Freehouse Research Reader by Stichting Freehouse

I NHOUD FREEHOUSE 1. Achtergrond Freehouse 2. Model Freehouse

2.1

3.2

Interview Jeanne van Heeswijk - kunstenaar / initiator Freehouse (1999-heden)

Interview Dennis Kaspori - architect / mede ontwikkelaar Freehouse (2004-2009) Waarom hij als architect in het project geïnteresseerd is geraakt en er (als mede ontwikkelaar van Rotterdam Vakmanstad) actief bij betrokken is geraakt. Van het eerste onderzoek naar aanleiding van de veranderingen in en om de Afrikaanderwijk naar de ontwikkeling van een vernieuwende visie op Afrikaandermarkt en realisatie van De Markt van Morgen als levende 1:1 maquette van deze visie.

3.3

Terwijl de globale stadshart het toneel is geworden voor consumptie en presentatie, zijn de achtergebleven wijken over de hele wereld de plekken voor productie gebleven. De verborgen waarde (cultureel, sociaal en economisch) van de informele transacties rondom deze gemeenschappen, alternatieve economieën en cultureel activisme blijft uit het zicht van de bestuurlijke instituten. In deze informele gemeenschappen ontstaat echter een nieuwe vorm van actief burgerschap.

3. Artikelen Conceptuele kaders.

3.1

Jeanne van Heeswijk - ‘Radicalizing the local: inclusive urban strategies’ De ontwikkeling van de stad als een gemeenschappelijk proces. Dit betekend dat de stad altijd kan worden getransformeerd en er vertrouwen moet zijn het potentieel van een aantal modellen en instrumenten die gemeenschappen kunnen laten participeren in de ontwikkeling van de stad. Een aanpak op basis van talenten, kwaliteiten en een gemeenschappelijke betrokken-

heid van bewoners en ondernemers.

Tedy Cruze - ‘Democratizing urbanization and the search for a new civic imagination’

3.4

Mustafa Tazeoglu - ‘Welcome to Marxloh!’ Het artikel begint met een analyse van wat de term ‘Radicalizing the local’ nu eigenlijk inhoudt. Van een passieve naar een actieve houding. Het versterken van de positie van locale bewoners en het nemen van verantwoordelijkheid voor hun eigen belang en het vinden van oplossingen voor sociale problemen. Vanuit dit uitgangspunt beschrijft het aan de hand van voorbeelden hoe in Duisberg-Marxloh (D) nieuw actief burgerschap en een nieuwe identiteit is gecreëerd.

Levien Nordeman en Eva Visser - ‘The limitations and possibilities of co-creation in the public domain of Rotterdam’

regelgeving. Freehouse bracht voor het eerst alle partijen de bij de markt betrokken zijn bijeen voor overleg. Daarnaast is veel regelgeving die indruist tegen het flexibele karakter wat een markt zou moeten hebben.

Een korte sociale en demografische analyse van het gebied en het publieke domein van Rotterdam-Zuid gevolgd door een onderzoek naar hoe Freehouse co-creatie heeft gebruikt als uitgangspunt voor het versterken van de positie van de bewoners en ondernemers van de Afrikaanderwijk. Het versterken van bewust zijn, vergroten van betrokkenheid en manifestatie in het publieke domein.

Sumita Sinha - ‘Participative action in the built environment’ Participerende ontwerp kan worden gezien als een benadering die probeert actief bij iedereen bij het proces dat de ruimte of product voldoet aan zijn behoeften. Deze benadering kan worden gebruikt in software design, stedenbouw, architectuur, landschapsarchitectuur, product design, duurzaamheid, planning of zelfs geneeskunde als een manier om ontwerpen en producten te maken die beter afgestemd zijn op de culturele en praktische behoeften van de eindgebruikers. Een uitleg over hoe deze aanpak in de praktijk toegepast kan worden.

Introductie in de achtergrond en ontwikkeling van het project Freehouse van 1999 tot heden. De stap die mede onder invloed van politieke en sociale ontwikkelingen gemaakt is van ontwikkeling rondom de West Kruiskade (Rotterdam-West) naar toepassing van het model in de Afrikaanderwijk (Rotterdam-Zuid).

2.2

3.5

Wat betekent dit voor het bestaande begrip openbare ruimte en de betrokkenheid van bewoners bij de vorming en vormgeving van de openbare ruimte.

Inleiding thematiek van de reader.

Achtergrond van het project en beschrijving van de ontwikkeling die Freehouse heeft doorgemaakt.

RESEARCH READER 4.2

Over samenwerking en partnerschappen die zijn aangegaan met marktkooplui, ondernemers en locale partijen. Kosmopolis Rotterdam was samenwerkingspartner in De Markt van Morgen en was aansluitend betrokken bij de Wijkkeuken van Zuid en het Wijkatelier op Zuid. Voormalig directeur Liane van der Linden blikt terug.

3.6 SuperUse Studios - ‘Waarde stromen onderzoek’ Superuse Studios heeft voor Freehouse onderzoek gedaan naar de lokaal gegenereerde meerwaarde. Om dit inzichtelijk te maken zijn er twee kenmerkende deelprojecten gekozen met daarbij behorende voorbeeld producten; het Wijkatelier, met een T-shirt ontworpen door Marga Weimans en de Wijkkeuken, met het product Dukkah. Aan de hand van een serie schema’s is inzichtelijk gemaakt welke sociale en economische waarde die deze collectieve werkplaatsen met hun producten opleveren.

4.3

4. Afrikaandermarkt: De Markt van Morgen De Markt van Morgen (2009) was een sleutelproject in de doorontwikkeling van Freehouse. In dit hoofdstuk wordt er dieper op het project ingegaan waarmee het kader wordt uitgelegd van waaruit de vervolgactiviteiten zijn ontstaan en de positie van Freehouse als ontwikkelaar, katalysator en vormgever van beleid bepaald wordt. Nu enkele jaren later kijken directbetrokkenen terug op dit traject en wat het nu voor hen en Freehouse betekent.

4.1

Interview Maartje Berendsen beleidsmedewerker Freehouse De politieke situatie en samenwerking met betrokkenen bij de markt, ontwikkeling van het gebied, ontwikkelaars en handhavers van weten

Interview Eveline Visser - designer, medewerker De Markt van Morgen In de periode van eind 2008 tot juni 2009 heeft Freehouse in de aanloop naar De Markt van Morgen ruim 300 testinterventies gehouden op de Afrikaandermarkt. Hierbij zijn o.a. nieuwe producten en diensten ontwikkeld en getest, waarnodig zijn deze bijgesteld of succesvol vervolgd. De opgedane kennis en ervaring wordt nog steeds door marktverkopers toegepast.

3.7 Johannes van Assem - 'Beeldvorming' Sinds 2010 brengt fotograaf Johannes van Assem voor Freehouse de Afrikaanderwijk in beeld. Zo fotografeerde hij onder meer de markt, de omgeving, de ondernemers en de door Freehouse ontwikkelde Beroepskleding.

Interview Liane van der Linden projectpartner Kosmopolis Rotterdam

4.4

Interview Alexandre van der Moezel Fel Design, Vrindavan, deelnemer marktactiviteiten Alexandre van der Moezel was vanuit Bureau LEF bij als ontwerper bij De Markt van Morgen betrokken. In 2011 heeft hij in samenwerking met Freehouse een Hindi chocoladeletter ontworpen en op de markt gezet. Na een moeizame start waarbij de regelgeving van de markt de grootste drempel bleek het product in winkels juist goed verkoopbaar.

5. Coöperatieve werkateliers Op basis van de kennis en ervaring die Freehouse met De Markt van Morgen heeft opgedaan zijn er verschillende vervolgtrajecten opgezet. Coöperatieve werkplekken waar bewoners hun talent kunnen inzetten en zich verder ontwikkelen op professioneel en sociaal economisch gebied. Van amateur werken zij zich op tot professional op hun eigen vakgebied. De Wijkkeuken en het Wijkatelier zijn inmiddels al zelfstandige ondernemingen geworden.

5-a Wijkatelier op Zuid Naar aanleiding van de succesvolle samenwerking met de ontwerpers Marga Weimans en Cindy van den Bremen heeft Freehouse in 2009 een textielwerkplaats opgezet. Inmiddels werken naaisters uit de wijk er dagelijks aan een breed scala van opdrachten. Van exposities, woontextiel tot modecollecties, zelfs een stuk voor Jean-Paul Gaultier en bedrijfskleding voor het Van Abbe Museum.

5.1

amateurs en professionele koks runnen met elkaar een keuken met wijkrestaurant van waaruit caterings gedaan worden en nieuwe producten en gerechten ontwikkeld worden. De ingrediënten komen zo veel mogelijk van de markt en uit de winkels in de wijk zelf.

5.4

Interview Cindy van den Bremen ontwikkelaar Suit It Yourself Vlak na haar afstuderen in 2001 werd ontwerpster Cindy van den Bremen door Jeanne van Heeswijk benaderd om samen te werken aan Freehouse. Toen het moment gekomen was om van start te gaan bleek de Hindoestaanse kledingwinkel een nieuwe eigenaar te hebben en na de moord op Pim Fortuyn en 9/11 waaide er een andere politieke wind in de stad. Enkele jaren later lukte het in Rotterdam Zuid wel.

ontwerpster Wonderland 2009 Bij het Broekenpaleis aan de Pretorialaan werden herenpantalons in extreem grote maten ingekocht. Daarvan maakte ze jurkjes met oude broekzakken als armgat. Voor de haute couture vond Marga Weimans inspiratie pal voor de deur: het appartementencomplex uit de jaren 50 waar ze vanuit haar atelier op uitkijkt. Een foto ervan printte ze op stof waarvan ze een flatgebouwjurk maakte.

5-b Wijkkeuken van Zuid De Wijkkeuken van Zuid bundelt de culinaire kwaliteiten van de Afrikaanderwijk. Getalenteerde

6-a

6.1 Thuur Caris Onderzoek de Freehouse praktijk Van maart 2012 tot maart 2013 heeft docent en onderzoeker Thuur Caris voor zijn Phd onderzoek aan de Universiteit van Groningen Freehouse gevolgd en uitgebreid geobserveerd. Doormiddel van onafhankelijk onderzoek, observaties en interviews met de organisatieen betrokkenen maakte hij de rol van Freehouse en manier waarop Freehouse functioneert inzichtelijk.

voormalig coördinator de Wijkkeuken van Zuid De gebroeders Harmen en Hendrikus Sliep zijn destijds gevraagd om de Wijkkeuken op te starten en bekendheid te geven. Harmen was als kunstenaar vooral bij de organisatie en presentatie betrokken, zijn broer Hendrikus is een professionele kok en werkte destijds al veel in de Afrikaanderwijk. Met elkaar werkte ze aan een totaalpakket voor de wijk.

5-c

Het Wijkwaardenhuis en het Wijkwarenhuis Het Wijkwaardenhuis (2012-2014) was een platform wat de kracht en noodzaak van locale productie tastbaar maakt. Het toonde het beste wat de Rotterdamse Afrikaanderwijk te bieden heeft, gecombineerd met kwaliteiten van buiten, of andersom. Het was de plek voor nieuwe samenwerkingsvormen en een ontmoetingspunt voor iedereen met interesse in en belang bij lokale kwaliteiten. Vanuit het Wijkwaardenhuis is de basis ontwikkeld voor de Afrikaanderwijk Coöperatie als nieuwe inclusieve wijkonderneming.

5.5 Interview Harmen Sliep -

hoofdcoupeuse Wijkatelier op Zuid

5.3 Interview Marga Weimans -

De doorontwikkeling van Freehouse. Via het Wijkwaardenhuis naar de oprichting van de Afrikaanderwijk Coöperatie.

Interview Debra Solomon multimediakunstenaar, blogger Grondlegger voor de Wijkkeuken van Zuid was het project Luck Mi Fortune Cooking van multi-media kunstenaar en culiblogger Debra Solomon. Een Afrikaanderwijk-voedsellijn, waarbij ze gebruik maakte van fruit- en groenteoverschotten op de markt. Samen met lokale ondernemers resulteerde dit in duurzame producten als siropen, jams, pickels en soepen. In plaats van catering oriënteerde ik me juist op de voedselflows en recycling.

5.2 Interview Farida Moultmar Coupeuse Farida Moultmar komt oorspronkelijk uit Brussel, maar woont nu in Rotterdam Zuid. In het Wijkatelier op Zuid werkt ze met haar collega’s aan collecties van verschillende opdrachtgevers. Ze ziet het als een compliment als pas afgestudeerde ontwerpers terug blijven komen om hun collecties in het atelier te laten naaien, maar ze werkt ondertussen ook aan een eigen collectie.

6. Organisatieontwikkeling

6-b

Afrikaanderwijk Coöperatie In de loop der jaren hebben de activiteiten van Freehouse met succes een ontwikkeling doorgemaakt op het gebied van emancipatie van ruimte en arbeid, waarbij de originele organisatievorm in de praktijk beperkingen bleek op te leveren. De Afrikaanderwijk Coöperatie is vanaf de oprichting afgestemd op het genereren van eigen inkomsten en regelgeving op het gebied van arbeid en het uitkeren van vergoedingen.

FAST Flex Feijenoord Samenvatting resultaten van het testtraject met een milieuvriendelijke elektrische transportservice gekoppeld aan een arbeidsparticipatie traject. Een taxiservice voor bezoekers aan de markt en de naastgelegen winkels. Het project is vervolgd vanuit een andere wijk in RotterdamZuid, daarnaast is er in de wijk een eerste oplaadpunt gekomen voor elektrische voertuigen.

5-d Wijkwinkel van Zuid Over de meerwaarde van de mogelijkheid om als startend ontwerper je producten te kunnen aanbieden. De Wijkwinkel van Zuid is een conceptstore met producten van (jonge) ontwerpers uit Rotterdam-Zuid en omstreken. Van unieke kledingstukken, uit het naastgelegen Wijkatelier, tot mode accessoires. Maar ook keramiek, woonaccessoires en multicultureel fooddesign, boeken en platen.

6.2

Sue Bell Yank - The Birth of a New Organizational Form In januari 2014 nam curator, onderzoeker, publicist Sue Bell Yank deel aan het door Freehouse georganiseerde symposium Radicalizing the Local. Een jaar later kijkt ze terug op het proces wat Freehouse heeft doorlopen van een vanuit de kunst geïnitieerd project

naar een duurzame organisatie, de Afrikaanderwijk Coöperatie.

6.3

Freehouse - Radicalizing Local Production Een overzicht van de door Freehouse ontwikkelde activiteiten van 2008 tot heden waarbij de onderlinge verbindingen, gegenereerde waarde, sociale en economische netwerken en coöperatieve werkplaatsen in kaart worden gebracht. Dit alles gerelateerd aan de wijk, lokale en nationale ontwikkelingen, regelgeving en andere krachten die op de Afrikaanderwijk uitgeoefend worden.

F RE REEHOUSE, EEN MODEL VOOR ONDERNEMERSCHAP De aanvang in Rotterdam-West

De Amerikaans/Canadese publiciste en activiste Jane Jacobs (1916-2004) zegt in haar boek The Death and Life of Great American Cities dat een stad pas creatief en levensvatbaar wordt wanneer het zijn geïmporteerde goederen gaat vervangen door zelfgeproduceerde goederen. Vanuit deze visie hebben Jeanne van Heeswijk en Hervé Paraponaris van 1999 tot 2002 onderzoek gedaan in het Oude Westen van Rotterdam. Op dat moment hét gebied dat in aanmerking zou komen voor Freehouse. Het Oude Westen betreft het hart van de stad, vlakbij het Centraal Station, waarin mensen leven met een grote variëteit aan culturele en etnische achtergronden. Dit heet een ‘niet-stabiele gemeenschap’ wat door The Chicago School ook wel doorgangszone genoemd. Het betreft een gebied in de binnenstad als natuurlijke plaats voor nieuwe immigranten die ‘oude’ immigranten opvolgen. Door de aanhoudende dreiging van het almaar groeiende stadscentrum kan er zich moeilijk een gemeenschapsleven ontwikkelen.

Stadsvernieuwingsplannen gingen uit van een ‘doods’ gebied, waarbij planologen niet de noodzaak en ook niet de mogelijkheden zagen om de gemeenschap bij hun ambitieuze plannen te betrekken. Van Heeswijk koos bewust voor dit wijkdistrict omdat ze het niet eens is met deze stigmatisering. In feite heeft het gebied genoeg mogelijkheden voor mensen met een eigen onderneming, mits ze er bewust van worden gemaakt. Zo vindt er buitengewoon veel culturele productie plaats en heeft het een relaxte en informele sfeer. De prijzen liggen er relatief laag. Een gebied dat zich keer op keer opnieuw uitvindt.

Van Heeswijk en Paraponaris hebben in samenwerking met de plaatselijke ondernemers onderzocht welke kwaliteiten en mogelijkheden het Oude Westen biedt met speciale aandacht voor ambachtelijke productie. Ook is er uitgebreid geïnventariseerd van winkels en ondernemingen in het Oude Westen wat resulteerde in het zogenaamde Monsterboek. Het bevat foto’s van winkels en winkeliers alsook interviews. Er is op basis van deze inventarisatie samenwerking gezocht met onder meer een Indiase boutique. Maar uiteindelijk is het model Freehouse daar niet toegepast om diverse redenen. Zo wilde niemand het model helemaal adopteren, waardoor het bleef steken bij mogelijke

individuele cooperaties. Ook waaide er vanaf september 2001 een andere politiek wind waardoor de toegezegde subsidie uiteindelijk niet verstrekt werd en het een model op papier bleef. Dit verandert als in 2006 het Fonds BKVB de oproep ‘Intendant Culturele Diversiteit’ doet om kunstenaars met nieuwe ideeën op dit vlak de ruimte te geven – samen met architect Dennis Kaspori brengt Van Heeswijk het Freehouse ter tafel, en gesprekken met Kosmoplis Rotterdam en het Pact op Zuid doen hen besluiten naar de Afrikaanderwijk op Zuid te gaan. Ze beginnen contacten op de bouwen en het idee vorm te geven via ‘De Markt van Morgen’, een reeks interventies rondom nieuwe kramen, nieuwe producten, stylingen en productinnovaties samen georganiseerd met kunstenaars, lokale jongeren, ondernemers en marktverkopers. In de daar op volgende jaren worden er met behulp van lokale en externe experts coöperatieve werkplaatsen ontwikkeld. Het Wijkatelier op Zuid en de Wijkkeuken van Zuid zijn inmiddels verzelfstandigd, Fast Flex Feijenoord is door een partnerorganisatie voortgezet en het Wijkwaardenhuis bereide de weg voor de Afikaanderwijk Coöperatie. Het model wordt dus in de volle breedte toegepast en Van Heeswijk blijft daarbij verder zoeken naar mogelijkheden voor innovatie en gedeeld eigenaarschap.

