for the event. We were also excited to revisit our posters and see that many young community members had added their ideas.

journey. We put our unicorn magic to work and Puente de Colores Facebook page would not made quite a bit of headway, setting ourselves be utilized by the community, and that the up well for the upcoming days.

TEDxMadridSalon name could not be changed, the brandware team shifted to new projects.

Our focus on the third day was building the #urbanactivators social media presence (on the urging of another TEAMLABS partner, Berta); renaming and refocusing the Facebook page to the Urban Activators team journey; developing a kid-friendly chalking activity to publicize the TEDxMadridSalon event; and laying out a plan for documenting the #urbanactivators team 18

TEAM 3 After receiving feedback that the

DAY 2

TEAM 1 On day 3, the Design team took the feedback of the presentation to further iterate and test out our designs. We made two foam models of the site, and the triangular platforms, to start refining the designs for the stage. After the meeting, we met as a group and decided that we wanted to alter the stage design to one that was more customized to the stage, as well as anchoring to the triangles. We tested out various methods of anchoring the fiberglass rods to the stage, as well as playing with different ways of connecting the fabric, so that the stage had a dynamic feeling, and one that made the presenter feel more enveloped by it.

We narrowed down our ideas to two distinct directions. Direction one used the language of the triangles by using the structure to connect the two rods in a way that they would form triangular intersections. In this design, the fabric was connected along these rods, at many points so the structure was emphasized. The scale of this was almost to the top of the ceiling of the underpass, and separates the speaker from the stage. In this iteration, the thought was also to show the backdrop of the painted name of the puente de colores, versus hiding it by the fabric. In option two, the two rods were anchored and twisted to allow for more room between them and at two different heights.

The fabric was then stretched and pulled in various directions to create a layered, triangular effect. This effect required less connections to the rods, and the goal of this was for the fabric to form a more geometric, triangular effect.

The two were discussed by the team, and we decided we liked elements of both designs and would work with the structure of the first and the draping of the second to refine them further into one cohesive design.

DAY 3

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TEAM 2 On day 3, the orgware team got cracking on designing and starting to frame a message board at the Puente. We chose an inverted triangle shape, drawing inspiration from the triangular platforms in the space. One of Basurama’s interns, Kim, was a huge help in figuring our our design, even though all of the math involved in computing angles for wood cuts made our heads swirl a bit! We also began researching past events that had taken place in the Puente, as well as organizations that had been involved in the events to date and might be instrumental in future programming. We checked back in on our posters and found that community members had left some additional ideas, many with illustrations!

DAY 3

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TEAM 3 Given Isabel’s feedback, team 3 moved full steam ahead on day 3 with a social media campaign using our team tag, Urban Act(ivat) ors, rather than Puente de Colores. We set up @urbanactivators Instagram and Twitter accounts and began communicating our progress to our new followers. In addition, we began moving forward with creating the Wikipedia page for Puente de Colores and preparing a press release for the TEDxMadridSalon event.

DAY 3

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TEAM 1 On Day 4, we worked together to use the structure in version one, with more of the draping method of version two, to come up with one design that worked with both of these ideas.

The thought was to have the stage feel ‘layered’. By taking one piece and weaving it through the structure, and anchoring it to the platform at various points, we came up with a design that we were all very happy with. Next we refined the scale of the stage, and determined how many rods we would need to build the stage. Because we only had a total of 50 rods to work with, they were at a premium. We knew that we may have to double up the rods for strength and durability so we would have even less to work with. We decided that we would focus on completing the stage at the actual site and then use what rods we had left for the scallop shape to be aggregated along the site. Because of our limited number of rods, we also began to explore options for alternative projection screen designs, so that it wouldn’t use as much material. We still wanted it to be a separate entity from the stage, but we were open to the idea of it being a free-hanging circle vs. a 3-dimensional object that sat on the ground.

DAY 4

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TEAM 2 A big highlight for the orgware team on day 4 was hosting a photo shoot for a very fun group of five-to-twelve-year-old community members. Some of our group even got in on the action and tried out some poses with the kids! The kids also helped to build the message board. Meanwhile, we also continued to accumulate knowledge about the Puente and local organizations in order to refine some of our ideas for further activating the space. We further developed four potential uses using the new rod-and-membrane structures from the TEDx event in the future -- for a photo class and studio, as a reading and story area for kids, as backdrops for stage performances, and as part of a playful water celebration. We also reviewed a variety of visualization styles to bring our proposals to life.

DAY 4

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TEAM 3

The efforts of our third day began to pay off quickly, with our social media networks growing and our posts getting regrammed and retweeted, expanding awareness of the #urbanactivators project. We continued efforts on our various projects, visiting the Puente de Colores site to document the clean up that was taking place with local summer camp kids (sometimes joining in!), capturing moments of concentration by the HardWare team, and meeting a new friend, Chef Paco, and his companion Gratis.

DAY 4

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TEAM 1

On Day 5, team 1 headed out to the Puented de Colores with our design plan in hand! We worked with members of Basurama, as well as with some of the members of the other two teams to repaint the site and get it ready ahead of our on-site build. We also designed and built four wooden pieces that could be inserted into the openings within the ceiling of the overpass and allow us to hang the screen. We were able to strategize around execution of our design after looking more closely at the stage platform and connection opportunities within the site.