MONSTERBOOK ROTTERDAM WEST - INSIDE

1. FREEHOUSE achtergrond

2. FREEHOUSE model

De Afrikaanderwijk als plek voor uitwisseling culturele waarden 2.1 Interview Jeanne van Heeswijk – beeldend kunstenaar, initiator Freehouse Openbaarheid is cruciaal in de missie van Jeanne van Heeswijk. In de multiculturele Afrikaanderwijk in Rotterdam Zuid speelt het leven zich veelal in het verborgene af, achter gesloten deuren. Jeanne zou graag zien dat de culturele energie zichtbaar wordt. In de suburbs van Amerika worden lege plekken benut om muziek te maken of een winkeltje te starten. Zo zou in de Afrikaanderwijk ook plekken benut kunnen worden. Door een stoel en tafel op de stoep neer te zetten en met de buurman een kop koffie te drinken of een naaiatelier te beginnen in een leegstaand pand bijvoorbeeld. Het is een manier om een stukje van de openbare ruimte toe te eigenen, waardoor de ene bewoner zichtbaar wordt voor de ander en via de ontmoeting met de ander zichtbaar wordt voor zichzelf. “De openbare ruimte is eigendom van ons allemaal. Toch zonderen steeds meer stedelingen zich af omdat ze niets meer over de ruimte te zeggen hebben. Terwijl het juist belangrijk is dat iedereen er deel van uitmaakt om van elkaar te leren en elkaar te versterken. Het is met andere woorden van belang dat ieder weer mede-eigenaar wordt van de openbare ruimte door er zelf een bijdrage aan te leveren.” “Ik zou graag willen zien dat het publieke domein weer zijn balans terugvindt in termen van formeel en informeel met regels die enkel dienen om chaos te vermijden. Uit deze utopie zijn veel vragen voortgekomen. Is het mogelijk om een openbare plek te vormen waar we kunnen discussiëren en elkaar stimuleren om mede-eigenaar te worden van de stad? Kunnen we het spanningsveld waarin we ons bevinden zichtbaar maken en instrumenten ontwikkelen die daarop inspelen? Kunnen we met elkaar een verhaal maken over de stad waarin voor ieder plaats is? En kunnen we instrumenten ontwikkelen die mensen in

staat stellen hun plek in te nemen, te verdiepen, aan te scherpen of te bekritiseren? Uit al deze vragen is onder meer Freehouse voortgekomen.” Met Freehouse legt Jeanne de relatie tussen het aanjagen van creatief cultureel ondernemerschap en het effect op de openbare ruimte. Het is een manier waarop een wijkgemeenschap uiting kan geven aan haar cultuur of aan de scala van culturen die zij herbergt. Freehouse bouwt aan een netwerk waarin de locale ondernemers en winkeliers samenwerken met andere ondernemers uit de wijk. In deze samenwerking worden ook kunstenaars betrokken die hen van inspiratie en nieuwe beelden voorzien. Binnen dit netwerk vindt een voortdurende uitwisseling plaats van kennis, kunde en ideeën. De bedoeling is dat het netwerk een structureel onderdeel wordt van het gebied. Freehouse is een bestaand model dat dienst deed in de Middeleeuwen.‘Buitenstaanders’ die niet over de gangbare middelen beschikten om aan het politieke en sociale leven deel te nemen, kregen uiteenlopende vormen van kennis en kunde aangeboden om zo onderdeel te blijven van de gemeenschap. Revolutie? “Het politieke klimaat is er echter op gericht om zo min mogelijk zelfstandige denkende individuen in de openbaarheid te hebben. Iedere plek wordt gecontroleerd ofwel helder, overzichtelijk, transparant en hufterproof gemaakt. Niets mag aan het toeval worden overgelaten. Het gevolg is dat steeds minder mensen zich comfortabel voelen in het publiek domein. Een plein of marktplaats wordt gebruikt als doorgangszone en niet meer als plek waar met elkaar wordt gediscussieerd. Terwijl een plek als agora, zoals in de Oudheid, nodig is voor democratie.¹ De Nederlandse regering beschouwt een plek waar uitwisseling van ideeën kan plaatsvinden veelal als gevaar. Mensen kunnen samen tot een andere beeldvorming komen die haaks staat op die van haar. En wat dan. Revolutie? De overheid zit niet te wachten op (mondige) burgers en ook niet op een democratie. Het kapitalisme is de enige moraal. We zijn inmiddels al

Burg r erparticipatie rg V gens Jeanne is het van belang dat de openbare Vol ruimte weer een plek wordt die we collectief bewonen. “Steeds meer mensen voelen zich buitengesloten door de globalisering en de snel opeenvolgende veranderingen in de dagelijkse omgeving. Mensen voelen zich steeds minder verantwoordelijk, betrokken en ook niet meer thuis in het publieke domein, terwijl het juist de plek is waar je volwaardig burger kunt zijn. Ik ontwerp voortdurend projecten waarin mensen worden gestimuleerd en uitgedaagd om weer te participeren in deze ruimte”. Jeanne vindt besef van culturele waarden en identiteit noodzakelijk om actief deel te kunnen nemen aan de openbaarheid. Als zelfstandig individu treed je naar buiten en confronteer je de ander – verbaal of non-verbaal. Althans, dat is volgens haar een essentieel kenmerk van openbaarheid: dat je iets van jezelf en je leven loslaat en in dialoog treedt met de ander. Zo ontstaat er een meerwaarde. “Het is daarvoor belangrijk beeld te geven aan wie je bent en hoe je in de situatie staat. Beeldende kunstenaars kunnen daarbij helpen”.

Niet-perfecte beelden “Met Freehouse neem ik ook bewust afstand van de standaard beeldvorming van succes. In de beginjaren heb ik een pilot met Freehouse gedaan in het Oude Westen van Rotterdam, vlakbij het Centraal Station. T Toen wilde de overheid de hele wijk saneren, omdat het er ‘niet uit zou zien’ en ‘waar niets te halen viel’. Er bleek niets van te kloppen. Mensen wisten daar prima te overleven, maar het kwam wellicht niet overeen met ons ‘glamour’ beeld van succes. Het gaat er niet perfect aan toe. Toch T zegt dat niets over wel of niet succesvol zijn. Met Freehouse zet ik daarom ook andere beelden neer. Beelden die niet perfect zijn, maar wél inclusief. Vaak worden beelden opgelegd: ‘Over 10 jaar is de Afrikaandermarkt de populairste markt van Nederland met een groot aanbod aan inheems en uitheemse producten’. Aan de bewoners of marktkooplui is niet gevraagd wat zij voor toekomstbeeld hebben. Het is belangrijk dat zij bij de toekomstige beeldvorming van hun omgeving worden betrokken. Dat ze allereerst leren zelf beeld te geven aan hun omgeving. Hiermee kunnen ze opgelegde beelden confronteren met eigen beelden van hoe hun leefomgeving eruit moet komen te zien. Zo ontstaan inclusieve beelden, waarin bewoners betekenis geven aan hun plek en stad zodat ze er weer deelgenoot van uitmaken. “

Florida versus Jacobs Jeanne startte met Freehouse in 1999 toen Rotterdam op weg was om culturele hoofdstad van Europa te worden. Het was in een tijd waarin veel werd opgehangen aan de theorie van Richard Florida over de creative city: het idee dat cultuur een stad economische impulsen geeft. Van Heeswijk stelde daar de theorie van Jane Jacobs (1961) over culturele kruisbestuiving tegenover. In haar boek The Death and Life of Great American Cities stelt ze dat een stad pas levensvatbaar wordt als het geïmporteerde goederen gaat vervangen door zelfgeproduceerde goederen. “Ik vond destijds Florida’s ideeën moeilijk te verenigen met een stad als Rotterdam. Dit is teveel een werkstad en cultureel divers. Achter de gesloten deuren wordt ongelooflijk veel genaaid, gekookt en gemaakt. Dus waarom zou Rotterdam dingen uit andere steden moeten importeren, creative industries van buiten hiernaar toe halen? Als je Jane Jacobs ideeën serieus neemt, zou je juist moeten zorgen dat er een creative feedback loop in de stad zelf gaat plaatsvinden.”

Afrikaanderwijk Freehouse bleef tot 2006 een project op papier, omdat het politieke klimaat niet meezat. Maar dan wordt Jeanne in het kader van Rotterdam Vakmanstad gevraagd om Freehouse alsnog handen en voeten te geven in de Rotterdamse Afrikaanderwijk; een oude, dichtbebouwde, hoogstedelijke, laagopgeleide, jonge, allochtone wijk met een groot reservoir aan potentiële arbeidskrachten en een zeer authentieke sfeer. In het hart van de wijk bevindt zich de Afrikaandermarkt. T ee maal per week kunnen mensen daar kiezen uit Tw een groot, divers assortiment aan exotische producten voor een lage prijs. Het leven en werk van de bewoners draaide vroeger om de haven. Deze is op een gegeven moment verdwenen, waardoor de wijk decennia lang afhankelijk was van hulp en ondersteuning van buitenaf. Inmiddels zijn de braakliggende haventerreinen vervangen door nieuwe woonwijken voor meer bemiddelde mensen en ook bedrijven vinden er hun intrek. Deze herontwikkeling biedt de Afrikaanderwijk nieuwe kansen.²

zover geïndoctrineerd dat we ook niet meer weten hoe een relatie of samenleven met een ander eruit kan zien. Alleen het nadenken erover is al moeilijk.”

¹ Een agora was in de Griekse Oudheid het centraal openbaar plein waar ideeën en standpunten werden uitgewisseld. Jeanne van Heeswijk spreekt vaak over de agora als plek waar mensen met elkaar in dialoog en de confrontatie aangaan.

Kloppend hart van de wijk “De Afrikaandermar aandermark kt he heeft de po pottentie om een levendige open openb bare plek te zijn waar ideeën en culturele cultu ele waa aarrden uitgewiss seld kunnen worden. Door verrschaling van aanbod, teruglopende verkoop en hele stug tugge, veroude ouderde regelgeving had de markt de functie van een ‘openb ‘openbare’ supermarkt gekregen, waardoor door er nau nauwelijks ruimte was voor informaliteit, laat staan voor de productie van cultuur. Dennis Kaspori, medeontwikkelaar medeon elaar van Freehouse, en ik hebben destijds heel bewu wus st na nagedacht over de mogelijkheden van de markt om het weer een kloppend hart van het gebied te maken. Hoe kan de relatie tussen de markt en de omliggende winkeliers weer worden verstevigd? Hoe kan de markt zich weer onderscheiden van andere markten? Is er in de tijdelijkheid en kleinschaligheid van deze markt niet een slag te maken naar jonge ondernemers? Of om de markt weer een plek voor experiment en cultuurproductie te maken? Een plek – net als de agora uit de oudheid – waar je ook de dialoog of de confrontatie aangaat met het gebied?” Speldenprikken Bij het nadenken over het verbeteren van de markt werkte Freehouse nauw samen met de wooncoöperatie V stia, de gemeente en stadstoezicht. Geen van de Ve betrokken partijen bleek een utopie of beeld te hebben over hoe de markt er straks uit moet komen te zien. T Terwijl iedereen wist dat het niet goed ging met de markt en wenste dat daar verandering in kwam. De grootste bottleneck bleek de overregulering te zijn die elke vorm van spontaan en creatief ondernemerschap doodmepte op de overlevingsconcurrentie na. “Dit is het gevolg van waanzinnige, doorgedreven specialisatie in de samenleving wat zorgt voor pure segregatie. De moderne stad is muurvast gereguleerd met routes, doorzichtlijnen en roestvrij staal. Allemaal om te voorkomen dat er confrontaties ontstaan. Pure crowd control. Terwijl T een publieke ruimte juist bestaat bij de gratie van confrontatie. Dat geldt hier op de markt ook”. “We constateerden dat op de Afrikaandermarkt met haar 314 kramen harde economische belangen speelden. De marktkooplui waren niet erg te bewegen voor ons project. Daarom hebben we een jaar lang iedere woensdag en zaterdag op de markt gestaan samen met verkopers, bewoners en bezoekers. In het begin hebben we vooral gepraat en interviews

gedaan. edaan. We kregen in het vizier waar de problemen, oblemen, mogelijkheden elijkheden en frustraties lagen en zijn na een half jaar begonnen onnen om deze soms ludiek, soms oms con ons structi tructief op een visuele manier uit te beelden. Acties s als een soort speldenprikken, waarmee aarmee we ‘prikten’ op de zere plekken. In totaal hebben we on ong geveer 150 interventies gedaan op beide wekelijkse mar markttda dagen met medewerking van zo’n 100 tot ot 12 20 marktkooplieden. We probeerden iedere keer een eigen kraam te bemachtigen, waarna we met acties een nieuw product aan de man brachten. De acties voerden we uit in samenwerking met de marktverkopers en deze konden variëren van restylen van een marktkraam tot een kraam opnieuw ontwerpen. En dat gebeurde soms op een theatrale manier. Toch T kon de omzet daardoor enorm stijgen, waardoor anderen weer aan het denken werden gezet. Sommige interventies pakte goed uit, andere niet. We beschouwden de acties ook als een soort oefening, zonder al een oplossing klaar te hebben. We probeerden kleine dingen: een lege kraam gebruiken om soep te verkopen van overgebleven voedsel en deze kosteloos uitdelen bijvoorbeeld. Sommige interventies lichtten een probleem of frustratie uit. Soms benaderden we iets met humor om te kijken of er mogelijk aanknopingspunten waren waar mensen zich bij konden aansluiten”. Kunst is belangrijk “De taak van betrokken kunstenaars en vakmensen was om te zorgen voor een nieuwe verbeelding van de werkelijkheid. Dat is iets wat kunst altijd kan doen en ik neem kunstenaars daarin ook heel serieus. Kunst is belangrijk voor onze hedendaagse samenleving. Niet door mensen bij elkaar te brengen, maar omdat het mandaat van kunst de verbeelding van de samenleving is. Ik vind dat een belangrijke kwaliteit van kunst in een tijd waarin mensen niet meer in staat zijn hun directe omgeving te verbeelden. Veel V mensen hebben totaal geen beeld meer waar ze zijn. En als ze dat wel hebben, voelen ze zich helemaal niet betrokken omdat ze voelen dat het niet over hen gaat. Beeldende kunst kan door de isolatie van mensen in de segregatie heen breken omdat ze letterlijk beeld kan geven en daarmee openbaarheid stimuleert”. Betrokkenheid “Na iedere interventie spraken we er met de betrokkenen over. Het was voor ons heel belangrijk om steeds weer mensen uit de buurt erbij te betrekken.

² Crimson Architectural Historians, Sociologica. Een simpele strategie voor vernieuwing van de Afrikaanderwijk. Onderzoek is gedaan in opdracht van Ve V stia en Estedia, december 2007.

Want daar gaat het om: zorgen dat mensen opnieuw betrokken voelen met de openbare ruimte. En dat kan alleen als iedereen mee beweegt. Niet alleen de mensen van de markt of uit de buurt, maar ook de beleidsmakers die de regelgeving kunnen aanpassen. Als de regelgeving straks wordt versoepeld is de markt nog niet de markt van de toekomst. Dan moeten vervolgens de marktmensen zorgen voor een aantrekkelijke kraam en een gezellige sfeer. Het één gaat dus niet zonder het ander”. Na een jaar van onderzoek en acties op de markt werd in het weekeinde van 6 en 7 juni 2009 de Markt van Morgen gepresenteerd in de vorm van een levende maquette: zo zou de ideale markt voor de toekomst eruit kunnen zien. Het gaf een inclusief beeld waarin ieder een stem en plek. Geen instituut De markt was een ideaal vertrekpunt voor Freehouse om verder te bouwen aan haar missie: het creëren van een samenwerkingsverband tussen locale winkeliers, bewoners, marktkooplui, kunstenaars, welzijnwerkers, beleidsmakers om de wijk van binnen uit te ontwikkelen. Uit de interventie Suit It Yourself en Lucky Mi Fortune Cooking zijn respectievelijk de coöperaties Wijkatelier en –winkel en de Wijkkeuken voortgekomen. De locaties bevinden zich op loopafstand van de markt. Bewoners maken hier samen met vormgevers en kunstenaars kleding en voedsel, waarbij ze gebruik maken van locale producten. Het is de bedoeling dat deze coöperaties straks zelfstandig draaien en niet meer leunen op de hulp en begeleiding van Freehouse. Vanaf 2014 wil Jeanne het project overdragen aan de bewoners zelf, want Freehouse moet geen ‘instituut’ worden. Het doel van het project ligt primair bij de plaatselijke bewoners en ondernemers: dat zij weer zeggenschap hebben over hun eigen leefomgeving en hun kwaliteiten ten volle benutten. Wanneer het raamwerk er staat, kunnen ze ook zelf aan de slag. Scherpere vragen “Freehouse loopt nu al meer dan tien jaar. Ik heb geen antwoorden gekregen op de vragen die ik vooraf en gedurende het project heb gesteld. Wel zijn de vragen scherper geworden. Ik heb meer inzicht gekregen waar de pijnpunten, mogelijkheden en onmogelijkheden liggen. Oplossingen komen er niet. Oplossingsgericht denken maakt onderdeel uit van hetzelfde systeem waar ik me juist tegen verzet. Openbaarheid betekent dat zaken voortdurend in beweging zijn en waar je je als individu steeds opnieuw tot verhoudt. Een idee

of probleem oplossen is raar, want dan wil je iets vastleggen. Het leven is een dynamisch proces en het gaat erom dat je nadenkt hoe je met deze dynamiek omgaat. Het steeds opnieuw leren hoe we samen willen leven. Het gaat om een manier van doen, een praktijk en niet iets waar we een oplossing voor moeten verzinnen.” Werk voor iedereen “In de politiek wordt veel gesproken in termen van de armen worden armer en de rijken rijker of de mensen die werken en niet-werken. Arbeid is niet alleen een vorm van productiviteit, maar ook betekenis gevend. Ieder zou recht op arbeid moeten hebben. De vrouwen die in het wijkatelier werken zaten voorheen binnen de vier muren van hun huis en kwamen nauwelijks buiten. Nu zijn ze aan het werk, maken contacten met andere vrouwen uit de buurt, en geven door het naaien en ontwerpen vorm aan hun culturele achtergrond. Dit maakt hen zelfbewust en geeft hen zelfvertrouwen. Farida, de hoofdcoupeuse, organiseerde onlangs een modeshow getiteld Beautiful Kaftan waarmee ze met hun werk naar buiten traden. Dit was een paar jaar geleden nog ondenkbaar. Freehouse is een instrument om deze kwaliteiten naar buiten te klappen: become an actor again in your own surroundings to be able to act out en by that act become citizens. Acties die gericht zijn op performen. Je kunt alleen een plek innemen als je je identiteit presenteert en dat geldt met name in de publieke arena. Ik wil met mijn projecten mensen uitdagen in de openbaarheid weer een plek in te nemen. Dat mensen zichzelf als het ware performen in de stad. Eigenheden mogen weer gezien worden en participatie is een must. Samen een plek opnieuw vormgeven, zoals de markt, een wijkatelier of – keuken. Met Freehouse heb ik ook gemerkt hoe moeilijk dat is.” Beeldvorming “Een markt waar veel buitenlanders zijn, loopt uit de hand, daarom moeten we deze plek extra controleren. Bij deze frase horen beelden bij van wat goed of slecht gedrag is, waar de politiek zich veelvuldig mee bedient. Ze gaat uit van een beeld hoe een (ideale) markt eruit hoort te zien. Deze beelden worden steeds enger, met name door het populisme. Het populisme communiceert met simplistische beelden die mensen stigmatiseert, zoals allochtonen zijn lui en vrouwen met hoofddoeken dom. Ook daarbij wordt uitgegaan van een bepaald beeld hoe de samenleving er uit hoort te zien. Freehouse heeft met de Markt van Morgen kunnen laten zien hoe dynamisch een markt kan zijn als

de regelgeving dat toelaat. De markt als nieuwe agora waar je voor het eerst het andere tegenkomt en dat kan voelen, ruiken, proeven. Onze aanpak vereist dat iedereen een beetje mee moet bewegen, waardoor de ene tegen de ander aanbotst zonder daar iets mee te willen bereiken. Een voortdurend gezamenlijk proces waarin zich zonder ingrijpen spontaan iets vormt. Hoe, wat of waarheen is niet van belang, als ieder maar steeds een klein beetje blijft bewegen. En dat laatste is al veel gevraagd, want de meeste mensen verroeren liever geen vin”. Bewoners weer zeggenschap geven Om een stad of wijk te veranderen moeten haar inwoners weer mede-eigenaar worden. En de wijze waarop zij de stad of wijk wil bezitten kan wel eens haaks staan op de missie en visie van machthebbers. Hierdoor zullen er voortdurend confrontaties plaatsvinden tussen het belang en wens van de ene en die van de ander. Maar dit alles is in het belang van de openbaarheid en het recht van ieder individu op de stad en de dagelijkse omgeving. Ik ben ervan overtuigd dat issues als democratie en de wijze waarop we met elkaar moeten samenleven op locaal niveau uitgezocht dient te worden. Dit door locale krachten in stelling te brengen en het gemeenschappelijke opnieuw grond te geven. Bewoners weer recht en zeggenschap te geven op hun locale omgeving; het onzichtbare weer zichtbaar te laten zijn.

Freehouse wil met passie en enthousiasme de volledige potentie uit een wijk halen 2.2 Interview Dennis Kaspori aspori – architect, medeontwikkelaar Freehouse (2005-2009) Dennis Kaspori, van oorsprong architect, heeft altijd een soort haatliefde verhouding gehad met zijn vakgebied: “Ik heb toch altijd een soort angst gehad dat architectuur teveel in zichzelf gekeerd raakt, dat het alleen nog maar vorm is, terwijl architectuur juist verknoopt moet worden met stedelijke en maatschappelijke processen”. In 2001 besluit hij The Maze Cooperation op te richten om onderzoek te doen naar stedelijke ontwikkelingen en vernieuwingen en de mogelijkheden van ‘Open Source’. (noot: zie tekstvak) V taald naar architectuur en stedenbouw komt dat Ver neer op een grotere samenwerking tussen alle partijen en een grotere inbreng van de bewoner. Deze ideologie sloot aan bij het werk van Jeanne van Heeswijk. Dennis Kaspori: “Toen “T ik Jeanne ontmoette was ze al bezig met Freehouse in het Oude Westen. Het Monsterboek was uit en bij de gemeente lag een voorstel tot aanbeveling. Maar niemand wilde het Freehousemodel adopteren, waardoor het maar niet van de grond kwam. Jammer vond ik dat, want deze aanpak sprak me meteen aan. Een werkwijze die kortgezegd neerkomt op onderzoek doen naar een culturele voedingsbodem om deze vervolgens productief en zichtbaar te maken gekoppeld aan ondernemerschap. De wijk krijgt daardoor een smoel en de economie van de wijk komt ermee op gang. Stedelijke vernieuwing vindt daardoor van binnenuit plaats. Een eye-opener voor die tijd toen wijken volledig plat werden geslagen en vervolgens van onder af aan weer opgebouwd. Enkel met als doel om de middenklasse binnen te halen als ‘medicijn voor de stad’. En de lage klasse dan?” Opstartfase “Henk Oosterling had mij gevraagd mee te werken aan

Rotterdam Vakmanstad”, herinnert Kaspori zich. “Een uitgelezen kans om Freehouse alsnog handen en voeten te geven. Beiden gingen uit van bestaande krachten met als insteek het imago van Rotterdam, de stad met een bovengemiddeld veel lage inkomens- te bevestigen en er ook wat mee te doen. Freehouse kreeg een jaar de tijd om met locale ondernemers, marktkooplieden en overigen tot een concept te komen.” Afrikaandermarkt In de opstartfase zijn Kaspori en Van Heeswijk samen met woningcorporatie Ve V stia begonnen met Freewheelers. Jonge ondernemers huurden een kamer in het voormalige pand van de Raad van Arbeid in Rotterdam-Noord en werkten in het project aan alles wat T gelijkertijd wielen had, van raceauto’s tot skateboards. Te kwamen ze in contact met Kosmopolis Rotterdam. Tijdens deze gesprekken kwam de Afrikaanderwijk in beeld. Ve V stia wilde graag dat Freehouse iets met de Afrikaandermarkt ging doen en Kosmopolis haakte hierbij aan. ¹ Ve V stia zag de Afrikaandermarkt als het publieke hart van de deelgemeente en vond het daarom interessant voor vernieuwing van binnenuit waarbij de omliggende straten meegenomen zouden worden. “De Afrikaandermarkt was hard toe aan een nieuwe impuls”, vervolgt Kaspori. “Van oorsprong was het echt een publiekstrekker, een befaamde markt met een reikwijdte tot Friesland. Maar dat was al een tijd niet meer. Het publiek beperkte zich tot de wijk: mensen met weinig geld. Met de goedkope supermarkt Lidl als concurrent, want die heeft vaak zeer laag geprijsde groenten en fruit. Jeanne en ik kwamen met het voorstel: Zorg voor een divers aanbod en pak verandering rigoureus aan. Benut hiervoor krachten uit de wijk en zorg voor een nieuwere en betere presentatie van de markt(kramen).” Gedurende een jaar (2008-2009) vinden er diverse interventies rondom de Afrikaandermarkt plaats in het kader van de Markt van Morgen. Interventies die erop

¹ Kosmopolis heeft in Freehouse geïnvesteerd tot en met de Markt van Morgen. Daarbij ook tijdelijk geïnvesteerd in het Wijkatelier op Zuid en de Wijkkeuken van Zuid.

gericht warren de mar markt de allu allurre te geven zoals vroeger: een markt van bete ekenis waar men menssen van ver óók naartoe willen komen. Te Tegelijk mo moest het ook betekenis hebben voor oor de wijk en zijn bewoners. Kunstenaars, ontwerpe erpers en designe signerrs werden ingeschakeld om samen met locale onderneme ondernemers en marktkoopmannen tot ot nieu nieuwe produc oductten te komen. Geslaagde interventies zijn tijdens de Markt van Morgen (7 en 8 juni 2009) gep eprresen enteerd d in de vorm van een levende maquette. V roude Ve ouderde regelgeving “De interventi enties zorgden dat locale bewoners, kooplui en anderen direct bij het project werden betrokken, waardoor het model een praktische invulling kreeg. We hoefden het niet eerst uit te leggen. Wel bleek algauw dat de markt een lastige plek is om zaken gedaan te krijgen door verouderde regelgeving, het meeloopsysteem, de negatieve sfeer en de conservatieve houding van veel marktkooplui. Het marktwezen is vrij gedateerd. We moesten steeds zoeken naar de openingen. Welke vrije ruimtes bevinden zich tussen de bestaande regelgeving?”

naar de toilet. Stadstoezichthouders deelden gewoon boetes uit. Aan hun vrouw bijvoorbeeld, die heel even de boel in de gaten hield”. Freehouse moest alle partijen samenbinden en stimuleren tot een open gesprek. V gens Dennis een lastige positie. “We moesten ervoor Vol waken aan geen van de partijen concessies te doen”. “Freehouse gaat uit van een collectieve manier van werken met locale bewoners en mensen van buitenaf. In de wijk zit veel kennis die onbenut blijft. Freehouse gaat daarom met een open blik de wijk in en in gesprek met mensen om de kennis boven water te krijgen en deze te gebruiken voor de ontwikkeling van het gebied. V bewoners zijn zich bewust van de kennis die ze Veel in huis hebben, maar weten niet hoe ze dit aan de buitenwereld kunnen tonen. Freehouse helpt ze daarbij door ondersteunende communicatiemiddelen en inzet van ontwerpers en kunstenaars”. “Na de presentatiedagen lag ons plan in handen van de politiek. De Markt van Morgen had laten zien hoe je een markt aantrekkelijker maakt voor alle betrokkenen. Aan de basis hiervan lag onderzoek. Het was dus geen natte vingerwerk. Nu moest er nog ruimte komen in de regelgeving om ons voorstel uit te kunnen voeren in iets blijvends. Ik heb de beleidswijzigingen in ieder geval niet meer meegemaakt. In juni 2009 ben ik bij Freehouse weggegaan. Toen T stond er een gesprek met de wethouder op de agenda die daarvoor de doorslag zou geven”.

De markt werkt met meelopers. Vrijgekomen plaatsen worden eenmaal per jaar toegewezen aan ondernemers. Vaste plaatshouders krijgen voorrang bij het kiezen van een nieuwe plaats. Overige plaatsen die beschikbaar zijn, worden toegewezen aan de meelopers die zich ’s ochtends bij de marktmeester hebben gemeld. “Het meeloopsysteem is voor velen een bottleneck, ook voor ons. We moesten er rekening mee houden dat iemand erg ‘standvastig’ is. Het is niet vanzelfsprekend dat je als meeloper een plaats op de markt krijgt. We wilden bijvoorbeeld een eetplein maken en daarvoor zouden wat kramen verschoven moeten worden. Dat konden we dus wel op onze buik schrijven. Niemand wilde meewerken”.

“Terugkij T Terugkij kend op Freehousse denk ik aan de enorme energie die in Markt van Morgen is gesstoken, en, en met name in het voort oortrraject. Dat was ook tijdens de presentatiedagen en heel voel oelb baa aar. Iedereen een was betrokken, geïnformee ormeerrd en op scher cherp p. Daarna kal alffde het voor mij af. De jon jong geren van toen zijn er niet meer of zitten in een ande andere e leven ensfase.. Dat is jamme jammer.”

Samenwerking “Het experimenteren met de Markt van Morgen ofwel de interventieperiode, was voor ons heel belangrijk. Je leert samen te werken met marktkooplieden, deelnemers, deelgemeente, Ontwikkelingsbedrijf Rotterdam (OBR) en stadstoezicht. OBR en stadstoezicht waren onlangs van elkaar gescheiden, wat de samenwerking onderling bemoeilijkte. Stadstoezicht voerde nu alleen nog regeltjes uit en deden dit heel letterlijk. Er werd niet gepraat met mensen. Zo mag alleen de vergunninghouder de kraam bewaken en ook niet onbewaakt achterlaten. Maar ja, soms moet je even

Freehouse e is onderzoek onde oek en deb debat in één “Ik geloof in het model als alternati ernatie ernati ef op het universele model. Freehou eehousse is onde onderrzoek en debat in één. Dat spreekt me erg aan. Het model van Freehouse biedt zoveel openheid dat het zich kan vormen naar alle omstandigheden. Men Mensen moeten overtuigd worden van het model en het niet letterlijk willen kopiëren. De mensen die ermee werken moeten het model ‘kneden’. Het werkt met ontwikkelingsprocessen die niet passen in een doorsnee economisch model. Het werkt namelijk vanuit de gedachte dat je met een bepaalde hoeveelheid geld, en (heel) veel passie en enthousiasme het

DRAWING - AREA CITY-SITUATION DRAWING

maximale aan kracht haalt uit een wijk. Het is lastig om te meten wat daaruit voortvloeit en of het iets oplevert. Dat is denk ik ook de bottleneck van dit project. Hoe leg je het verhaal aan marktkooplieden uit. Hoe maak je het concreet en overtuigend. Het model vraagt namelijk aan de buitenwereld om uitleg. En het moet ook duidelijk zijn dat het om een doortimmert idee gaat en niet een één of ander leuk ideetje”.

3. ARTIKELEN Radicalizing the local: Inclusive Urban Strategies 3.1

Jeanne van Heeswijk – visual artist, initiator Freehouse

“Inclusive urbanism mobilizes the physical and sociocultural capital that is available in a neighborhood. Here, public domain can provide a platform for exchange, participation and communication: spaces in which local entrepreneurs, young people and artists can come together to exchange knowledge and experiences. This exchange can lead to a form of cultural production that can reinforce the economic position of those involved and makes visible existing social relations as a basis for development.” ¹ Jeanne van Heeswijk in conversation with Master Class participants The development of a city is a collective process. In that regard, the city can always be transformed, and there is great faith in the potential for developing models and instruments that enable these communities to participate in building the city. But a city is not only a collection of buildings and streets. It consists of energies, oscillations and atmospheres that constitute the daily life of an area. If the urban structure is the skeleton of the city, these every day activities and experiences can be considered its tissue, containing emotions, feelings, stories and relations.² The question is whether we are capable of creating a place, which we call the public domain, in which, in discussion with one another, we can face up to the confrontation and in which we can address one another as co-producers of the city. Can we make this arena of tension visible and develop instruments that make it possible to intervene in that area?

Can we collectively develop a narrative about the city in which everyone has a place? And can we then develop the instruments that enable people to genuinely fill in this place and deepen, sharpen or question the narrative? According to Richard Florida is creativity in the world of work not limited to members of the Creative Class: ‘I strongly believe that the key to improving the lot of underpaid, underemployed and disadvantaged people lies not in social welfare programs or low-end make-work jobs (…) but rather in tapping the creativity of these people’. ³ The public domain is primarily a cultural perception. We must no longer consider the public domain the result of purely economic and legal considerations, but rather begin to see it and use it as the performative basis of a city under development. Inclusive urban design does not mean importing capacities from the outside. It should, first and foremost, mobilize the physical and sociocultural capital that is available in the existing residential area. The public domain provides a platform for exchanges, for participation and communication. In the process it underpins a broadly supported and integral idea about living together in the community. Freehouse, a model for radicalizing local production In concrete terms, Freehouse is striving to set up spaces in which local shopkeepers, young people and artists can come together to exchange knowledge, experiences and ideas. This exchange will lead to a form of cultural production that can reinforce the economic position of those involved, and make visible the cultural processes of conceptualization and realization, thereby stimulating cultural self-awareness.An existing model is used as a starting point. These are a medieval and Baroque

¹ Derived from text in Radicalizing the Local, brochure accompanying a workshop of Teddy T Cruz, Miguel Robles-Duran and Jeanne van Heeswijk with Berlage students in the Afrikaanderwijk, 2009. ² Freehouse relates to planning as concrete utopian thought and practice (Bloch) relates to planning: Ernst Bloch, quoting his student Burghardt Schmidt, in Experimentum Mundi – Frage, Kategorien des Herausbringens, Praxis, (1975) p. 126 ³ Richard Florida, The Rise of the Creative Class (2002) p. 10. First published in Open 15, Social Enginering, Marketplaces for Cultural collaboration, Jeanne van Heeswijk and Dennis Kaspori.

model called Free House of Freihaus which created free places for outsiders, where they could settle under favorable conditions in acknowledgement of their positive contribution to the public space and the culture in general. The Freehouse accommodates a group of ‘outsiders’ who do not possess the usual social, cultural and economic infrastructure to participate in political and social life but are active within more alternative and informal forms of the economy. Freehouse attempts to provide impetus to thinking about a more inclusive and intrinsic development of the city of Rotterdam. At present it is working in RotterdamZuid’s Afrikaanderwijk (Afrikaander district), one of the first districts in the Netherlands where the majority of the population is of foreign origin. It has always been an area where migrant dock workers settled. In the 1970’s the inter-ethnic tensions in this former working class area had already risen to the point of race riots. In the 1990’s the Rotterdam City Council started developing the new city, Southbank, in the former port area on the south bank of the Maas, in order to extend the city center (Kop van Zuid) and create housing areas for the creative class (Katendrecht) and the middle class (Parkstad).While one architectural feature after another was erected, the economic activities in the adjacent Afrikaander district were dying. In order for the Afrikaander district not to fall victim to the expansion of the creative city, but instead to enable it to thrive from it, Freehouse assisted in setting up small-scale projects to regenerate the Afrikaander district, and its market from within. Freehouse sought to assist the community in efforts to retain its intimate local character and cultural diversity. In order to improve products, services, market interactions and social integration, Freehouse first mapped and then teamed up local shopkeepers, residents, market vendors, cultural producers, social welfare organizations, policy makers and implementers in an array of cultural economical co-productions. The concerns, needs and ideas of the stakeholders and their various forms of capital (economic, social and cultural) are showcased in a series of small interventions. Vacant stores in the Afrikaander district play host to these various activities which are organized to strengthen the cultural production in the district as a whole. Thus Freehouse, in collaboration with residents, artists and (fashion)designers, created a neighborhood workshop for making and designing clothes, a communal kitchen area for the production of

food and a neighborhood shop selling local products and offering a small-scale delivery service. The principle underlying these projects is that these local coops are able to independently continue to develop and provide ‘livelihood’ to the community. At present Freehouse is offering 40 jobs and various internships to the community and this breathes new life into the shops around the Afrikaander square. Another crucial element in the district is the Afrikaander Market where twice a week 300 or so stalls offer the most exotic range of products to be found in Rotterdam. The market has been in decline for several years; turnover is falling, product-range is decreasing and market traders are increasingly staying away. Freehouse’s “Tomor “T row Market” encourages market vendors at the Afrikaander square to differentiate their merchandise. Not by dime-a-dozen products to sell, but by using the community’s culturally diverse and informal potential. The market was until recently, monotonous and buried under a jungle of rules. With over three hundred acts of ‘civil disobedience’ organized, ranging from handing out soup using leftover vegetables, to decorating the stalls of customizing clothing on the street, Freehouse tried to create an insight into the dense web of regulations applied to the market, and show the way they control and stifle the area. For instance it is not possible to combine products and services in the same stall, meaning that production processes important for the district, such as a sewing and repair service at a clothes stall, or the preparation and consumption of food on location in a food court with a terrace, are forbidden in the market. T assist local residents and shopkeepers in an effort to To retain the right to develop their daily environment and their own aspirations and capacities, Freehouse worked with the community to advocate for a radical review of the policy and regulations that apply to the market and local shops in Rotterdam. Tacti T cs included actions against the existing rules, and development of clear communication tools to represent the needs of the local people.