Prototypes of design and use

Iterating through concepts

DAY 5

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TEAM 2 Day 5 for the orgware team began with a fun activity with the youth at the Puente. Each child drew and wrote about two things: what they love about their neighborhood and what they wish their neighborhood had, an activity originally designed by Julia Rose West In the heat of summer, a swimming pool was a very popular theme! We also solidified our four future use cases for the new structures at the Puente and began to divide and conquer the work of visualization and documentation.

This activity was originally designed by Julia Rose West as part of the Future Blocks project to engage kids in their neighborhood, Tenderloin, in San Francisco, CA: http://www.juliarosewest. com/home-my-process/?portfolio=futureblocks.

Upper left and lower row: children’s ideation artwork

Upper right: Community message board in progress

DAY 5

26

TEAM 3

The brandware team was again hard at work moving our projects along— this day we helped the orgware team with their community engagement project at the Puente de Colores site, a photoshoot with local summer campers, supporting orgware’s photographer Joy, while also documenting the great kid moments. We also captured the efforts of the HardWare team as they began to prototype a full scale model of our stage structure.

Social media efforts on Instagram and WIkipedia

DAY 5

27

TEAM 1 Day 6 was our first full day on the site! We began to work with the rods to test our design at full scale. Based on the fact that we were adhering the rods to the wooden platforms, we needed to test out the connections, as well as the angle of the rods in the design. After making a fullscale model of our original design, we decided that some of the angle of the connections and locations may need to be changed. More importantly, however, we realized that the rods would not be strong enough against the fabric that we had to work with. Instead of doubling up the rods at first, we tried making a direct connection by sanding them down and inserting them into an aluminum tube so that they would act as a continuous piece. The aluminum connection was successful, but it still required that we double up the rods and tape them. After the rods were all taped and doubled up, we then tested them connected them to the stage again and hung the fabric from them. The two rods were undoubtedly much stronger than a single rod, and the form of the design was able to stand up correctly using this design. Then came time to attach the fabric to the structure. When we did this, however, the fabric pulled down the structure significantly, and ended up altering the shape of our design and warping the scale to a much smaller one. Even though we wanted to use as few rods as possible so we could allocate them to the screen and scallop structures, it became clear at the end of the day that we did need to secure another set of rods to each piece, which made it a total of 3 bound rods by tape, and the aluminum connections.

Testing the fiberglass poles and hanging mechanism

DAY 6

28

TEAM 2 A major accomplishment for the orgware team on day 6 was the completion of the construction of the message board, which afforded us time to focus more on creating our visuals and documentation. On this day we gained a real sense of the many organizations that have been involved in creating programming for the Puente de Colores space: City of Madrid Asociación Educación Cultura y Solidaridad Obra Social “La Caixa” Asociación de vecinos La Unidad de San Cristóbal Casa San Cristóbal (Fundación Montemadrid) Club de amig@s de San Cristóbal y Parroquias Junta Municipal de Villaverde (Departamento de Servicios Sociales) Liga Española de la Educación Movimiento Junior Proyecto de Intervención Comunitaria Intercultural de San Cristóbal Teatro Tr3s Social OMC Radio

Message board almost completed

Team 2 working at TEAMLABS

DAY 6

29

TEAM 3 Day six was a highlight for the brandware team— we got to lead some local campers in chalking the sidewalks of San Cristóbal to publicize the TEDxMadridSalon event that was quickly approaching! We created a stencil to maintain some consistency in brand imagery, but then allowed the kids to customize within that stencil. We had a great time getting to know some of the local children— our friend Perla was very excited to practice her English, talk about New York and also taught us about “bachata”, a dance popular with teenagers in the Dominican Republic as well as San Cristóbal. We loved getting a chance to spend some time with the local community and also learn some new dance steps.

Our tweet was retweeated by Basurama! Social media continunig to build momentum

Instagram posts

DAY 6

30

TEAMS COMBINED FOR BUILD Our three sub-groups of #urbanactivators gathered together to begin weaving our efforts together on day seven. Most of the #urbanactivators spent the day at Puente de Colores, testing the membrane structures that were in development and documenting the process so that we could recreate it in the upcoming days. We made significant progress on the structure design, testing out connection details, pushing the membrane fabric to its limits, and experiencing the wrath of the fiberglass pole skeleton. Day 7 was a day of victory when it came to the stage connections, when the insight came to move from a combination of horizontal and vertical to all vertical connection points. By also altering where the fabric was connected to the structure, we were able to pull it up, but using the fabric’s tension to the rods.

Other #urbanactivators continued to develop the team’s social media presence, build the “how-to” manual that we would be leaving with the membrane structures and capture the work as it was done.

Iterating through versions of the stage backdrop and screen

DAY 7

31

TEAMS COMBINED FOR BUILD

All #urbanactivators joined at the Puente de Colors site on day eight: it was time to do final prototyping of all the membrane structures. The #urbanactivators split into teams focused on the three types of structures: scallops, screen and stage. Each group figured out the remaining details of each of the structures, and by the end of the day, each type of structure was set up and in final state. As on other site days, the team was joined by Basurama interns, who were patching up the existing wooden triangle structures, fixing up the painting on the bridge, and building signage for the TEDx event. The team also continued to share the #urbanactivators story via social media.