Participative action in the Built environment 3.2

Sumita Sinha – B Arch(hons), ch(hon M Phil, RIBA, SEED DA

Participatory design can be viewed as an approach that attempts to actively involve everyone in the process to ensure that the space or product designed meets his or her needs. This approach can be used in software design, urban design, architecture, landscape architecture, product design, sustainability, planning or even medicine as a way of producing designs or products that are more responsive and appropriate to their users’ cultural and practical needs. Participation encourages a collaborative process that can be more complex and slow but enriches the end product, which has more significance to the users. In his essay, ‘The architecture of complexity’, Lucien Kroll, one of the earliest proponents of participatory design says in this provocative statement- “Diversity encourages creativity, while repetition anaesthetizes it. Often architecture is too homogenous, sometimes because of a self-centred desire to see buildings apart from their context, sometimes because of an exaggerated aesthetic commitment, which tends to a precious ‘architects’ architecture’. But whatever the cause, such homogeneity makes it difficult for the users to add anything of their own, and we lose that rich source of popular creativity, which can transform a space into a place and give it life. If we were able to obtain the space and the means to allow the inhabitants to organize their own buildings, they would by their own efforts generate both the diversity and the close relations to the fabric which is lacking.” Although the concept of participatory design has been there since 1970’s, it is not yet accepted as a ‘mainstream’ design methodology. Participatory design is not yet taught at most Schools of Architecture. A student who attended the participatory design workshop organized by me at London Metropolitan University, commented- ‘I think it [the workshop] was very effective, I’ve been involved engagement session through work but I’ve never seen it taught at university.’

Another student, though having had some experience, also echoed this view- “I learnt the importance to gaining the views of as many stakeholder and not being too influenced by the first one you speak too. I also gained more confidence to do participation in the future, even having done it before”. However, now with more public say in how resources are used, corporate responsibilities, ethical concerns, scarce resources and environmental issues coming to the forefront, participatory design is seen as the way forward. Adapt and Relate: Chaos and Complexity Slums, informal settlements and other areas of scarce resources are complex urban forms because of their social, economic, cultural and temporal layers. These spaces fit in the ‘theory of chaos and complexity’ in many aspects. Complex systems in chaos are constantly adapting to their changing situation and environment. Complex systems are highly related to each other- the interconnection to everything like the weft and weave of a cloth. In a complex system, all parts have to work together, there is no centralized control. Informal settlements also work similarly. “The conventional system of cities as ‘architecture-writ-large’ cannot be easily related to the theory of cities as a social, cultural, economic and institutional systems” according to Ziauddin Sardar (Introducing Chaos: a graphic guide, 2008, Icon books). Chaos is self-organizing. Chaos brings in a new perspective to our understanding of cities, peri-urban spaces and slums as urban spaces. It has been shown that factors that control the evolution of the city are self-organizing systems and are such are themselves uncontrollable. Informal settlements are chaotic¹, kinesthetic places- full of movement and tightness without planned and neatly delineated areas. The visual chaos that is presented by the informal city can become a real barrier to understanding the spaces and how they work. As Sabine Bitter and Helmut Weber write about the barrios of Caracas- ‘The photographs of the barrio are deeply embedded into a normative view of them as organic, chaotic and precarious territory which is either heroic in its insistence of the everyday and the informal, or dangerous in its darkness and otherness. Literal shifts in perspective-either sprawling aerial views

¹ It is interesting to read the chapter “Finding your way in To T wns’ in Harold Gatty’s classic book, ‘Finding your way without Map or Compass’, Dover publications, 1958. All notions of using his methods in a squatter settlement would have to be abandoned.

or on-the-ground portraiture of people who live in the barrios- can be used to reinforce this polarity.’² Michael Batty, Professor of Spatial analysis and Urban Planning at Centre for Advanced Spatial Analysis is a (CASA) an initiative within University College London, says that from this perspective follows a new type of action in the city, a new way of urban planning, which aims not to control, but to participate.”

The ‘post normal scientist’ has much in common with the development practitioner working in the field of rapid change and scarce resources. By the development practitioner we mean anyone- architect, designer, engineer, facilitator- who is working at the extremes of development. This kind of development can be seen not only in the so- called ‘developing countries’ but also in the rich countries. Environmental issues, the lack of resources whether natural, man made or even time, and the rapid scale of change have had an effect in every country regardless of its economic standing. The development practitioner as well as the post normal scientist stands at this complex and chaotic world, trying to make meaning of it and propose solutions. There are problems to engagement- the development practitioner might to want to engage in more participation and engagement with the ‘client’ but the client may not be inclined to. As Hasan Fathy observes“The Gournis could scarcely discuss the building with us. They were not able put into words even their material requirements in housing; so they were quite incapable of talking about style or the beauty of the house”.³

If we can imagine a series of concentric circles denoting the ways of working in design, at the centre is the traditional ‘applied science’ or the work of the typical architect or engineer. This kind of practitioner is a desk architect, perhaps with a few select clients who know what they want. Their clients have money, ideas and power. In the next outer circle we come to development practitioners who are working in areas such as infrastructure or social housing. They have clients who they interact via various agents such as housing associations and local bodies. There is some consultation and participation but the whole process of design is managed in a tight sequence. But further out towards the edge of this circle is the realm of chaos

and complexity- the area of rapid change and scarce resources. This is the area of ‘fuzzy logic’, of ‘soft information and data, of informal settlements, new types of urban morphologies, of sustainable development, culture, etc. In parallel with post normal science, this is the area where “facts are uncertain, values in dispute, stakes high and decisions urgent”. Increasingly in a world dominated by chaos, we are far removed from the securities of traditional practice.

In this part, the extended peer community consists of the housewife, the slum dweller, the community groups, the stakeholders, the advocacy or human rights lawyer, etc. These people bring extended facts including their own personal experience, surveys and scientific information that otherwise might not have been in the public domain. According to Silvio Fontowicz and Jerry Ravetz, the proponents of the ‘post normal science, in this area are the professional consultants who specialize in uncertainties and value choices in their work. For them, each case is unique. In many important cases we do not know and we cannot know, what will happen, or whether our system is safe. We confront issues where facts are uncertain, values in dispute, stakes high and decisions urgent. As Fontowicz and Ravetz say- “The only way forward is to recognize that this is where we are at….the style of discourse can no longer be demonstration, as from empirical data to conclusions. Rather it must be dialogue, recognizing uncertainty, value commitments and a plurality of legitimate perspectives”. Like in post normal science, the work of the development practitioner accepts the legitimacy of different perspectives and value commitments from all those stakeholders around the table.

Recipe for Participative action in the Built environment Many people fear participative design, believing that it is another way of ‘designing by committee’ therefore time consuming and sometimes inconclusive. In order to appease people, however, for this reason, consultation or even provision of information are classified as consultation. True T participation is about equal participation and trust- the stakeholders need to feel in control of their environment and how they design and build it. According to Nabeel Hamdi, participative

² Caracas, Hecho en Ven V ezuela, Charles H Scott Gallery and Revolver Press, 2005. ³ Architecture for the Poor- Hassan Fathy, The University of Chicago Press, 1973.

design is not about abrogating responsibility, but instead “taking responsibility with authority” . Community architecture IS participative design according to Peter Blundell Jones . And Jeremy Till is even more conclusive- he defines the architect as the “possessor of knowledge” and therefore able to facilitate the process of design . Thus, participation is about the following issues that are linked to each other• Responsibility: Each stakeholder takes responsibility for his or her actions and in the process. • Authority: Someone has to take a facilitative action to make sure everyone is engaged- this is usually the architect, designer, engineer or the community representative- otherwise called the development practitioner. • Sustainability- the solution proposed has to sustainable- environmental, social and cultural, i.e. long term. • Accountability- Along with responsibility and sustainability (long term vision) comes accountability. That stakeholders are accountable for the project makes them aware of long-term implications, unlike buildings designed by someone who does not live there or has no engagement with the community. • Contextuality- We must not forget that communities and people are based in a place, which has specific characteristics. The context again gives rise to a sense of responsibility, accountability and sustainability. Essential Ingredients: 5 P’s of participatory design 1. People: What do people want? People are the most important part of the process and what they want is the key issue for the participative action. Participative action is not top down and not about coming in with solutions and ideas- these are to be generated within the community. As Nabeel Hamdi says- “Do not bring issues that do not engage the people” . As an example, we can look at the origins of Tarun T Bharat Sangh, an NGO devoted to rainwater harvesting in Rajasthan, Western India. In the early eighties, four youths including Rajendra Singh (present chairman) inspired by Gandhian model of ruraldevelopment, went to live in a village of Alwar district

of Rajasthan. They started a school for children but three of them left due to the unenthusiastic reception by the villagers. Singh was not willing to give up but he could not understand why the villagers did not take to education. His frustration ended when a village elder told him, “You “Y have not understood what is needed here. We want WATER A ATER first!” So he started the construction of the traditional rainwater harvesting system, the Johad. He says- “Once the first small Johad (traditional rain water harvesting structure) was ready, the villagers saw water and below it the ecology changed in the very next monsoon. For Tarun T Bharat Sangh, it became an approach of rural-development through restoring the ecology for better food production, vegetation rejuvenation and river restoration.” 2. Place: The local environment: context, climate and culture The place or the context of the project brings unique characteristics to the final design. The micro-climate, the natural environment, culture and site shape the people and the project- again an outsider would not understand the subtle nuances unless they are actively engaged and present. Design by fax and computer do not work here. The Indian architects, Revathi and Vasant Kamath describing the city of Jaisalmer in India, put the aspect of place succinctly- “The architecture and the urban form of Jaisalmer are not the product of a selfconscious process of design, nor are they of theological origin; they are the physical expression of forces that affect the daily lives of the people, representative of their self-image, wealth and aspirations. Assimilation of the forces of social patterning, historical consciousness, political and cultural influences, religious habits and ritual, symbolic associations, topography, geography, climate, the restricted availability of materials, behavioral patterns, functions and most of all the institutionalized craftsmanship have led to the richness, variety and vitally human qualities of the built environment.”

3. Project: how does the project engage and benefit the people? The project must not only engage people in the participative design but also in the benefits associated with it. The wind farms in Jaisalmer, India present an example of how when projects, even when considered

Participatory design workshop, London Metropolitan University, October 2010. Heeswijk with Berlage. First published in Open 15,

‘sustainable’ do not represent the aspiration of the people. A wind farm, commissioned with European Union financing scheme, was constructed outside the city in early 2006. From a survey conducted by an Indian magazine, Geography and You, Y however, it has become clear that the wind farms have not solved the lack of electric power, let alone other issues.

close to Palestinian villages, are giving rise to serious health and environmental issues. I visited the village of Jaba, which is ironically a conservation project using the same stone. The chief explained to us that both Palestinian and Israeli businesses make a profit out of the stone and both Palestinian and Israeli authorities are turning a blind eye to problems faced by the villagers.

The electricity generated in the wind farms is fed directly into the grid and the local residents do not benefit from the arrangement. The most pressing issue for the villagers, however, was they felt completely left out of the process of design and implementation of the project. The contracted labour as well the personnel were sourced from outside the region, although from time to time part time jobs are available at the wind farm. Charges of nepotism were also leveled against the companies- according to the villagers, the job that is most frequently advertised locally is that of a watchman or guard. Techni T cal jobs prospects are few and often offered to people from outside the region. The issue of water management and supply remains a major concern for the villagers- they feel unhappy that this primary need was not given any concern by the wind power companies. The existence of wind farm for the last seven years has hardly had any impact on the availability and access to these basic facilities by the people that live under their shadow. As an unhappy footnote for these people, the wind farm has been put on sale since October 2009.

5. Practitioner: the leader and facilitator Often participation fails due to ironically equal importance being given to all. While this may sound undemocratic but in my experience not all participants come with equal interest and fairness in the process of participation. Further, ‘Design by committee’ does not work anywhere. Giving each and every suggestion also does not work- value and priority has to be assigned to each and some may have to be discarded. Not every one is going to be happy with this. However the best ideas have to be used, this is not a compromise. The development practitioner, whether that is an architect, engineer or group leader has to take a leading role in drawing out the best from everyone involved in the process. This is a highly skilled process, involving dialogue, discretion and discrimination.

4. Politics and power Politics and power play present the most important case why sometimes despite public participation, projects do not succeed. In my personal example, an award-winning project in West Bengal, remains unbuilt due to the power play between the local government and the central government, which belong to different political parties. Palestine and Israel present an example where the political conflicts are affecting ordinary people and sustainable projects. During my recent visit to Palestine and Israel, not only did I learn more about the issues of water and electricity management but also of the issue of stone quarries. One of the main exports of Palestine is the stone, which used not only in Israel but other countries including the UK. However, indiscriminate stone quarrying, disregard of health and safety, environmental concerns and location of these quarries

The role of the development practitioner is to arrive at a solution, using the skills of the every participant within a given constraint of time and finances. I realized how crucial skill this was when working with a community group in the UK. This community who lived a ‘self sufficient’ life-style, wanted a wood chip boiler and asked me to help. I devised a programme where my students would take part in a competition to design a wood chip boiler room and the client community would help in a participatory process to select the best design. Due to many reasons including the presence of one strong personality, the best design did not get selected. The one that was the cheapest to build did and has now been constructed. The person chairing this committee resigned and all in all, this was a disaster, and I learnt the lesson that the development practitioner must also retain the lead with authority from start to finish. Finally the (natural) flavourings, no artificial ingredients Dialogue Dialogue is a necessary element of participation. All people must be given the chance to speak, although all

Jones et al, Architecture and Participation, Routledge, London, 2005 Till, Jeremy (ibid) Ibid Edited Raj Rewal, Jean-Louis Ve V ret and Ram Sharma, Architecure in India, Electra France, 1985.

Architecture for the Poor- Hassan Fathy, The University of Chicago Press, 1973.

Participatory design workshop, London Metropolitan University, October 2010. Heeswijk with Berlage. First published in Open 15,

Jones et al, Architecture and Participation, Routledge, London, 2005 Till, Jeremy (ibid) Ibid Edited Raj Rewal, Jean-Louis Ve V ret and Ram Sharma, Architecure in India, Electra France, 1985.