All hands on deck for working on the scallop structures

DAY 8

32

From top left: breaking down a scallop, preparing to hang the screen

From top right: Yoga break, putting our sewing skills to use, final message board

DAY 8

33

DOCUMENTATION TEAM

The #urbanactivators split up once again— the on-site team, after taking apart the membrane structures the previous night, returned to Puente de Colores to rebuild the structures for a final dress rehearsal with our San Cristóbal collaborators and TEDx coordinators. With several take-downs and put-ups under their belts, the team was becoming professional at manipulating the shapes. The other half of the team worked at TEAMLABS to collate all of the photograph and text materials that had been gathered over the past week and a half. The team pulled together content and worked on lay out of the final artifact of the project, a complete story of the #urbanactivators project. The whole #urbanactivators team gathered at the end of the day with our Basurama and TEAMLABS colleagues for a celebratory final dinner on the eve of the big event to enjoy black rice paella by our site chef Paco and to acknowledge and celebrate the past few weeks.

Hard at work at TEAMLABS doing content and layout for the project book

DAY 9

34

ONSITE BUILD TEAM

From top left: scallop in its storage arrangement, many hands required for assembly

From top right: backdrop completed, close up of connection detail

DAY 9

35

REHEARSAL NIGHT

TEDx organizer Antonella Broglia inspecting the site.

Final set-up of ‘scallops’

Thanks to a last minute detail adjustment, the final stage required less than 10 minutes to set up.

DAY 9

36

REHEARSAL NIGHT

Final dinner on site: black rice seafood paella with squid ink.

DAY 9

37

Left: The stage environment during the final event. Right: TEDx Organizer for Europe, Antonella Broglia

Left: One of the presenters. Middle: The local youth choir on stage. Right: The message board’s first use.

FINAL EVENT

38

The Urban Act(ivat)ors on stage with the organizers during the final credits.

FINAL EVENT

39

APPENDIX

40

APPENDIX: FUTURE ACTIVATIONS AT PUENTE DE COLORES

TedX Madrid Salon

TedX Madrid Salon Photo booth

TedX Madrid Salon Projection Screen

TedX Madrid Salon Stage Area

TedX Madrid Salon Photo booth

r Celebrat i ate

Reading

on

otography h P

Theater

W

Future Programming

+

FUTURE ACTIVATIONS

42

Theater Performances The structures may serve as set pieces for theatre performances for productions both by community members and by outside theatre troupes. In addition the screen may be used for outdoor cinema projections.

Projection

Equipment

Potential Partners

Audience

FUTURE ACTIVATIONS

43

Photography Class and Studio The structures may be used to create a backdrop for photography shoots, with the rods accommodating additional backdrops (colored cloth, props, etc).

Since the community has hosted a photo workshop previously, the structures could also support continued learning and skills development. In addition, since we found that the children were very enthusiastic about the photo booth activity that we did, it would be a great way for the community to capture its members (taking child and family photos) and even to display some of the photos publicly by using the structures to create a sort of gallery space.

PhotoBooth

Equipment

Potential Partners

Audience

FUTURE ACTIVATIONS

44

Water Celebration While installing a permanent pool at the Puente de Colores is not feasible (for logistical and financial reasons), it does provide a shady area out of the direct summer sun. Moreover, the structures in the space may create a playful space for water games, including reusable sponge water “bombs� for kids to toss at targets (similar to water balloons) and childsized pools.

Equipment

Potential Partners

Audience

FUTURE ACTIVATIONS

45

Reading Room The free-standing structures may be used to define a reading room, in which children can sit on the triangular platforms or benches while a storyteller reads for them. The structures may also be installed outside of the Puente, for instance near the library, where they will define a space, block children’s view of distractions, and provide shade to keep them comfortable and engaged.

Equipment

Potential Partners

Audience

FUTURE ACTIVATIONS

46

Programming of structure through the day

Water celebration

Reading

24h

22h

20h

18h

16h

14h

12h

10h

08h

Photography

PhotoBooth

Reading

Intersection 1: Reading + Water celebration

Water celebration

Intersection 2: Water celebration + Pho-

Photography

FUTURE ACTIVATIONS

47

TEAM 2 PROCESS: Our work toward activating the Puente de Colores space as a collective luxury has consisted of three general phases: Brainstorming Discovery Ideation & Action

themes we chose to move forward with were crosscultural and cross-generational inclusion, regular programming, and ensuring connections to existing organizations in San Cristóbal.

Discovery In order to gain a better understanding of these issues and activate opportunities for the community of San Brainstorming Cristóbal to use the Puente de Colores, it was crucial We spent our first day doing a miniature design sprint for us to begin by asking the community about their in order to create a comprehensive list of issues and needs and desires. We did this in three ways: questions based on our early conversations with stakeholders (Isabel, Irma, Juan, Berta) and visits Intercept interviews. Working in two groups of three, to other community-driven space creation projects we walked through San Cristóbal and spoke with in Vienna and Madrid. Our process was designed so twelve residents, covering various ages, ethnicities, and that each of the six members of our team spoke for locations in the neighborhood. The key insights that we two minutes about what we had observed and what found included: we thought was important to activate the Puente de All knew that the Puente space is there, but they see Colores, while the other five members listened and it more as a entry and exit point for the neighborhood noted key questions on Post-It notes. Our questions than as a place for activities. all followed the format “How might we…?” a common Because it is not seen as an active area, it is dark, phrasing in design thinking circles, in order to create an neglected, a little dirty, and smelly. atmosphere of openness and empowerment in finding The neighbors would like supervised activities for kids, solutions for each. as well as areas for sports and recreation.

In general, we can explore with the neighbors A partial list of our questions is below -- How might possibilities for the use of the space -- to amplify their we... imagination!

Please see the addendum for the questionnaire that ...make it welcome to immigrants / different we used.

demographic groups? ...incorporate the story of San Cristóbal into the space? ...make this space an entry/ welcome door to the neighborhood? ...find out what existing organizations want / need? (e.g. schools, play, dance) ...get the space to stay clean after the event? everyday? ...program for children? ...find organizations to support this project? ...make the site an attraction for those that are not local? ...make it multi-generational? ...make the community feel united? (feel they own the space) ...get people involved / interested initially? ...work with those that will take over after we leave? ...coordinate with other community groups to take care of this after we leave?

We used a process of voting to prioritize the items that we found to be most important to pursue. The three

“Yo quiero ______ en mi barrio” posters. We created

“Amo mi barrio” and “Ojalá mi barrio tuviera” activity.

With our 5-to-12-year old helpers who helped clean and repair the Puente, we had an activity in which they drew pictures and wrote about what they love and what they wish for in their neighborhood. Many said that they love the Puente, while the most common wish was for a pool -- a request that echoed what we heard in our interviews and saw in the poster responses and that was likely due to the hot summer weather at the time of our visit! This activity was originally designed by Julia Rose West as part of the Future Blocks project to engage kids in their neighborhood, Tenderloin, in San Francisco, CA: http://www.juliarosewest.com/homemy-process/?portfolio=future-blocks.

Our discovery process also included secondary research and conversations with Isabel Rey to understand how the Puente de Colores space has been used in the past and which organizations have been involved in planning, resourcing, and running these events. What we found was that there have been a variety of activities already in the space, including: Community radio Brass band Participatory forum theatre Senior women’s event Movie viewing Theatre performances Healthy eating workshop Poetry slam Photography workshop Crafts workshop Henna Face painting Paintings workshop and exhibition Music and dancing Kids’ summer camp

three posters with this fill-in-the-blank statement for residents to use to express what they would like to see in their neighborhood. We placed the posters in different locations, including in the entryway of the library, the side of a phone stand in Plaza Pinazo, and in the Puente de Colores. While one poster was removed, the other two filled up with numerous ideas within a few days, mostly aimed at youth: The primary organizations involved in events held at sports facilities (e.g. football field) the Puente de Colores, as part of “Yo soy San Cris”, nature and parks with trees include: video games, including PlayStation and Wii City of Madrid movies Asociación Educación Cultura y Solidaridad music and dancing Obra Social “La Caixa” arts, literature, and poetry Asociación de vecinos La Unidad de San Cristóbal crafts and cooking Casa San Cristóbal (Fundación Montemadrid) swimming pool Club de amig@s de San Cristóbal y Parroquias peace and wellness

Junta Municipal de Villaverde (Departamento de Servicios Sociales) Liga Española de la Educación Movimiento Junior Proyecto de Intervención Comunitaria Intercultural de San Cristóbal Teatro Tr3s Social OMC Radio Sources: http://www.distritovillaverde.com/yo-soysancris/, http://www.eculturas.org/ Ideation & Action The focus of our ideation process has been twofold: first, to enhance the engagement of community members in the upcoming TEDx event; and then to generate ideas for using the new rod-and-membrane structures created for the TEDx event as part of future community events.

The immediate activities that we created to boost engagement in the TEDx event were:

Community message board. Inspired by a project that

one of our team members was part of in Chile, we proposed and built a community message board to place at the Puente de Colores to inform the community about upcoming events in the space. The board was designed as an inverted triangle, tying it visually to the triangular platforms that Autobarrios had already placed in the space.

Youth photo booth. To personalize the space for the

neighbors, we did a fun photo shoot with some of San Cristóbal’s children, who also helped to clean and repair the Puente space in preparation for the TEDx conference. The kids used some of the miniature models of structures for the stage space as props for the shoot, and the photos will be shared as part of a slide show after the TEDx presentations.

FUTURE ACTIVATIONS

48

“Amo mi barrio” and “Ojalá mi barrio tuviera” activity.

As previously detailed, this activity gave us insight into the needs of the community’s children, and it also provided another way for the kids to engage in the Puente space.

For longer term uses of the rod and membrane structures used in the TEDx event, we have developed four proposals (see illustrations for more detail): Reading room. The two free-standing structures may be used to define a reading room, in which children can sit on the triangular platforms or benches while a storyteller reads for them. The structures may also be installed outside of the Puente, for instance near the library, where they will define a space, block children’s view of distractions, and provide shade to keep them comfortable and engaged.

Photography class and studio. The structures may also create a backdrop for photography shoots, with the rods accommodating additional backdrops (colored cloth, props, etc). Since the community has hosted a photo workshop previously, the structures could also support continued learning and skills development. In addition, since we found that the children were very enthusiastic about the photo booth activity that we did, it would be a great way for the community to capture its members (taking child and family photos) and even to display some of the photos publicly by using the structures to create a sort of gallery space.

the San Cristóbal neighborhood to bring events to the space under the bridge (Puente de Colores). We are interested in hearing about you and what you would like to see in your neighborhood.

What is your name? [¿Cuál es su nombre?]

How old are you? - [¿Cuantos años tienes?]

How long have you lived in San Cristóbal? [¿Cuánto tiempo has vivido en San Cristóbal?]

What kind of work do you do? [¿A qué te dedicas?]

What is your ethnicity / where are your ancestors from? [¿De dónde son tus orígenes?]