Architecture for the Poor- Hassan Fathy, The University of Chicago Press, 1973.

suggestions cannot be used as explained earlier. The reasons for accepting or rejecting a suggestion in the participatory process must be explained at some point, otherwise people feel disheartened and disengaged from the process of participation. In my experience, conducting meaningful dialogue with a purpose and responsibility is a skill that the development practitioner must have. In some communities, due to religious and social reasons, it can be difficult to engage all members of the community. These include women, children, and the community elders and in some countries- the socially excluded class such as tribal or aborigines or the lower castes (as in India). As mentioned earlier, trust between parties is an essential part of this dialogue. The facilitator must always be on the lookout for people who are not engaging and try their best to draw them in. Often the body language of someone betrays a lack of trust or engagement in the process. It is the work of the development practitioner to draw such people in. Often I have observed that the person leading the discussion becomes so engrossed in the process that sometimes they do not notice what is going on with other members of the group. A skilled facilitator draws back and lets the dialogue happen naturally, with the mildest of prompting. Dialogue is important not only through the process but also at the end. Some issues come out at the end and especially as the facilitator may not always be resident in the community, it is important that there is a closure and that feelings are discussed. In the work with a community in San Agustin, Caracas, Ven V ezuela, a skilled facilitator as well as a team of psychologists were used for a sensitive project. Sitting at one of the discussions later on, I observed how the members of the community group were able to talk about issues that made them angry and the air was cleared. Ethics Dealing with people who have no perceived power can make a development practitioner feel powerful. However the point of participation is empowerment of the people. An ethical and equal exchange can take place when both sides feel empowered. Being honest, explaining purpose of the participative process to every one and letting them know the results of the process- all are part of participation. The issue of ethics in such field research has become very important, given how such data has been

misused or used insensitively. For those working with children and other vulnerable groups of people, this is particularly important. Whether it is photography, interviews, or other indirect forms- understanding the purpose of the work carried out, the effect of the work on the ‘observed’ and their permission to record them and use the data for further work is very important. The case of the missionaries who were arrested in the attempt to take orphans from the earthquake hit Haiti in February 2010 to the USA; show how an apparent act of altruism can be misguided and unethical. People working with children in the UK are required to have a ‘Criminal Records Bureau’ (CRB) certificates. Other countries have similar procedures. The development practitioner needs to be aware of proper procedures to carry out such investigative work in different countries.

in international negotiations. However, more than that, these are basic and common sense pointers that can be used by anyone. The last point is derived from the theory of ‘value creation’ proposed by the 20th century Buddhist philosopher, Tsun T esaburo Makiguchi, who substituted truth with ‘benefit’ as a value. Although not appreciated in his lifetime, this has become very important and commonplace in marketing today. I use the word ‘value’ to denote the aspects of beauty, good and gain together as an aim for negotiation in the participatory process. These tools (of Negotiation) are-

Participation: the way forward Participatory process has come a long way from its origins in the seventies in Scandinavia. Needless to say, participation has existed in all forms of design in one way or the other in the architect-client interaction. However, when it comes to designing for vulnerable communities in areas of complexity and chaos, it takes on a greater significance. There are problems too. The concept of ‘pseudo participation’ where the architect takes on the role of a facilitator to ingratiate themselves with the community and then apply their design regardless of the community feelings is common. I remember listening to a well-known British architect who told me that he always drinks with the locals in the pub and then it becomes easier to persuade them to use his designs. I have seen such tactics used by others in their overseas work where in the guise of ‘cultural interaction’, designs or concepts are thrust upon an unsuspecting community. There are other motives too- such as the UK practice that carries out pro-bono work overseas in the hope that such actions will generate fee-paying work. Also, in overseas work, there is also the issue of corruption that inevitably arises. Often the development practitioner may not be able to stay on for the whole of designing and building process, leaving the rest to the community. How the money is used and whether the building is carried out in a satisfactory manner are thorny issues.

Besides these basic tools, participatory design activities range from interviews, debates and discussions to more ‘fun’ activities such as “Planning for real®’ where models are used to encourage people to think about solutions and ‘planning games’ derived from monopoly board games, derivations of flash cards to trigger ideas, post-it notes etc. In my work, I have often used a range of activities depending upon the situation and people involved. In one project based in Birmingham, UK where there were many Muslim women who did not like ‘door knocking’ interviews. During the participatory days, we found that more men and usually the same men were turning up and dominating the discussion. So instead we approached the women after they had dropped off their children at the local school and also put up a fun stall with models of the area at the local community fair where families could come with their ideas and questions. Holding children’s drawing competition or a drawing workshop were ideas I have used. In Caracas, V ezuela, our initial approach to the community was Ven to begin by having the children come to a drawing workshop and we took ideas from what the children produced.

I propose a way of working with communities that embrace the following aspects, which I call the tools of negotiation. These tools are similar to those recommended in the Harvard Business School and used

• • • •

Mutual Respect for all parties Focusing on common interests, not personalities Using objective criteria and hard facts Creating value for all, not just individual benefits

In the end, the question of where the facilitation ends and true participation begins, is a complex one and unique to each situation. I remember a particular conversation with someone where I thought the people in the community were beneficiaries rather than participants at one stage. As designers and even facilitators, one can feel ‘possessive’ of the design and even the ideas generated and it can be difficult to let go. Sometimes it the plight of the community is so

desperate that the development practitioner can feel overwhelmed and emotional- this case often with the poor communities or those in the disaster situation. On another note, it has often been suggested to me that participation is a process for women to facilitate and engage in. Having observed and taken part in participatory processes all over the world with both men and women, I disagree. This image of participation as a ‘feminine way of working’ is not easy to shake off however; and there are times, men have been reluctant to come forward for meetings. However, once they have attended, they realise it is for everyone. I think this is the message we need to carry forward.

Further reading:

• Hamdi, Nabeel, The Placemakers guide to Building Community, Earthscan, London, 2010.

• Hamdi, Nabeel, Small Change, Earthscan, London, 2004.

• Fisher, r Roger and Ury, William, Getting to Ye r, Y s, Random House business books, 1981.

• Jones, Peter Blundell (ed) Architecture and Participation, Routledge, London, 2005.

• Singer, r Peter, r, r Practical Ethics, Cambridge University r, Press, 1993.

Democratizing Urbanization and the Search for a New Civic Imagination 3.3

Teddy T eddy Cruz –

archi chitect, urb ban researcher

The Shrinking Public The obvious is staring us –the public- in the face and for some reason we continue avoiding engaging it. It is therefore essential to begin these reflections with the obviousness of our current cultural situation. We occupy a critical juncture in history, one defined by unprecedented crises -across any imaginable register: socio-economic, political and environmental- and our institutions of culture, governance and urban development are atrophied, at standstill, not knowing how to re-invent themselves, how to construct alternative procedures to engage the conditions that have produced the crises in the first place. I do not how many Wall Street bailouts, foreclosures, defunding of public education, abandoning of health and energy legislature, superfluous debt ceiling debates and tea-party zealots will take to prompt our own spring revolution. Our passivity – the American public’s and its creative sectors- in the context of this renewed return of the pendulum of excessive inequality and ideological polarization makes it clear that Tahrir T square will never happen in the US. Here, there is no state of emergency, the kind of collective sense of urgency that prompts the fundamental questioning of our own ways of thinking and acting and the production of new spaces of operation. It is also obvious by now that those Middle Eastern societies the American public was led to believe as the focus of turban-wearing terrorism have given us the best lesson on democracy 101: That democracy is not the right to be left alone but it is fundamentally defined by the co-existence with others in space, a collective ethos –facilitated by social media or not- that unconditionally stands for social rights. I do not mean to

naively suggest that those revolutionary instances can be reproduced that easily -each cultural space has its own socio-political complexity. We have witnessed, for example, how specific geo-political configurations and historic power alliances have made it difficult to repeat Egypt’s transformation in Syria, Bahrain and Libya. But nevertheless it is the uncompromising collective action seeking transformation of the stagnant status quo that resonates here and in one way or another should also enable our self-critique, at this unprecedented juncture. Sufficient economic analysis of our current dilemma has shown the similarities between late1920’s depressionera conditions and our own situation today. It is evident that both socio-economic crises where characterized by the not so coincidental meeting of excessive inequality and low marginal tax rates: At these critical points in recent history the income gap between the very wealthy and the rest of Americans reached record levels. In both 1928 and 2008 the top 1% averaged approximately 1000 times more income than America’s bottom 90%, while enjoying the lowest taxation available. While the similarities are clear, there seems to be not enough mention of the very different immediate outcomes following both periods. In general, the post depression years were marked by a self-assured consolidation of a collective political will to engage the necessity -the urgency- of public participation and the debate of the public. This is not the space to elaborate on this history, but suffices to say that the political period following the depression witnessed the emergence of the New Deal and with it a collective commitment to investment in public infrastructure, education and services partly enabled by higher marginal tax rates to the wealthy –in the 1950’s the marginal tax rate to the upper 1% was 91% compared to 35% today, ultimately resulting in a few decades of more equitable distribution of economic and civic resources. The economic and infrastructural growth experienced

during that period of committed public spending clearly demonstrates that trickle-down economics, based on de-taxing the rich so that its wealth will eventually touch the rest of Americans, has been the fake democratic façade of neo-conservative models, making us all believe and defend the mythology of the American Dream as promised by an ownership society, low taxes and individual freedoms for unchecked economic expansion. This time of huge inequality today as the rich have become richer in the midst of high unemployment rates finally reveals the socio-economic reality behind this façade but also makes me think that the United States is the only country in the world where the poor defend the rich, possibly with the belief that someday the American Dream will enable us all to be as rich and therefore we will not want to be bothered either. This also forwards the notion, different to conservative belief that social and economic strength depend not on less government but on a necessary intelligent government instead, one defined by the convergence of responsible taxation, progressive public policy and an a proactive collective imagination. Our current period of crisis, then, has been defined by exactly the opposite. The absence of a self-assured political leadership and constructive debate of and about the public has allowed the hijacking of the public itself by right wing demagogy that turns every socially based effort into a communist coup, co-opted by politics of fear. In fact, the very word PUBLIC has become liable and therefore forbidden from our political institutions -the way in which the public option disappeared from Obama’s Health Care Bill is symptomatic of this. Therefore, in my mind, different from the post depression years, which enabled a healthy public debate and general accountability for the re-distribution of resources, our period has been characterized by the shrinking conception of the public and the consolidation of a powerful elite of individual or corporate wealth, which, in fact, has remained unaffected and unaccountable today. T complete this image of the obvious, then, I would like To to zero in on an issue that makes this period uniquely disturbing. It is clear that from the time of Thatcher to Reagan’s re-installment of pre-depression era freemarket economic policies based on de-regulation and hyper privatization of resources in the early eighties we have witnessed the ascendance of income inequality and social disparity, as well as an unchecked culture

of individual and corporate greed and institutional illegality that has yielded the current crisis. But what has also become obvious is that these typical neo-liberal economic models not only enabled a small elite to be in control of the economic power but also this time in control of political power in unprecedented ways. What I am referring to is the philanthropic and lobbying machine sponsored by right wing foundations that has enabled this economic elite to own not only the bulk of resources but also the media and information networks that manipulate public opinion and the electorate. This consolidation of the economic and political power of this wealthy elite to lobby and install an anti-taxes, anti- immigration and anti-public culture in our time is what makes our period radically different from the post depression era, cementing the final erosion of public participation from the political process and a culture of impunity in the upper echelons of institutional structures. The ultimate impact of this consolidated economic and political hegemony can be illustrated in what I call the three slaps on the face of the American Public since 2008. 1. After the big bubble of economic growth burst in September of 2008, finally revealing the huge socioeconomic inequalities the last two decades of economic explosion had produced, the public unwantedly came to the rescue of the architects themselves of the crisis, bailing out the banking industry (first slap). 2. Following this, the lack of collateral regulation to protect homeowners in the management of loan defaults made the banking industry cause millions of foreclosures, producing further insecurity and unprecedented unemployment rates (second slap). 3. Finally, the unfolding of this economic crisis and its political upheaval has recently enabled this conservative wealthy minority to de-fund the public with massive spending cuts on education, health and social services without raising any taxes to the wealthy (third slap). And so here we are paralyzed, silently witnessing the consolidation of the most blatant politics of unaccountability, the shrinkage of social and public institutions and not one single proposal or action that can suggest a different approach, different arrangements. So, before economic and environmental, as observed here, ours is primarily a cultural crisis resulting in the inability of institutions to question their ways of thinking, the rigidity of their own protocols and silos. It is within this radical context that we must question the role of art

and humanities and their contingent cultural institutions of pedagogy, production, display and distribution. A more functional relationship between art and the everyday is urgently needed, through which artists can act as interlocutors across this polarized territory, intervening in the debate itself and mediating new forms of acting and living. In fact, one primary site of artistic intervention today is the gap itself that has been produced between cultural institutions and the public, instigating a new civic imagination and political will. It is not enough in our time to only give art the task of metaphorically revealing the very socio-economic histories and injustices that have produced these crises, but it is essential that it also becomes an instrument to construct specific procedures to transcend them. The formation of new platforms of engagement and relevancy in our creative fields can only be possible out of a sense of urgency, though, pushing us to rethink our very procedures. The need for expanded modes of artistic practice, alternative sites of research and pedagogy, new conceptions of cultural and economic production and the reorganization of social relations seem more urgent than ever.

legitimize artistic experimentation. These emerging activist practices seek, instead, for a project of radical proximity to the institutions, encroaching into them to transform them from the inside out in order to produce new aesthetic categories that can problematize the relationship of the social, the political, and the formal. What is being sought is an expanded mode of practice, where artists are responsible for imagining counter spatial procedures, political and economic structures that can produce new modes of sociability and encounter. Without altering the exclusionary policies that have produced the current crises in the first place, our professions will continue to be subordinated to the visionless and homogeneous environments defined by the bottom-line urbanism of the developer’s spreadsheet and the neo-conservative politics and economics of a hyper-individualistic ownership society. In essence, then, the autonomous role of artists needs to be coupled with the role of the activist. I don’t see one as more important than the other because both are necessary today. NEW SITES OF EXPERIMENTATION

From Critical Distance to Critical Proximity The revision of our own artistic procedures is essential today. The same ideological divide permeating politics today, we also find in art and architecture’s current implicit debate, On one hand we find those who continue to defend art and architecture as a self-referential project of apolitical formalism, made of hyper-aesthetics for the sake of aesthetics, which continues to press the notion of the avant-garde as an autonomous project, ‘needing’ a critical distance from the institutions to operate critically in the research of experimental form. On the other hand, we find those who need to step out of this autonomy in order to engage the socio-political and economic domains that have remained peripheral to the specializations of art and architecture, questioning our professions’ powerlessness in the context of the world’s most pressing current crises.

An Urbanism Beyond the Property Line While the world’s architecture intelligentsia -supported by the glamorous economy of the last years- flocked en-mass to The Arab Emirates and China to help build the dream-castles that would catapult these enclaves of wealth as global epicentres of urban development, many of these high profile projects have in fact only perpetuated the exhausted recipes of an oil hungry, USA-style globalization, camouflaging with hyperaesthetics an architecture of exclusion based in many cases on urbanities of surveillance and control. Other than a few isolated protagonist architectural interventions whose images have been disseminated widely, no major ideas were advanced here to transform existing paradigms of housing, infrastructure and density and resolve the major problems of urbanization today which are grounded in the inability of institutions of urban development to engage informality, socioeconomic inequity and lack of affordable housing and infrastructure.

This need to expand the operative realm of established artistic practices is a direct result of our creative fields’ unconditional love affair, in the last years, with a system of economic excess that was needed to

While the attention of the world had been focused on those enclaves of abundance in the last years, the most radical ideas advancing new models of urban development were produced in the margins, across

EXPANDING ARTISTIC PRACTICE

Latin American Cities. Challenging entrenched neo-liberal urban logics of development founded on top down privatization, homogeneity and exclusion, visionary mayors in cities such as Porto Alegre, Curitiba, Bogota and Medellin began to enable new institutional protocols by enabling public participation, civic culture and unorthodox cross-institutional collaborations, rethinking the very meaning of infrastructure, housing and density and mediating top down development and bottom up social organization. I cannot think of any other continental region in the world where we can find this type of collective effort led by municipal and federal governments seeking a new brand of progressive politics to produce an urbanism of inclusion. This suggests the urgency to reorient our focus to other sites of research and intervention, arguing that some of the most relevant practices and projects forwarding socio-economic sustainability will not emerge from sites of abundance but from sites of scarcity. New experimental practices of research and intervention will emerge from zones of conflict. It is in the periphery where conditions of social emergency are transforming our ways of thinking about urban matters, and the matters of concern about the city. RADICALIZING THE PARTICULAR Moving From the Ambiguity of the Public to the Specificity of Rights We need to move beyond the abstraction of the ‘global’ in order to ‘hit the ground’ and engage the particularities of the political inscribed within local geographies of conflict. It is within the specificity of conflict where contemporary artistic practice needs to reposition itself in order to expose the particularity of hidden institutional histories, revealing the missing information that can allow us to piece together a more accurate anticipatory urban research and intervention. To be political in our field means a commitment to revealing the particular conditions of conflict inscribed in the territory and the institutional mechanisms that have perpetuated such conflicts. What produced the crisis in the first place? Only the knowledge informing us of the specific conditions that produced it can enable us to think politically. In other words, the only way to produce a truly experimental architecture in our time involves the specific re-organization of the political and economic ‘ground,’ the very conditions that continue to produce conflict between top down forces of urbanization and

bottom-up social and ecological networks, enclaves of mega wealth and sectors of marginalization can become the material for design. What is needed is a more critical role for design to encroach into the fragmented and discriminatory policies and economics that have that have produced these collisions in the first place. At this moment, it is not buildings, but the fundamental re-organization of socio-economic relations that is the necessary ground for producing new paradigms of democratization and urbanization. Artists and architects have a role in the conceptualization of such new protocols. In other words, it is the construction of the political itself what is at stake here not just political art or architecture. It has been said that the Civil Rights movement in the United States began in a bus. At least that is the image that consolidated the argument that detonated the unfolding of such constitutional transformation. A small act trickling up into the collective’s awareness. While public transport at that time was labeled PUBLIC it was not accessible to all. It is necessary to move from the neutrality of the term public in our political debate at this moment in order to arrive to the specificity of rights, the rights to the city, to the neighborhood. This opens up the idea that architects and artists, besides being designers of buildings and objects, can be designers of political processes, alternative economic models and collaborations across institutions and jurisdictions. This can be in the form of small, incremental acts of retrofit of existing urban fabrics and regulation, encroaching into the privatization of public domain and infrastructure, as well as the rigidity of institutional thinking. The most radical intervention in our time can emerge from specific, bottom-up urban and regulatory alterations, modest in nature, but with enough resolution and assurance to trickle up to transform top down institutional structures. NEW URBAN PEDAGOGY The Visualization of a New Civic Imagination Fundamental to the rethinking of exclusionary political and economic frameworks that defined the logics of uneven urban development in the last years is the translation and visualization of the socio-cultural and economic entrepreneurial intelligence embedded in many marginal immigrant neighborhoods. While the global City had become the privileged site of consumption and display, marginal neighborhoods

across the world remained sites of production. But the hidden value (Cultural, social and economic) of these communities’ informal transactions across bottom up cultural activism, economies and densities continues to be off the radar of conventional top down planning institutions. If we consider Citizenship as a primarily creative act, enabling the transformation of institutional protocols and the spaces of the city, it is within these marginal communities of practice where a new conception of civic culture can emerge. In this context I see informal urbanization as the site of a new interpretation of community, citizenship and praxis, where emergent urban configurations produced out of social emergency suggest the performative role of individuals constructing their own spaces. These communities’ invisible urban praxis needs interpretation and representation and this is the space of intervention institutions of art, culture and governance need to engage. How to design the conditions that can mobilize this activism into new spatial and economic infrastructures that benefits these communities of practice in the long term, beyond the short-term problem solving of private developers or the institutions of charity? But, often, these communities lack the conceptual devices to understand their own every day procedures, and how their neighborhood agency can trickle up to produce new institutional transformations, shaping alternative politics and economies at the scale of their own everyday needs. It is in the context of these conditions where a different role for art, architecture, environmental and community activist practices can emerge. One that goes beyond the metaphorical representation of people, where only the community’s symbolic image is amplified instead of its operative dimension. Because of this, the questioning new forms of Urban Pedagogy is one of the most critical sites for artistic investigation and practice today, re-thinking the gap that currently exists between cultural institutions and the public. How to produce new interfaces with the public to raise awareness of the conditions that have produced environmental, economic and social crises? The conventional structures and protocols of academic institutions may be seen to be at odds with activistpractices, which are, by their very nature, organic and extra-academic. Should activist-practices challenge the

nature-structure of pedagogy within the institution? Are new modes of teaching and learning called for? T ay, it is essential to reorient our gaze towards the Tod drama embedded in the reality of the every day and in so doing engage the shifting socio-political and economic domains that have been ungraspable by art and design. Or as artist Tania T Bruguera said to me recently: “It is time to restore Duchamp’s urinal back to the bathroom,” Suggesting the urgency of a more functional relationship between research, artistic intervention and the production of the city.