What do you like about living here? [¿Qué te gusta de vivir aquí?]

What do you dislike? [Qué no te gusta de vivir aquí?]

What do you do on your spare time? What do your kids do for fun? [¿Qué haces en tu tiempo libre? ¿Qué hacen tus hijos para divertirse?]

How much time do you spend outdoors in your neighborhood? [¿Cuánto tiempo pasas afuera en tu vecindario?]

Where do you spend time in your neighborhood? Are

Theater performance. In addition to providing the there any popular social spots? Do you use the space backdrop for photography, the structures may serve as set pieces for theatre performances for productions both by community members and by outside theatre troupes.

Water celebration. While installing a permanent pool at the Puente de Colores is not feasible (for logistical and financial reasons), it does provide a shady area out of the direct summer sun. Moreover, the structures in the space may create a playful space for water games, including reusable sponge water “bombs” for kids to toss at targets (similar to water balloons) and childsized pools.

Addendum: San Cristóbal Community Questionnaire Hello! We are (names). We are students from a university in the US, and we are working with some people from

under the bridge? [¿Dónde pasas el tiempo en barrio? ¿Hay lugares donde a la gente le gusta juntarse? ¿Usas el espacio de bajo del puente?]

How do you find out what is happening in your neighborhood? [¿Como te enteras de lo que pasa en tu barrio?]

What kinds of social media do you use? (e.g. Facebook, Tuenti, Instagram, Snapchat, Twitter…?) Which do you use most? [¿Qué redes sociales usas? ¿Facebook, Tuenti, Instagram, Snapchat, Twitter? ¿Cuales usas más?]

Who is the most popular person you know in your neighborhood? Why is he/she popular? [¿Hay gente famosa que haya salido de tu barrio? ¿Por que es famoso/a?

If you could have any wish you want for your neighborhood, what would you wish for? [Si pudieras tener cualquier cosa en tu barrio ¿Que desearías que fuera?]

Which of these things would you or your family participate in?

Community garden - space to plant your own flowers and vegetables and care for them Kids’ play space - sandbox, toys, etc.

Dance lessons Painting lessons Plays / Stage Performances Singing / karaoke night Games - board games, card games, interactive games [¿En cual de estas actividades te gustaría que tu familia participe?

Jardín comunitario - un espacio para plantar tus propias flores y vegetales y cuidar de ellas Área de juego para niños Lecciones de baile Lecciones de pintura Teatro / Eventos en escenario Cantar / noche de karaoke Juegos - juegos de mesa, cartas, juegos interactivos San Cristóbal Community Interview Notes

Interview 1 - Five children, ages 7 to 13 Play, play soccer One of the kids asked for a big park with trees Most of the kids had lived in San Cristóbal since they were born They mentioned they liked living in the neighborhood They would hang out mostly at the water fountain after 5 or 6 pm almost everyday They were all from Spain originally

Interview 3 - One man around age 40 Plays domino at the main plaza He does not go under the Puente de Colores He said more aquatic activities were needed

Interview 4 - One woman around age 80 She said she did not understand what the seats under the bridge were for She does exercise twice a week at the sports center in San Cristóbal Also mentioned that the space under the bridge in order to be used needed to be cleaner There should be constructive activities and overall just better activities She mainly asked for kids’ activities because she said she was too old and stayed mostly in her home due to the heat She felt the neighborhood needed more activities and to be improved overall, because instead of more things happening in San Cristóbal, she feels that most of the neighborhood is being torn apart and the activities are being taken from her She also told us that we needed to act upon the Puente de Colores site because she has been interviewed multiple times but most of time they just become questions she answered but nothing happens in the neighborhood

Interview 5 - Two men around age 20 They play in the park directly across from the Puente de Colores – Parque de los Pinos They need more activities to happen under the bridge in order to go there They have lived in San Cristóbal for about 8 to 10 years They are Ecuadorian If the Puente de Colores were livelier they would use it

Interview 2 - Three children Soccer, skate The Puente de Colores looks like it is deteriorating

FUTURE ACTIVATIONS

49

People go to work in San Cristóbal from Villa Verde and they also go to San Cristóbal to work: They both pass under the bridge to work at each of the neighborhoods

Interview 6 - Two brothers, teenagers Skate, Roller Blade They find the Puente de Colores boring They have living at San Cristóbal all their lives They are a family of six brothers Would enjoy picnic areas

Interview 7- One woman around age 40 and four children, ages 6 to13

Her kids use the structures under the Puente de Colores as slides She said there should be water parks for her kids that have a clean water source She said there should be water playground like the ones in other parts of the city Also it is hot for about two months long so having water jets that offer clean water to play would keep the kids entertained and happy She has been living there for about two years She moved there because her family suffered a loss financially so she was forced to move to a less pricey neighborhood Now she said that she does not plan on moving from San Cristóbal because there are so many activities for the kids, more than what she had at the other neighborhood Wants pools, movies, mini goal, basketball, and skateboarding for her kids She gets information on activities from her Church

Interview 8 - Juan Antonio (male in his 40’s) with 4 kids Born and raised in Madrid - 5th grade dropout Has lived in San Cristóbal for 6 years Is an ambulatory seller who would like a steady job Does not use the area under the bridge, he states that is is always empty and need more activities to occur in the space Suggested having activities led by an adult/supervisor who can take children over to the bridge area In general he does like San Cristóbal, there are too many fights, drugs + alcohol problems For San Cristóbal he wants order and peace, more activities for children, more park/play areas and a pool,

reading programs and organized ball games His kids play with church groups Emphasized the need for better education in San Cristóbal

Interview 9 - Amine (male 28) from Morocco Does not like San Cristóbal, he dislikes the people, but lives there because it is affordable Likes to hang out on a corner near the taxi parking in San Cristóbal, he stated there was a betting house nearby Gave no insight as to what the residents may want When asked about community events, he tends to find out what is going on through posters/signage of Facebook Would like to see a new community mural under the bridge, had no vision of what could be done under the bridge except maybe sleeping

Interview 10 - Jorge (male 30) has 3 kids

are no events taking place there.