Welcome to Marxloh! W 3.4

Christine Bleks and Mustafa Ta T zeoglu– eoglu– Urban Rhizome Agency for City|Culture|Economy

FROM ‘GANGSTER’S PA P RADISE’ TO THE ‘GERMAN MECCA A OF WEDDING DRESSES’ TO ‘EDUCATION A ATION FOR FREE ACCOMMODATION’ A ATION’ Radicalizing the Local Tackling the root of the problem T If you Google the term “radicalization”, “radicalize” or “radical”, it numerously comes along with the term “terror”, “threat”, “Islam” and “militant movements”– right after its primal definition, which has nothing to do with this minatory connotation. “Radical” comes from the Latin word “radix” which simply means “roots”. Therefore radicalization is the process of ingraining; it is the transition of being passive to becoming active: If a plant wants to survive and grow, it needs its roots to go down deeper in search for nutrition. So actually “radicalization” is a consistent reaction to a problem: the plant needs water, the roots are engaged to find it. The side effect of the radicalization process is an increasing wide spreading of a hidden root system – right below the surface. That might be one reason for the threatening association to the term: people are scared of what they cannot see, it inspires the imagination and drives the urge to eliminate the invisible. But if we understand radicalization in its original definition, it is wonderfully combined with the term “local” without an alarming denotation: “Radicalizing the local” simply describes the empowering of local citizens to take over responsibility for their own good and to find solutions for social problems. This necessarily leads to a deeper ingraining into the local community and therefore to a stronger identification with it. Beyond the “romance” of empowerment, pluralism, multi- and interculturalism, social activism and active citizenship – there is a real need to develop new

strategies to face and solve social problems in urban contexts. Duisburg-Marxloh - then and now The search for new ways of urban strategies to encounter local problems, the development of active citizenship and the creation of a new identity has begun in Duisburg-Marxloh several years ago. The city district in the north of Duisburg, Germany, is just recovering from its stigmata of being the dangerous „no-go-area“ in North Rhine-Westphalia and was simply called „Little Istanbul“. Marxloh experienced a population boom in the early 20th century along with an increasing industrialization along the Ruhr River. In the 1920s Marxloh was no longer a village, but consisted of about 35,000 inhabitants. As a result of de-industrialization Marxloh´s population dropped down to 17,000 until today. Between 1980 and 1994, 11.000 people lost their jobs in the coalmines and steel factories. Now 34% of the population are recipients of social benefits, the vacancy rate is at 12%. The average education level is low, the unemployment rate is at 23%. Up to 70% of Marxloh´s inhabitants are residents with a migration background from Tur T key. Through a regional, national and European 130 million Euro funding, aiming at the restructuring of the downgoing district, starting in 1985, Marxloh is since then continuously improving its image. Of course - the approaches of refurbishing facades, squares and parks have also been criticized due to a minimum-integration of community proposals. FROM “GANGSTER’S PA P RADISE” TO THE “HOUSE OF ALLAH” AND THE “GERMAN MECCA A OF WEDDING DRESSES” In spite of all the quarrels - this is an example of an extraordinary successful collaboration between the citizens of Marxloh and the Municipality. In 2008, Germany´s biggest Mosque proudly opened its doors in Marxloh. Funded by the local Turkish/M T oslem and German/Christian community together with the

authorities at local, regional, national and European level, it impressively showed and still shows, that a positive collaboration between communities and governments is possible by all means.

its citizens were printed. A film - or rather a “declaration of love” - about the district was produced. The imagecampaign “Made in Marxloh” was extended – the yellow signs reached “cult status”.

Until today, about 300,000 visitors from all over Europe have visited the Mosque in Marxloh and were very impressed by its integrated status into the community. But not only the House of Allah attracts believers and tourists from near-by countries. The international flair of the former “bad neighborhood” and its transition to “good citizenship between friends” becomes even more obvious and intensive on the “Weseler Straße”. Within the last years, Turkish T salesmen and retailers seized their chances in the abandoned shops on Marxloh´s Main Street and opened one bridal store next to the other. Nowadays Marxloh hosts the most vivid Turkish T bridal fashion district outside Tur T key with more than 70 shops and attracts customers and shoppers from Germany, the Netherlands, Belgium, France and Luxembourg.

The “Medien-Bunker” advised the directors of the “European Capital of Culture Ruhr.2010” in questions of intercultural issues, urban creativity and quarter management. Again “Made in Marxloh” was present in international media with the campaign “100 brides for Marxloh” during the ‘Still Life’ Ruhr.2010 European Capital of Culture festivities on a “Closed Down HighwayEvent” in the area. With the donation of 100 wedding dresses, Marxloh´s retailers supported the new image of Marxloh that said: “This is no dark, dangerous ghetto! This is a light, romantic place where wedding dreams come true!”

A down-going neighborhood is becoming a role model It was due to the ideas of the young, local and creative collective of the “Medien-Bunker” Marxloh – a conglomerate of filmmakers, photographers, musicians, webdesigners and locally active citizens, that bridged the new image of Marxloh into the media. During the opening of the Mosque, the “Medien-Bunker” spread out yellow street-signs with the slogan “Made in Marxloh” and “Welcome to Marxloh” to a bunch of kids. They posed in front of the Mosque, while German-wide media took pictures and filmed the scene. The next day the images filled the newspapers around the globe! From Frankfurt to Te T xas, from Jakarta to Amsterdam, the yellow signs were on title pages everywhere – and nobody really understood the dimension of this guerillamarketing joke. The ingraining and radicalization of the local for their Marxloh had begun without an expensive top-down strategy – and found its way outside the district, city and even federal borders, before anyone realized what just had started. There was no stopping then: In preparation for the “European Capital of Culture Ruhr.2010” the collective of the “Medien-Bunker” effectively promoted their neighborhood. The Main Street with all the wedding shops was renamed in “Germany´s Most Romantic Street”. Postcards with everyday-motifs of Marxloh and

The entrepreneurs of Marxloh have learned: the impact of supporting a joint idea and using the influence of standing together for their district, despite their business competition, creates value, understanding, good neighborhood and – after all - a shared quality of live for all. The immediate response was an increasing customers’ flow on the “Weseler Straße”, because everyone had seen the “100 brides” holding a yellow “Made in Marxloh” sign in the media and wanted to be on this overwhelmingly romantic spot! The “European Capital of Culture” officially awarded Marxloh as a “Creative.Quarter” with a high innovative and aspiring future and initiated several artistic projects, like “Een maand Marxloh” (One month Marxloh), an artist in residency program between Marxloh and the Netherlands, or the transnational art exhibition “.nl. de.tr/turkish r r/turkish connections“ by the dutch photographer Otto Snoek, initiated by Kosmopolis Rotterdam. The result was a process of awakening self-confidence and awareness of Marxloh´s citizens and entrepreneurs due to the new recognition and presence of “European Capital of Culture” visitors, local and international media, politicians and artists, that were guided through the district in organized tours by the “Medien-Bunker”. All of a sudden Marxloh was no longer the “ghetto” but of interest for intercultural, economical and innovative reasons – citizens stopped being ashamed of their neighborhood and experts started naming the district a “role model”. What happened in Marxloh is the beginning of a “radicalization process” par excellence:

Local citizens and entrepreneurs started taking over joint responsibility for their own good. To T gether they are engaged to find solutions for social, economic or image problems. This necessarily leads to a deeper ingraining into the local community and therefore to a stronger identification with the district. Duisburg-Marxloh - Quo Vadis? V In spite of the “romance” of this success-story, Marxloh still faces social problems and is far to be a problemfree, or a “hip-neighborhood”, full of artists, designers and young founders of new creative businesses. Now, after the first awakening phase and the beginning of the “radicalization process”, Marxloh needs new sustainable urban strategies to cope with social and structural problems. The former “Medien-Bunker” activist Mustafa Ta T zeoglu and his partner Christine Bleks founded the “Urban Rhizome Agency for City|Culture|Economy”. “Urban Rhizome” reacts to increasing challenges in the area of intercultural, economical, and cosmopolitan coexistence and attends new socio-economical and social models to answer the challenges of a future, heavily influenced by the development towards an everincreasing urban society. With the project “Education for Free Accommodation” Urban Rhizome follows its guiding principle to create new sustainable structures to encounter social problems as they come.

Education for Free Accommodation – A vivid example for a sustainable investment “Urban Rhizome” considers knowledge to be a part of the process of education. Beyond that, Urban Rhizome considers knowledge as a “commodity” and “merchandise” – and therefore as a valuable means of exchange and furthermore as an investment of the individuals involved. Structurally weak and socially disadvantaged city districts like Duisburg- Marxloh use individual potential to establish the exchange of knowledge as an investment in favor of a general advantage for the district and its residents: Students, apprentices, people serving a voluntary gap year, or who are active in community/chari / /chari ty work are awarded (shared) quarters including the respective infrastructure – the inhabitants only have to pay for the running costs. In return, they use their individual competences/ skills for working with children and teenagers. The

participants invest their work directly into living quarters: a tribute to the basic character of exchange – a side effect: the elimination of vacancies. Beyond that, they are a surplus of “sources” of inspirations, contact persons, role models, psychological parents, and tutors for the local children and teenagers, having a direct impact on the district. By inter-institutional integration of various (educational) institutions under the umbrella of the initiative “Education for Free Accommodation”, the common sense of responsibility for a district is enhanced, contributing to its revitalization without major expenditure, and by using the existing infrastructure. Implementation of “Education for Free Accommodation” ” in Duisburg-Marxloh In co-operation with local housing enterprises, a search for appropriate vacancies will be conducted. After a pilot phase of three to five years, the property will be purchased by the incorporated association “Education for Free Accommodation” (which is still to be established) by hire-purchase (project start-up subsidies) to ensure the sustainability of the project. The association finances a full-time position serving as a contact for all participants and for the local project organization. After a training period, a street worker could hold this position, becoming the ideal connection to the urban administration. The participants of “Education for Free Accommodation” are pools of ten persons each, allocated to several accommodation units where required. They pay a small contribution per month to a community coffer, covering the electricity, telephone, broadband flat rate, and basic provisions costs of the flat share. There are no additional costs incurred. In return, they are provided living quarters – the rent, including heating and service charges, is ensured by the start-up subsidies. In exchange for that, each of the participants works as autonomously as possible - with the children and teenagers for five hours per week. The participants are chosen according to their individual skills. Apart from the essential social and educational commitment, their skills of imparting knowledge in the fields of languages, media, creative, and technical competence are important. The aforementioned work will take place on existing premises in the district. To T ensure this, the local schools, gyms, sport clubs, music schools, religious institutions,

and youth/cultu / /cultu ral centers will cooperate, establishing a network which is one of the basic pillars of “Education for Free Accommodation”. For the local children and teenagers, their respective schools organize the access to the program. Group meetings are scheduled regularly (every two weeks, or similar). During the meeting, the participants can discuss organizational issues or invite teachers of cooperating schools or the respective parents. A supervisor attends the project.

Radical effects of Education for Free Accommodation In times of empty public treasuries, there is an undisputed necessity to develop new models of sustainable socio-economical projects. The specific conglomeration of the participants of “Education for Free Accommodation” contributes to the revitalizations of the district: for young people, life in that district gets financially attractive and the vacancies caused by migration from that area can be resolved. At the same time, the participation in “Education for Free Accommodation” caters to the desire for social commitment. The mandatory youth work by the project participants allows for a quick integration of the young people into their social environment, contributing to the “social mix”. The neighborly help, organized via the aforementioned exchange, hopefully has a stabilizing and community-building effect, which additionally fosters the development of the necessary sense of responsibility. The shared basic services will hopefully enhance the public spirit in private areas. The youth work includes practical educational opportunities, such as language tuition, cultural offers like music / theatre workshops, and work in the fields of handcraft, technology, and sports, which is extremely important: especially in educationally disadvantaged districts with a high percentage of migrant residents, there is a lack of adaptable extra-curricular activities (be they cultural, financial, or local). By means of their continuous work, the participants will become contact persons, sources of inspiration, and role models for the children and teenagers – at least that is the best-case scenario and the project’s aspiration. Enhancing the public spirit The inter-institutional cooperation of the institutions and persons involved in this project should by any means

enhance the public spirit and the sense of responsibility for the community. This will lead – as hope goes - to a stronger ingraining and identification with the district and its needs. “Education for Free Accommodation” is a corollary of Marxloh´s development, endorsing the process of urban renewal, and effectively triggering structural improvements for the district and its citizens. “Its about the People” – beyond an intellectual discourse of how to “integrate”. It is about life-quality of the people involved.

The limitations and possibilities of co-creation in the public domain 3.5

Levien Nordeman and Eva Visser – Research Center Creating 010, Rotterdam University Rotterdam

Abstract A group of undergraduate bachelor students engaged in a project that focused on finding new co-creation methods for the public domain in Rotterdam. This research describes the context in which the students worked, the findings they made and the solutions they proposed. Their working process is compared with the work of the Freehouse foundation, a professional artistrun organization that focuses on empowering locals, socially and economically, by enlarging their involvement in the public domain. Subsequently the specifics of the discussed public domain, Rotterdam South, are pointed out. This is required because a very specific context is created by the combination of working class pride, lack of involved citizenship and severe social issues in the area. To T conclude, the effect of the co-creative methods employed by the students and Freehouse on the redistribution of power is compared with more traditional forms of citizen participation. 1. Introduction The public domain is nowadays a widely contested territory and concept. Which spaces - both digital as non-digital - count as public and open, and which ones count as private and closed? What are the (common) values and practices that are manifested and negotiated in public space? And how does this relate to semipublic urban spaces, for instance shopping malls? We took these urgent questions as a starting point for an innovation focused learning lab, referred to as ‘I-lab’. Rotterdam University has hosted a variety of I-labs, all of which have focused in on Rotterdam and most specifically, societal issues. The students partaking in the I-lab ‘Co-Creation in the Public Domain’ came from

several courses from both the art school Willem de Kooning Academy and the school of Communication, Media and Information Technolog T y. The I-lab took place during the first semester of 2011-2012. Its goal was to research opportunities, limitations and different models of the public domain in addition to its relation with urban space and digital media. The students’ projects had to include co-creation as a working method or strategy, and they had to discuss, critically engage and propose innovative solutions for a specific part of the public domain. The students had to include a specific method for approaching the public domain, namely ‘co-creation’. First primarily used in the context of business and marketing strategy and customer relations, in the past ten years co-creation has become a widely used term to denote a new way of consumer participation. In their research ‘Co-opting Consumer competence’ (2000) Prahalad and Ramaswamy introduced the notion of incorporating consumers’ competence and experiences into organizations: the consumer takes the stage. During the 2000’s onwards the concept was widened and got intertwined with notions and practices like participatory culture (Jenkins, 2006) and crowd sourcing (Howe, 2006). But what happens when you apply co-creation to a non-commercial and non web-only environment, namely the public domain? This leads to our main question: what are the limits and possibilities of co-creation in Rotterdam? As a starting point for discussing this question, this research will examine how students approached both concepts and how these relate to a traditional artist practice. Based on these cases, we will then focus on the peculiarities of the Rotterdam context and then critically reflect on both ‘co-creation’ and the ‘public domain’ in an urban environment. 2. Rotterdam: the public domain

Before we sketch both the web-oriented approach and the artistic approach to co-creation in the public domain, we will provide some background information on the specific context, namely Rotterdam. Rotterdam used to be described as a ‘harbor with a city’, rather than the other way around. And although the harbor has been moved bit by bit towards the North Sea coast during the last few decades, the spirit of the harbor laborers still largely coincides with the self-image of much of the inhabitants of Rotterdam. In the three decades after 1880, the population almost tripled to around 425.000 people (currently it is around 610.000). Rotterdam became the working class city of the Netherlands and its working class self image was further ingrained during the after war period of city and harbor reconstructing [‘wederopbouw’]. The reconstruction of the harbor went swiftly and in 1962 Rotterdam became the world’s largest port (this status was lost to Shanghai in 2004). The rapidly increasing mechanization of the harbor, in particular the containerization that started in the 1960s, sharply decreased the demand for labor from the 1970s onwards. At the same time, the industrial sector, also a big employer in the Rotterdam area, was either moving away or becoming more labor extensive. The shift towards the service sector and, currently, the creative industries, proved especially harsh on Rotterdam, since the average level of education has traditionally been relatively low. The economic changes resulted in increased social tensions and rising unemployment. The growth of the nationalistic and populist side of the political spectrum since 2000, which has taken place in the Netherlands as a whole, has been especially significant in Rotterdam, culminating when the rightwing politician Pim Fortuyn, murdered in 2002, started his political champagne here. Both the I-lab Zuidplein project and the Freehouse project took place in Rotterdam South. This is a very racially mixed area, with a lively atmosphere and many small businesses, with approximately 200,000 inhabitants. Rotterdam South is an area of Rotterdam whose population is comprised of relatively low educated people, low incomes and a low employment rate. Many immigrant workers settled in this area when they first came to Rotterdam, and in 1972 the locals rioted against the increasing amount of boarding houses in the Afrikaanderwijk. Most housing today consists of small scale rented apartment buildings with 4 to 5 floors, with apartments that are often small, with subpar building standards, poorly isolated. Crime rates are

relatively high in the neighborhoods on the south bank and many people don’t feel comfortable being outside, in the public domain, after dark. The problems in Rotterdam South are considered exceptional within the Netherlands. Therefore, the national government has, during the last years, set up a special programme for Rotterdam South, first called ‘Pact op Zuid’ [‘Pact for South’] and now ‘Nationaal Progamma Kwaliteitsprong Zuid’ [‘National Program Quality leap South’], and has invested a lot of resources into the area: housing and infrastructure have improved and policing has intensified. The aim of the program is to lift Rotterdam South to the average level of the four biggest cities in terms of education, employment and income level. However, the top-down, hard-on-crime approach has also resulted in the curbing of civil freedoms in Rotterdam. An example is that in many places it isn’t allowed anymore to form groups of more than three people, thus curbing the right to associate. Also, Rotterdam was the first municipality in the Netherlands where the local police started to search people randomly. The ease with which the majority of the people of Rotterdam have accepted these invasive measures seems to collide with the local attitude of taking things on without further ado. The self-image of the inhabitants of Rotterdam still reflects an emphasis on physical labor, masculinity, and a no-nonsense attitude. This attitude is best worded in the slogan of the biggest local football club, Feyenoord: ‘Actions speak louder than words’ [’Geen woorden maar daden’]. Generally speaking, people came to Rotterdam to work and to better their material circumstances; they did not come to Rotterdam to think, reflect or debate. The downside to this ‘attitude’ is that if it does not change, then the city will continue to have a poor track record when it comes to active citizenship. The middle class, who is most likely to be politically involved, has always been relatively small, especially amongst a population where the medium level of education remains low, even though the city has several institutions for higher education, it still remains that most students move away after graduation and Rotterdam risks becoming a transitory city of people passing through. This is why the lack of a tradition of involved citizenship in Rotterdam formed an extra challenge for the cocreation projects described in this research.