When asked about community events, he tends to find out what is going on through social media He uses Instagram + Twitter He would like to see a better sports complex in the neighborhood

Interview 12 - Miguel Jimenez - (male 17) From Spain Is a student who lives in San Cristóbal He uses the park in San Cristóbal to run When asked about community events, he tends to find out what is going on through social media He would also like to see a better sports complex in the neighborhood Does not use the area under the bridge, he feels it is too small, there are too many cars, and the smells are unpleasant He feels more events should be held at the park

Has lived in San Cristóbal for 13 years, originally from the Dominican Republic, he is trained as a welder, but is currently unemployed Likes everything about San Cristóbal, the people, the park, his hosing Takes his children to play at the park, they also play near their home Does not use the area under the bridge, is never really in that vicinity When asked about community events, he tends to find out what is going on through word of mouth, he finds the community to be very united. he uses Facebook he knows of the famous soccer player from San Cristóbal, but stated that the player has never been back

Interview 11 - Edwin - (male 18) From Ecuador Is a student who lives just north of San Cristóbal (has lived there for 13 years), but uses the park in San Cristóbal to run with his buddy and dog Has many feelings for the neighborhood - he likes the peacefulness of the area, but dislikes that the elderly complain about his dog He mainly uses San Cristóbal to go running, doesn’t use the area under the bridge because he feels there

FUTURE ACTIVATIONS

50

CONSTRUCTION HANDBOOK STAGE

Construction Handbook Fabric

Material

9

8 10 7 11

String 6

5

12

13

14 4 15 3

Rod A Rod B

Page. 1

Zip Ties

2

16

1

CONSTRUCTION HANDBOOK

52

Construction Handbook

Stage Plan 14 11

B1 / 12 9

A2 / 5

B2 / 16 13

A1/ 2

Page. 2

1

CONSTRUCTION HANDBOOK

53

Construction Handbook

2

A. Step One ( Rod A )

1 1 Insert Rod A vertically into slot A-1

3

2 Bend the Other end of the Rod 3 Insert Rod A vertically into slot A-2

A-1 A-2

Rod

1

33

A-1 Detail

Page. 3

CONSTRUCTION HANDBOOK

54

Construction Handbook B. Step Two ( Rod B )

2

1

3

1 Insert Rod B vertically into slot B-1 2 Bend the Middle of the Rod towards Stage Front

B-2

B-1

3 Insert Rod B vertically into slot B-2

Rod

1

Page. 4

3

A-1 Detail

CONSTRUCTION HANDBOOK

55

Construction Handbook 2

1

C-2

C-1

C. Cross Joint

1 Use Zip Ties to fixed the conncection between two main rods ( x3 ) at location C-1

Rod B

Rod B Rod A

Rod A

2 Use Zip Ties to fixed the conncection between two main rods ( x3 ) at location C-2

Attention

Rod B

Rod A

(on top)

Rod B

Rod A

(on top)

x3

NO!!

Stage Front

Page. 5

Zip Ties

Stage Front

CONSTRUCTION HANDBOOK

56

Construction Handbook 8 8

D. Fabric

7

C-1 4

10

1 Unfold the Fabric 2 Re-attach each joint (1~16) in sequencial orders

3

6

12

14

* Please see Stage Floor Plan

9

1 11 5

2

Stage Front View

Type 1

13

Type 2 Fabric

Fabric

Hook Hook Hook Rod

Rod

String Hook

Page. 6

CONSTRUCTION HANDBOOK

57

Construction Handbook E. Reference Step A & B (Rod Connection)

Page. 7

Step C (Cross Joint)

Step D (Fabric Connection)

CONSTRUCTION HANDBOOK

58

Construction Handbook F. Fabric Attachment Repair

1 Cut an Opening on the Fabric

2 Place The Ring on top of the cut

3 Fold the cut over the Ring

Fold

Page. 8

4 Sew the overlaped fabric

Sew

CONSTRUCTION HANDBOOK

59

CONSTRUCTION HANDBOOK SCREEN

Construction Handbook

Fabric

Material

Site Connections

x4 Bridge Hanger

x4 Rods

String

Ground Hanger

Page 1

CONSTRUCTION HANDBOOK

61

Construction Handbook A. Step One

1

1 Connect all 4 rods

2 Align the mark in the rod with the end of the metal connection. Zip tie at these intersections as well as along the pairing of the metal connections.

2

Page 2

CONSTRUCTION HANDBOOK

62

Construction Handbook B. Step two

3 Connect fabric to rods with hooks

3

Page 3

CONSTRUCTION HANDBOOK

63

Construction Handbook C. Step Three

4 Identify the 4 bridge hangers.

4

Page 4

CONSTRUCTION HANDBOOK

64

Construction Handbook D. Step Four

5 Identify the 4 bridge hangers. Connect the rings on the rods with the bridge hangers using string. Two connections per ring to hanger, one in the front one at the back.