3. Co-creation and the public domain The conceptual framework of the I-lab consisted of the combination of two concepts: ‘co-creation’ and ‘the public domain’. To T appropriate both the concept of cocreation and the public domain, the students discussed the meaning and significance of those concepts during a three-day session of so-called ‘pressure cooker’ discussions, presentations, brainstorms and screenings. The students themselves then defined the public domain as following. First, the public domain consists of different layers, from less to more to ‘most’ public. Second, the public domain governed by laws. Third, scale should always be taken in account. Fourth, you can access the public domain both virtually and physically. Fifth and lastly, beside laws, the public domain consists of more implicit social rules or norms of behavior. When it comes to co-creation, the students decided that first, there always has to be an initiator of this process, but sharing access to this process (co-authorship) should always be possible. Second, co-creation consists of simultaneous participation. Third, there might be unequal interests of participants. Fourth the partaking of participants is intentional. Fifth, the final result of the cocreation process is not determined in advance and sixth, the co-creation process as a whole should have added value for the participants. In their projects, students were free to choose whatever aspect of the public domain they wanted to enquire about, but co-creation was a required and added value part to the research. For the students, the definitions as described above functioned as a framework for their further investigation and design activities during the I-lab. 4. The Zuidplein shopping mall: a web-oriented approach to co-creation About fifteen students participated in the I-lab. They formed small groups, researching an array of different topics such as: open source recipes for drugs, the search for common denominators in the public domain of Kralingen-Crooswijk (an neighborhood in the north of Rotterdam with an affluent and a more deprived part), and the necessity to heighten awareness amongst children about the risks of sharing personal data online. For this research we will focus on one group of students in particular, the so-called ‘Zuidplein’ group, because this group’s methods and projects give rise to comparison with the methods and projects Freehouse developed. Their project incorporated both new digital methods for co-creation as well as including a strong focus on

the current problems and challenges of the (semi) public domain. The main goal of this student group was to come up with innovative and co-creative solutions to improve the social interaction between visitors of the ‘Winkelcentrum Zuidplein’, a large shopping mall, located in the southern part of Rotterdam. The shopping mall was built in the early 1960’s, based on a rather utopian and functionalist architectural approach of an ‘all in one shopping experience’, consisting of an inward architecture, thereby lifting the main shopping area a few meters above the ground. Zuidplein and the surrounding area, which holds a theatre, a pool and other facilities, functions as a city center for the south area of Rotterdam and surrounding towns. The students were assigned to develop a product or concept that incorporated cocreation and was aimed at, or would question the public domain. While doing their research, the students were confronted with a lot of questions regarding Zuidplein. These questions concerned legal aspects (is it a public or a private space?), social (interaction between visitors, problems with youth), and cultural (different ethical backgrounds) issues. Their initial research strategy was to conduct interviews, based on a questionnaire, with visitors to the Zuidplein shopping mall and surrounding areas. The interviews gave the students useful insights into the visitors’ experiences with the area, as well insight into the main problems and concerns as described by the shop owners and visitors. The practice of conducting interviews is an oft-used strategy of companies and organizations wanting more information about their customers. But, based on the criteria of the co-creation process, as defined by the students themselves, this method of conducting interviews cannot be regarded as co-creation, because there is no clear indication of ‘co-authorship’. By using the method of the interview, Zuidplein visitors and shop owners became ‘interviewees’ rather than participants in the co-creation process, and responded accordingly, performing as an interviewee. But the students wanted to know more about the Zuidplein visitors’ motivation to visit the mall, and their encounters while shopping. Therefore the students decided to recreate an interface for the ubiquitous social network site Facebook on a large poster. They wrote down statements on the so-called ‘wall’ to get input from visitors. The students also provided

stickers with the ‘like-button’ and felt-tip pens so visitors could express their opinions. The session took about two hours and it turned out that Facebook was well known and recognized by visitors from different age groups and cultural backgrounds. By using the design of the Facebook wall, the students created a crosscultural and recognizable environment for research. The Facebook interface created a real physical space for a certain type of mostly online performed action, namely reacting, writing and using the ‘like’ button. By bringing the Facebook interface into an actual physical space, the students created a familiar space for (semi) public interaction and co-creation. Combined with the results from the interviews, the Facebook-wall approach produced a lot of insight into the motivations to visit Zuidplein, for instance to meet acquaintances, or to relax and to experience the shopping mall’s design. After they had completed this research phase, the students worked together to develop a concept that was aimed at improving the social interaction of the visitors. The students were interested in what ways they could use and influence emotions, to create a friendlier atmosphere in Zuidplein. The students wanted to know how Zuidplein’s cultural diverse group of visitors would react to ‘positive emotions’. So they decided to do another intervention, that they called ‘love bombing’. During late night shopping, a group of five students entered the Zuidplein shopping mall, wearing heartshaped sandwich boards, tossing heart shaped candy about through the mall and shouting ”Liefde” [”Love”]. Every few minutes the students circled small groups of visitors and invited them to participate in a so called ‘group hug’. If the visitors agreed, they were hugged by the student group. The ‘love bombing’ intervention was inspired by the free hugs campaign, which originated in 2004 when the Australian male, Juan Mann, was filmed giving people free hugs in the streets and in other public domains. In 2006 a film of the ‘free hugs campaign’ was uploaded on You Y Tub T e, where it gained widespread attention and went viral. The students combined this notion of giving free hugs to strangers in the public domain with a ‘interactive flash mob’, as described by Molnar (2009) where people suddenly gather in a public or semi-public space to perform a certain action, for instance, dancing, singing or freezing. Almost all visitors reacted positively to the ‘love bombing’ and a local news research even wrote a research on it (Daamen, 2011). The positive feedback

strengthened the group and encouraged them to continue their research with new concepts for cocreation. Both the ‘love bombing’ and the research with the Facebook wall resulted in the realization of a final concept, a technologically enhanced artificial tree that would enable people to exchanges messages and stories by using the telephone horns that dangled from the tree. The tree, partly covered with LED’s would be placed in the main square of the shopping mall, surrounded by benches. The content of the messages and stories people told would automatically be analyzed by speech recognition software. Depending on the emotional content of the stories (determined by analyzing certain words in the stories), the tree’s color will turn to either green (positive) of red (negative), thereby enabling the visitors of the Zuidplein shopping mall to become ‘owner’ and feel responsible for the overall atmosphere of the shopping mall. During the course of the project, the research phase turned out for the students to be the most challenging period. The method (co-creation) as the subject (public domain) was viewed as interesting and challenging, especially for the students in digital media, who had never before worked on a project in physical space. The Facebook wall and the ‘love bombing’ flash mob are closely related to the criteria for co-creation, which the students defined earlier in the process during the pressure cooker session. The students put small pictures of themselves on the Facebook wall, presenting themselves as initiators in the co-creation process, and therefore the Facebook wall enabled simultaneous participation. While visitors of the Zuidplein shopping mall were commenting and discussing the statements that were posted on the Facebook wall, they could look at each other’s contributions. When comparing the process described above with the definition of cocreation mentioned in the fourth paragraph, it becomes clear that not all participants had the same interests during the initiated co-creation process. For instance, the students were focused on improving the overall ‘atmosphere’ of the shopping mall, while the intentions and goals of visitors partaking in this co-creation process might not be clear, and were no subject of enquiry. The research or co-creation process of the students must also be understood from the perspective of the public domain, especially the urban public or semipublic space. The students are trained to become online

communication specialists; the psychical space with its social interactions and legal restrictions required them to take a different approach to co-creation and the public domain. The methods as used by the students can be described as a web-oriented approach to cocreation in the public domain: it uses form, language and practices based on or made popular in the World Wide Web to co-create experiences and knowledge in collaboration with citizens in public space. The weboriented approach is clearly visible in the so-called ‘love bombing’ strategy, which has its origins in two known practices within public space (free hugs and flash mobs) that gained widespread online popularity. Molnar stresses the importance of flash mobs because ‘they provide insight into the intersection and interaction between new communications media and physical space’ (Molnar, 2009). When we take a closer look at the web-oriented approach as conducted by the I-lab students, we can discern two methods to interfere or to change the daily routines and social norms of semi-public urban space and the public domain. The Facebook wall creates the opportunity for citizens to voice their individual opinions and concerns regarding the Zuidplein shopping mall. It stresses opinion, expression and individuality. The flash mob strategy was focused on the performance of togetherness and crosscultural sameness; confronting visitors with what Molnar describes as the ‘taken for granted, principally middle class norms of urban public space use’ (Molnar, 2009). One of the reasons of success of this web-oriented approach to co-creation in the public domain might be the average age of the inhabitants of Rotterdam. Rotterdam is the only large city in the Netherlands where the average age of its inhabitants doesn’t increase, thus going against the national trend. In 2009 it was European Youth Y Capital of the year. Because in a co-creation process there has to be at least an initiator and participants, it clearly helped that the context of Rotterdam provides people in both categories that can initiate and participate in the web-oriented approach to co-creation in the public domain. To T deepen our analysis we now will look at another approach to co-creation in the public domain.

4. Freehouse: an artistic approach to co-creation in the public domain The Freehouse foundation is an organization that helps people create their own environment. The core

figure within Freehouse is professional artist Jeanne van Heeswijk. Central in her work is research into the meaning of art for the society at large, and how it can be best articulated and implemented. Van Heeswijk has received much recognition for her work, including the Europrix and recently the Leonore Annanberg Prize for Art and Social Change, and her work was included in the 2003 Veni V ce Biennale. Freehouse focuses on the co-creation of the public domain, on engaging the local community with the shaping of their socio-economic surroundings, and attempts to design strategies to connect education, economy and culture with the aim of stimulation in transforming Rotterdam from a working class city into a post-industrial city. On their website they state their mission as such: ‘Freehouse ... [engages itself in] developing and transforming the public space mostly on the basis of and with the help of this public space itself... It shifts the focus from the art object to the art objective. It sees art as a tool in a process of communication, making visible and enhancing cultural production. As far as Freehouse sees it, cultural production is the whole of activities with which people express their identity and with which they attempt to come to grips with their environment’ (Van Heeswijk, 2012). Since 2008 Freehouse has worked in the Afrikaanderwijk [Afrikaander neighbourhood] in the Feijenoord district in Rotterdam South. The central square in the neighborhood is the Afrikaanderplein where many shops and eating places are located, and where twice a week a big market is held, where products from around the world are sold. On days the market is not held, the Afrikaanderplein was usually unused and uninviting. In Van Heeswijk’s vision, squares and markets play a very important role, that of an agora, a social, cultural and economic meeting place for people. Van Heeswijk didn’t see the residents of the Afrikaanderwijk as consumers of her work, but as coproducers and experts on the neighborhoods’ needs and desires. Therefore, Freehouse took on the challenge of making the square livelier and more relevant for the surrounding neighborhood by creating ways for artists, designers, local shops/ stall owners and other inhabitants to work together on creating new products and services. The strategy employed by Freehouse was to carry out a series of focused small interventions, to see what resonated with the locals and would be effective to turn the Afrikaanderplein into ‘De Markt van Morgen’ [‘Tomor T Tomor row’s Market’]. One example of

an enthusiastically welcomed intervention was the initiative to support local women to sell home cooked food at the market of which the ingredients were bought at the market as well. After that a successful catering service was set up with the women who ran their own kitchen, the Neighborhood Kitchen, ‘Wijkkeuken’. In order to stimulate the economical independence of the co-workers of the Wijkkeuken, who often didn’t have much working experience or formal training, a co-op is currently being set up. One of the women that worked in the kitchen gained enough self-confidence to realize she had a marketable talent and started her own cake shop. Also, cloth bought on the market is being turned into garments that are sold at a shop in the neighborhood that was started to sell local products. The garments were put on display for the neighborhood to see during a runway show on the square, where locals were the models. The women also started a clothing repair service and have their own workshop, the ‘Wijkatelier’ (Van Heeswijk, 2011a &2011b). The strategies Freehouse employed made the potential skills and knowledge of people, who often didn’t feel involved in decision making, more visible, thus empowering them. Although Jeanne van Heeswijk’s was the initiator and her ideas were necessary to get Freehouse started, she, or Freehouse, did not by any means dictate, or even anticipate, what the end results of the initial interventions made in the social economical fabric of the neighborhood would be. They worked with people who were unaccustomed to articulating their thoughts on how they would like their neighborhood to be; or with those who were unaccustomed to be heard by local officials and who were often economically deprived. But because people felt their input was taken seriously and their talents and possibilities were emphasized, instead of their problems being emphasized, many welcomed the Freehouse project and their political awareness grew. Freehouse worked with the locals, instead of for them (Van Heeswijk, 2011b). The city administration and the national government seem to do just the latter. Although the intentions of the national program for Rotterdam South are good, it runs the risk of alienating the locals even further by focusing strongly on what is bad and what needs to be improved by importing resources from elsewhere, e.g., the new envisioned housing developments are often not aimed at the social climbers from the area, but at a wealthy middle class that currently doesn’t live there. The interventions initiated in the public domain of the

Afrikaanderwijk by Freehouse, based on Van Heeswijk’s strategies for co-creation, are considered very successful and fortunately the city administration and other stakeholders have generally been supportive of them, and continue to help so as to enlarge and prolong this success. Some of Freehouse’s interventions were a violation of the strict regulations that the local administration imposes on the Rotterdam public domain, but these were often exceptionally tolerated in order not to frustrate the project. Vital to the positive impact Freehouse could have in the Afrikaanderwijk is that they were visibly present in the neighborhood and showed commitment to it by moving into several footholds close to the Afrikaanderplein and working on their projects for a few years. This way trust was gained, enthusiasm evoked, co-creation became possible and some of their interventions had unforeseen but welcomed spin-offs that added value. Therefore, the results Freehouse obtained match the criteria for co-creation formulated by the I-lab students. 5. Comparative analyses Given Rotterdam’s context of relatively low income, low education, high unemployment rate and the top down approach of the local government, we now can scrutinize the conditions of successful co-creation processes in the public domain in Rotterdam by analyzing both the artistic and the web-oriented approach to co-creation in the public domain. To T do this we first need to question the very notion of ‘co-creation in the public domain’ itself: given the Rotterdam context has co-creation actual more impact than other forms of participation? T take a closer look at this question we will use Sherry To R. Arnstein’s Ladder of Citizen Participation (1969). Arnstein remarks that ‘there is a critical difference between going through the empty ritual of participation and having the real power needed to affect the outcome of the process’ (Arnstein, 1969). For Arnstein the redistribution of power is the main criterion that distinguishes the ‘empty ritual’ from real participatory practices. She states that ‘participation without redistribution of power is an empty and frustrating process for the powerless. It allows the power holders to claim that all sides were considered, but makes it possible for only some of those sides to benefit. It maintains the status quo’ (Ibid.). Given Arnsteins perspective and based on the criteria for co-creation as described earlier, co-creation cannot have political

aims because of the unequal interests of participants and because in the co-creation process the final result is not determined in advance. This creates an imbalance in power with regards to the people participating, and it lacks a clear orientation when it comes to achieving political goals. With Arnstein’s critique in mind, the weboriented approach to co-creation in the public domain as conducted by the I-lab students can be regarded as a depoliticized form of bringing people together to achieve a certain form of togetherness without a clear goal in mind. The Freehouse project stimulated people that are usually not involved in political processes to formulate their thoughts about the public domain, act upon those and lose their inhibitions about taking charge. Freehouse went beyond consulting the locals, but instead offered those that were interested a true partnership. Arnstein ranks ‘partnership’ as one of the forms of active citizens’ power in the ladder of participation of citizens in social and/or / governmental institutions (Arnstein, 1969). /or Therefore, it can be said that the strategies Freehouse employed to achieve co-creation in the public domain had excellent results. We can reformulate which conditions determine successful co-creation processes in the public domain in Rotterdam, when we shift our focus from the goals (of participation) of the co-creation process to the methods used, and the time, skills and resources needed to initiated and participate in the co-creation process. We will call this ‘co-creative capital’. The artistic approach to co-creation in the public domain can be successful, but it requires a considerable time investment from the initiator(s). The web-oriented approach to co-creation in the public domain might have potential because it makes use of forms, languages and practices that are performed on the World Wide Web. These are instantly recognized by the participants and can therefore by readily applied to the co-creation process. The web-oriented approach is less confined to a specific physical public domain and it that sense more ‘mobile’, depending on the role and the aim of the initiators. Although the scale of the students’ project was much more limited, they managed to provoke positive responses in their target group. Both approaches have in common that the co-creative capital of initiators and participants is not only used to perform an array of co-creative practices in the public domain, for instance commenting or ‘liking’ on Facebook, organizing a runway show or working in a kitchen, but that it also enables the participants to envision for themselves how the public domain could or should look like. This means that

co-creative capital for the public domain is aimed at cocreating new possibilities: different uses, practices and definitions of the public domain itself. 6. Conclusion We argued that the effectiveness of a web-oriented approach to co-creation in the public domain is based on its recognizably and could be considered as a potentially highly accessible method to organize participation. The concept of co-creative capital can be used to argue that both the artistic and web-oriented approach to co-creation in the public domain can not only contribute to successful co-creation, but can also help the participants redefining what the public domain means to them and what characteristics it should ideally have. From this perspective, new critical factors come in to play, for instance the amount of Facebook users and their connectivity might be an indicator of the potential success of co-creation processes. Therefore, it can be argued that in a city like Rotterdam with a lot of young people, a web-oriented approach to co-creation might be more effective than more traditional forms of participation in the public domain, such as town hall meetings or questionnaires. We therefore suggest further research on the relation between web-oriented co-creation processes and the physical urban public domain. We hope to continue our research in the next I-lab, starting in September 2012, which will be entirely focused on the Zuidplein mall.