Page 5

5

CONSTRUCTION HANDBOOK

65

Construction Handbook E. Step Five

6 Connect the rings at the bottom of the rods to the hangers on the ground.

Attach with strings.

Page 6

5

CONSTRUCTION HANDBOOK

66

Construction Handbook F. Fabric Attachment Repair

1 Cut an Opening on the Fabric

2 Place The Ring on top of the cut

3 Fold the cut over the Ring

Fold

Page 7

4 Sew the overlaped fabric

Sew

CONSTRUCTION HANDBOOK

67

CONSTRUCTION HANDBOOK SCALLOP

Construction Handbook

Stage Plan

Material

Zip Ties

Page. 1

CONSTRUCTION HANDBOOK

69

Construction Handbook A. Step One

1 1 Pull the end of structure rod while pulling the rod with the fabric upwards 2 Align the marks on the end of the rod with the marks on the circular part of the structure sitting on the ground.

2

Page 2

CONSTRUCTION HANDBOOK

70

Construction Handbook B. Step Two

3 Once the rods are aligned at the marks, ziptie them as shown in the diagram.

3

Page 3

CONSTRUCTION HANDBOOK

71

Construction Handbook Final product

Page 4

CONSTRUCTION HANDBOOK

72

Construction Handbook F. Fabric Attachment Repair

1 Fold fabric unto itself.

2 Fold the fabric covering a piece of doble sided tape

3 Sew the folded piece of fabric with string and wrap around the rod

4 Apply glue to the string to rod connection to reinforce.

Fold

Page 5

CONSTRUCTION HANDBOOK

73

APÉNDICE: ACTIVACIÓN PARA EL FUTURO DE PUENTE DE COLORES

TedX Madrid Salon

TedX Madrid Salon Cabina De Fotos

TedX Madrid Salon Pantalla

TedX Madrid Salon Escenario

TedX Madrid Salon Cabina De Fotos

Programación en un Futuro Lectura

ua

+

n ració de Ag b e

Ce l

gra Foto fía

Teatro

ACTIVACIÓN

75

Funcionamiento como Teatro Las estructuras pueden servir como piezas movibles parv a espectáculos de teatro para las producciones tanto por miembros de la comunidad y por grupos de teatro profecionales. La pantalla puede ser utilizada para las proyeccion de cine al aire libre.

Proyección

Equipo

Posibles Colaboradores

Audiencia

ACTIVACIÓN

76

Clase de Fotografía y Estudio Fotográfico Las estructuras se pueden utilizar para crear un telón de fondo para tomar fotografías. Los telones adicionales se pueden montar usando las varillas de las estructuras. Dado que la comunidad ha organizado talleres de fotografía previamente, las estructuras se pueden usar para el apoyo de aprendizaje y el continuo desarrollo de habilidades de fotografía. Además, puesto que se encontró que los niños estaban muy entusiasmados con la actividad de cabina de fotos que hicimos, sería una gran oportunidad para que la comunidad capturara las imágenes de sus miembros (tomando fotos de los niños y sus familiares) e incluso para mostrar algunas de las fotos del público mediante, las estructuras se pueden usar para crear una especie de espacio de la galería.

Cabina de Fotos

Equipo

Posibles Colaboradores

Audiencia

ACTIVACIÓN

77

Celebración de Agua La instalación de una piscina permanente en el Puente de Colores no es posible (por razones logísticas y financieras), pero si podemos aprovechar la sombra que proporciona el puente durante el verano. Las estructuras en el espacio pueden crear un espacio lúdico para los juegos acuáticos, como la tirar a blanco con “bombas de agua” usando esponja reutilizables (similares a los globos de agua) y pare definir areas con piscinas inflables infantiles.

Equipo

Posibles Colaboradores

Audiencia

ACTIVACIÓN

78

Salas de Lectura Las estructuras independientes se pueden utilizar para definir una sala de lectura, en la que los niños pueden sentarse en las plataformas o bancos triangulares, mientras un narrador lee para ellos.

Las estructuras también pueden ser instaladas en otros sitios, por ejemplo, cerca de la biblioteca, donde se pueden usar para definir un espacio donde los niños no se distraigan con su alrededor, y proporcionar sombra para mantenerlos cómodos y atentos.

Equipo

Posibles Colaboradores

Audiencia

ACTIVACIÓN

79

Programación de la estructura durante el día

Celebración de agua

Lectura

24h

22h

20h

18h

16h

14h

12h

10h

08h

Fotografía

PhotoBooth

Lectura

Intersección1: Lectura + Celebración de agua

Celebración de agua

Intersección 2: Celebración de agua + Fotografía

Fotografía

ACTIVACIÓN

80

MANUAL DE CONSTRUCCION STAGE (ESCENARIO)

Manual de Construcci贸n Material

tejido 9

8 10 7 11

String 6

5

12

13

14 4 15 3

Barra A

Page. 1

Barra B

Zip Ties

2

16

1

MANUAL DE CONSTRUCCION

82

Manual de Construcci贸n Plan De La Etapa

14 11

B1 / 12 9

A2 / 5

B2 / 16 13

A1/ 2

Page. 2

1

MANUAL DE CONSTRUCCION

83

Manual de Construcci贸n

2

A. Paso Uno ( Barra A )

1 1 Inserte Barra A verticalmente en ranura A-1

3

2 Doble el otro extremo de la barra 3 Inserte Barra A verticalmente en ranura A-2

A-1 A-2

Rod

1

33

A-1 Detail

Page. 3

MANUAL DE CONSTRUCCION

84

Manual de Construcci贸n B. Segundo Paso ( Barra B )

2

1

3

1 Inserte Barra B verticalmente en ranura B-1 2 Dobla la Mitad del Bara hacia Front Stage

B-2

B-1

3 Inserte Barra B verticalmente en ranura B-2

Rod

1

Page. 4

3

A-1 Detail

MANUAL DE CONSTRUCCION

85

Manual de Construcción 2

1

C-2

C-1

C. Paso Tres ( Cruz Conjunta )

1 Utilice bridas para fija la conncection entre dos barras principales (x3) en la ubicación C-1

Barra B

Barra B Barra A

2 Utilice bridas para fija la conncection entre dos barras principales (x3) en la ubicación C-2

Barra A

Atención

Barra B

Barra A

(on top)

Barra B

Barra A

(on top)

x3

NO!!

Stage Front

Page. 5

Zip Ties

Stage Front

MANUAL DE CONSTRUCCION

86

Manual de Construcci贸n 8 8

D. Paso Cuatro ( Tejido )

7

C-1 4

10

1 Desdoble la tela

3

2 Vuelva a colocar cada articulaci贸n ( 1 ~ 16 ) en 贸rdenes secuenciales 12

6 14

9

* Por favor, consulte Planeaci贸n Tarima

1 11 5

2

Etapa Vista Frontal

Type 1

13

Type 2 Tejido

Tejido

Gancho Gancho Gancho Barra

Barra

Cuerda Gancho

Page. 6

MANUAL DE CONSTRUCCION

87

Manual de Construcci贸n E. Referencia Paso Uno (Barra Conexion)

Page. 7

Paso Tres ( Cruz Conjunta )

Paso Cuatro ( Tejido )

MANUAL DE CONSTRUCCION

88

Manual de Construcci贸n F. Tela de Reparaci贸n Adjuntos

1 Corte una abertura en la Tela

2 Coloque el anillo en la parte superior de la corte

3 Doble la corte sobre el Anillo

Fold

Page. 8

4 Coser la tela overlaped

Sew

MANUAL DE CONSTRUCCION

89

MANUAL DE CONSTRUCCION SCREEN (PANTALLA)

Manual de construcci贸n

Tela

Material

Conexiones en el sitio

x4 Gancho en el puente

x4 Varas

p谩gina 1

Hilo

Gancho en el suelo

MANUAL DE CONSTRUCCION

91

Manual de construcci贸n A. Paso 1

1

1 Conectar las 4 varas

2 Alinear las indicaciones en la punta de la vara con la conexi贸n de metal. Amarrar con un cable las intersecciones entre indicaciones y conexi贸n, al igual que el empalme de las conexiones.

2

p谩gina 2

MANUAL DE CONSTRUCCION

92

Manual de construcci贸n B. Segundo paso

3 Conectar los aros entre tela y varas con un gancho de doble lado

3

p谩gina 3

MANUAL DE CONSTRUCCION

93

Manual de construcci贸n C. Tercer paso

4 Identificar las 4 conexiones de gancho en el puente.

p谩gina 4

4

MANUAL DE CONSTRUCCION

94

Manual de construcci贸n D. Cuarto paso

5 Conectar los aros de las varas con las del puente usando hilo. Hay 2 conexiones por aro con el techo, una atras y otro enfrente

p谩gina 5

5

MANUAL DE CONSTRUCCION

95

Manual de construcci贸n E. Quinto Paso

6 Conectar los aros ubicados en la parte baja de las varas con el suelo usando hilo

p谩gina 6

5

MANUAL DE CONSTRUCCION

96

Manual de construcci贸n

F. Reparaci贸n de la tela

1 Cortar una apertura en la tela

p谩gina 7

2 Colocar un aro encima de la apertura

3 Doblar el corte sobre el aro

4 Coser la tela cubriendo el aro

Fold

Sew

MANUAL DE CONSTRUCCION

97

MANUAL DE CONSTRUCCION SCALLOP (MOLUSCO)

Manual de construcci贸n

Vista en perspetiva

Material

Brida - cable

p谩gina 1

MANUAL DE CONSTRUCCION

99

Manual de construcci贸n A. Primer paso

1 1 Jalar la punta de la bara y levantar la tela hacia arriba.

2 Alinear las indicaciones en la punta de la vara con las indicaciones en la parte circular de la estructura que se sienta sobre el suelo

2

p谩gina 2

MANUAL DE CONSTRUCCION

100

Manual de construcci贸n B. Segundo paso

3 Ya que las indicaciones esten alineadas, amarrarlas con la brida - cable.

3

p谩gina 3

MANUAL DE CONSTRUCCION

101

Manual de construcci贸n Producto final

p谩gina 4

MANUAL DE CONSTRUCCION

102

Manual de construcci贸n

C. Reparaci贸n de la tela

1 Doblar la tela hacia adentro

2 Doblar cubriendo un pedazo de cinta adhesiva con pegamento en ambos lados

3 Usar hilo para coser la vara y la tela, envolviendose el uno al otro.

4 Usar pegamento en la conexi贸n entre hilo y vara para reenforzar.

Fold

p谩gina 5

MANUAL DE CONSTRUCCION

103