REFERENCES

• Arnstein, S. R. (1969), Ladder of Citizen Participation,

• • • •

Journal of the American Institute of Planners, 35 (4), 216-224 Daamen, M. (2011, November 30). Wij brengen liefde. Havenloods, p. 15 Heeswijk, J., van (2011a, January 11). Interview with • Hugo Bongers and Eva Visser Heeswijk, J., van (2011b). Inclusive urban strategies for radicalising the local. On Air, r 3 (2), 21-26 r,

• Heeswijk, J., van (2012). Jeanne Wor W ks. Retrieved April 27, 7 2012, from http://ww 7, / w.jeanneworks.net /ww

• Howe, J. (2009). Crowdsourcing. How the power of the crowd is diving the future of business. New York: Y Random House

• Jenkins, H.(2006). Convergence Culture: where old and new media collide. New Y York: NYU Press

• Laar, r P. r, P , van der (2000). Stad van formaat. • Geschiedenis van Rotterdam in de negentiende en twintigste eeuw. Zwolle: Uitgeverij Waande W rs

• Molnár, r V. r, V (2009). Reframing public space through digital mobilization: Flash mobs and the futility(?) of contemporary urban youth culture. Retrieved from • http://isites.harvard.edu/fs/do / cs/icb.topic497840. /do files/Molnar_Reframing-Public-Space.pdf

• Prahalad, C.K.; Ramaswamy, Ven V katram (2000). • Co-opting Consumer Competence. Harvard Bussiness Review, 78 (1), 79-87

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Close family local entrepreneur

subsidies

gift

Wholesale

recipe & cooking skills income

Local entrepreneur

price Neighbourhood Kitchen products & catering catering service & product info

Source ingredients

various products price products

info neighbourhood projects

recipe & cooking skills

EU / NL Subsidies funds

various ingredients price ingredients

EU / NL Subsidies funds

Family / ancestry cooks & hosts

Family / ancestry local entrepreneur

Customer

prize Neighbourhood Kitchen products & catering

national

afrikaanderwijk

international

rotterdam national international

organic material knowledge, information & culture money

organic material inorganic material knowledge, information & culture money

MFA T-SHIRT VAN MARGA WEIMANS EN HET WIJKATELIER OP ZUID

T-SHIRT NEIGHBOURHOOD WORKSHOP

AFRIKAANDERWIJK INTERNATIONAL

Plantation

+ € 0.60

ROTTERDAM

SALE Textile & t-shirt production

€0.60 2%

+ € 0.25

Whole sales

Afrikaandermarket

€1 salesman T-SHIRT NEIGHBOURHOOD WORKSHOP

€0.85

+ €0.15

0.6%

+ €4

16%

PRODUCTION

+ € 0.60

Textile & t-shirt production

€0.60

t-shirt

This price allocation is based on estimation. Source: NRC, SOMO and Clean Clothes Campaign

+ €6

NATIONAL

+ € 0.25

+ €0.15

INTERNATIONAL

Afrikaandermarket salesman

€1

t-shirt

€0.85

0.6%

+ €4

Marga Weimans design studio

€5

16%

+ €6

cotton

t-shirt

PRODUCTION

t-shirt

NATIONAL

16%

SALE

REGIONAL

Screen printer (Ede)

€11

+ €10

€21 40%

Freehouse Neighbourhood Workshop

+ €10

€31 Screen printer (Ede)

40% €11

+ €10

t-shirt with print

t-shirt

Freehouse organisation

t-shirt

€20,25

€21 - 43% - €10,75 40%

t-shirt with print new model

Tomorrows Market / PRODUCTION Neighbourhood Store

Freehouse Neighbourhood Workshop + €10 40%

€31

VAT 2008 SALE

€20,25

Tomorrows Market / Neighbourhood + €4,75 Store

€20,25

- €10,75 - 43%

t-shirt with print new model

t-shirt with print

+ €0

Freehouse organisation

+ €0

€25 19%

VAT 2008

€20,25

+ €4,75

t-shirt witht-shirt print with print new model

t-shirt with print new model

new model

+ €0,03

Toko Yari

+ €0,15

Plantation

+ €0,15

10%

€0,15

Whole sales

Food processing

+ €0,11

€0,26

46%

€1,13

Dukkah

nuts herb plants spices plants

+ €0,06 This price allocation is based on 4% estimation.

+€0

€1,13

Cooperative Store of Goods Dukkah and Values Events Caterings Exhibitions Markets

Freehouse organisation

€1,13

Dukkah

Whole sales

+ €0,11

+ €0,03 €0,26 2%

+ €0,28 20%* *fixed charges

+ €0,06

€0,32

+ €0,06

+€0

€1,13

+ €0,28 20%* *fixed charges

21%

VALUE LOCAL ADDED

LOCAL ADDED VALUE

+ €0,09

€1,50

Dukkah

+ €0,09

NATIONAL

INTERNATIONAL

VAT 2013

€1,41

ROTTERDAM

INTERNATIONAL

NATIONAL

nuts herbs spices

Dukkah

VAT 2013

Dukkah

D VALUE LOCAL ADDE

REGIONAL

t-shirt with print new model

€0,44

INTERNATIONAL

Dukkah

€1,41

16%

INTERNATIONAL

ROTTERDAM

nuts herbs spices

€0,44

+ €0,06

Cooperative Store of Goods nuts and Values herbs Events Caterings spices Exhibitions Markets

Freehouse organisation

NATIONAL

LOCAL ADDED VALUE

Nieuw Fes bakery

€0,32

nuts

Nieuw Fes herbs bakery spices

nuts herbs spices Freehouse Neighbourhood Kitchen + €0,69 46%

This price allocation is based on estimation.

+ €0,69

€0,15

nuts herbs spices

nuts herb plants spices plants

Freehouse Neighbourhood Kitchen

10%

21%

T-SHIRT RE REGULAR STO

AFRIKAANDERWIJK

Toko Yari

Food processing

€25 19%

t-shirt with print new model

DUKKAH DIP NEIGHBOURHOOD KITCHEN

Plantation

T-SHIRT ORE REGULAR ST

T-SHIRT NEIGHBOURHOOD WORKSHOP MARGA WIJMANS

NATIONAL

24%

INTERNATIONAL

This price allocation is based on estimation. Source: NRC, SOMO and Clean Clothes Campaign

T-SHIRT NEIGHBOURHOOD WORKSHOP MARGA WIJMANS INTERNATIONAL

ROTTERDAM

Whole sales

t-shirt

AFRIKAANDERWIJK

24%

SALE

Plantation

cotton

Marga Weimans design studio

€5

€1,50

NATIONAL 5% REGIONAL

DUKKAH HERB / NUTS MIX 50 GRAM

NATIONAL 5% REGIONAL

DUKKAH HERB / NUTS MIX 50 GRAM

58%

REGULAR MIX HERB / NUTS 50 GRAM €3,30

VALUE LOCAL ADDED

LOCAL ADDED VALUE

Dukkah

58%

LOCAL ADDED VALUE

D VALUE LOCAL ADDE

LOKAAL TOEGEVOEGDE WAARDE PER PRODUC T

PRODUCTION

NEIGHBOURHOOD KITCHEN

Family / ancestry local entrepreneur

cultural exchange

Family / ancestry cooks & hosts

purchase catering

recipe & product info

Rotterdam municipality

Direct family local entrepreneur meeting local talent

cde

Wholesale

product info

abc

Customers & visitors

Direct family cooks & hosts

skills & know-how

Local enterprise cde attract customers

development partnership strengthening network product presentation

abc

knowledge exchange neighbourhood projects & products

culinary habits & customs

network

cde

bbe e

cde product info

Afrikaandermarkt

knowledge exchange local projects & products

abcde

Tomorrows Market

cde

knowledge exchange neighbourhood projects & products

knowledge exchange local projects & products

ccd d

Co-operation & steering employees

Customers & visitors

c e ce

displaying value cooperative platform & shared qualities of the neighbourhood

abcde

tests of theory of cooperative neighbourhood development

Freehouse organisation

Value determination neighbourhood projects

Cooks & hosts a bcd abcd

info on neighbourhood projects & products

cd cd

Events (cultural) organisations & companies

ccd d

purchase catering & products

abc

testing products & feedback

cde cde

watching & informal help

Cooperative Store of Good and Value

offering local qualities

cde

abcde critical reflection inclusive neighbourhood development

cc feedback & new contacts

Customers & visitors

afrikaanderwijk

Acquaintances

rotterdam

national EU / NL subsidies

international

co-producing

participation

information and knowledge exchange

consuming

visiting

HET SOCIALE EN ECONOMISCHE NET WERK RONDOM DE WIJKKEUKEN VAN ZUID

Beeldvorming 3.7

Johannes van Assem

Sinds 2010 brengt fotograaf Johannes van Assem voor Freehouse de Afrikaanderwijk in beeld. Zo fotografeerde hij onder meer de markt, de omgeving, de ondernemers en de door Freehouse ontwikkelde Beroepskleding.

W d

Markt

Afrikaanderplein en -park

W d

Ondernemers

Beroepskleding

4. AFRIKAANDERMARK De Markt van Morgen

DE M ARK T VAN M ORGEN Het hart van de wijk De Afrikaanderwijk maakt, net als de andere wijken in Rotterdam-Zuid, de komende jaren een grote transformatie door. De twee aangrenzende nieuwbouwwijken zullen de samenstelling van de buurtbevolking doen veranderen. Dat heeft niet alleen sociale, maar ook economische gevolgen voor de wijk. De Afrikaandermarkt, in grootte de tweede van Rotterdam, is iedere woensdag en zaterdag het hart van de wijk. Op het Afrikaanderplein staan zo’n 300 kramen met het meest ‘exotische’ aanbod van de stad. Het gaat echter niet goed met de markt: de omzet daalt, het assortiment verschraalt, marktkooplui zoeken hun heil elders.

Innovatieve culturele rijkdom De Afrikaanderwijk en -markt onderscheiden zich van de omringende wijken door hun cultureel diverse en kleinschalige karakter en daar kan gebruik van gemaakt worden. Om de Afrikaandermarkt te maken tot een plek waar niet alleen unieke producten te koop zijn, maar waar ook een innovatieve culturele rijkdom te ervaren is, werkte Freehouse en Kosmopolis Rotterdam aan een plan voor de toekomst van de markt. Ze ontwikkelde op basis van een uitgebreide testinterventies een serie projecten voor, in en met de Afrikaanderwijk, met als uitgangspunt het stimuleren van cultureel ondernemerschap en het versterken van de wijk als geheel. Lokale ondernemers ontwikkelen in samenwerking met kunstenaars nieuwe producten en diensten. Na afloop van het project moeten de ondernemers zelfstandig in staat zijn de producten te produceren en te verkopen.

Van morgen naar nu Op 6 en 7 juni 2009 vonden op het Afrikaanderplein twee ‘ideale’ marktdagen plaats, een schets van wat de Afrikaandermarkt idealiter in de toekomst zou kunnen zijn. Deze twee dagen vormden een levende maquette in het onderzoek naar de positie en de mogelijkheden van de markt. In het kader van dit onderzoek werkt Freehouse sinds februari 2008 samen met lokale partijen (ondernemers, actieve bewoners, Pleinregisseurs, bestuurders, andere initiatieven in de wijk), met beleidsmakers (OBR, VESTIA) en uitvoerders (Stadstoezicht) van beleid op het gebied van het Afrikaanderplein en de markt. Daarnaast zijn er stevige contacten opgebouwd met de belangenverenigingen van marktkooplui (CVAH en VETRA) en met de marktkooplui en marktmeesters. Op basis van de in 2009 opgedane ervaring organiseerde Freehouse in 2010 Van alle markten thuis en in 2013 en 2014 De Markt van Nu. Hierbij werden opnieuw de kwaliteiten en het unieke aanbod van de markt uitgelicht zijn er samen met marktondernemers nieuwe presentatievormen getest.

marktkoopman wil alleen geld verdienen. Stadstoezicht wil enkel dat er aan de regels wordt gehouden. De koopman beschouwt dat als getreiter, ‘pokkenregels’. Omdat ze destijds niet met elkaar communiceerden was de relatie tussen deze partijen scheefgegroeid. Markt stond synoniem voor oorlog.” Beleid en handhaving “De problemen op de markt komen voort uit de opheffing van de Dienst Marktwezen in 2006, waarna beleid en handhaving van elkaar werden gescheiden”, denkt Berendsen. “De gemeente bepaalt het beleid maar heeft geen idee wat zich op de markt afspeelt. Ze zit en blijft in haar ivoren toren. Stadstoezicht zorgt voor de handhaving van de regels en opereert als een soort marktpolitie. De wijze waarop is afhankelijk van de clustermanager. Die bepaalt hoe stadstoezicht met marktkooplieden omgaat en ook met een partij als Freehouse. De één steunt je, de ander niet. Het is ook niet mogelijk om een gesprek te voeren over het nut van de regelgeving, want daar is stadstoezicht niet verantwoordelijk voor en heeft zij ook geen invloed op. Op een gegeven moment ben ik met alle betrokken partijen gaan praten, waaronder de gemeente, deelgemeente en stadstoezicht. Geen van de partijen bleek met elkaar te communiceren en geen van hen sprak met de marktkooplieden, alleen als ze voor de rechter stonden. Terwijl juist zij wisten wat er mis ging op de markt. Ik denk dat Freehouse’ grootste kracht is geweest dat zij alle marktpartijen om tafel heeft gekregen én weten te houden. Want na langdurig overleg is er een maandelijks marktoverleg uit voortgevloeid.” MARKT VAN MORGEN, 6/7 JUNI 200

Freehouse grootste kracht is dat zij marktpartijen om tafel kreeg én hield 4.1 Interview Maartje Berendse — beleidsmedewerker Freehouse Jeanne van Heeswijk heeft Maartje Berendsen vanaf het begin betrokken bij Freehouse. Eerst in het Oude-Westen en vanaf 2006 in de Afrikaanderwijk.“Jeanne wees de markt aan als mijn onderzoeksgebied. Ze wilde graag meer

weten over de functie van de markt, wie erbij betrokken zijn, hoe het marktwezen in elkaar steekt en wie er belang bij hebben. Gedurende een half jaar heb ik de markt tweewekelijks bezocht. Ook was ik vaak te vinden bij diverse stakeholders om er achter te komen wie voor de markt verantwoordelijk is. Wat bleek? Niemand wist het. Ieder schoof deze als een hete aardappel naar de ander.” “Opdrachtgever voor de markt was Vestia, die veel woningen heeft in dat gebied. Ze wilden mensen

trekken met een aantrekkelijke markt van vergelijkbare kwaliteit als de markt in het centrum van Rotterdam. En de markt moest ook dienen als ontmoetingsplek waar wat te beleven viel. Op het moment dat Vestia met deze opdracht naar Jeanne stapte, was de sfeer op de markt op een dieptepunt. Er waren veel vechtpartijen, met name tussen stadstoezicht en marktkooplui. Als ik met een marktkoopman over het marktwezen wilde praten, moest ik eerst twee uur agressie dulden en nadrukkelijk zeggen dat ik niet van de gemeente was. Een

Maandelijks marktoverleg “Freehouse schreef voortdurend allemaal projectplannen om de markt te verbeteren. We waren eigenlijk wel benieuwd wat de andere betrokken partijen daarvan vonden. Ik herinner me dat iedereen zei dat Freehouse daar niet aan moest beginnen. De markt als onderdeel van het economisch systeem zou zichzelf wel redden. Uit het marktoverleg bleek dat geen van allen een visie had op wat een gezonde markt inhield. Het bestaande werd enkel gehandhaafd. Het overleg is op een gegeven moment stukgelopen. Het werd een politiek steekspel, waar Freehouse min of meer tussen zat. We spraken namelijk met alle partijen apart, hadden ieders vertrouwen en wisten daardoor alle geheime agenda’s. Op een gegeven moment werd het voor ons steeds moeilijker om transparant te blijven. De boel is toen geknald. Een jaar later hebben we het overleg nieuw leven in geblazen. In de tussentijd vonden er veel personeelswisselingen plaats die zorgden voor een frisse wind in het gehele proces”. Met oog op de toekomst “Uit het onderzoek Met oog op de toekomst [zie kader] blijkt dat het met de Afrikaandermarkt slecht gaat”, vertelt Berendsen. “Mensen gaan erheen voor exotische producten die nergens zo goedkoop worden aangeboden als daar. De hoeveelheid geld die mensen in totaal uitgeven blijft summier vergeleken met andere

markten en dat ligt niet aan het aantal bezoekers. Wél aan de slechte kwaliteit van de producten, de wijze van presenteren en de negatieve sfeer op de markt. We hebben in juni 2009 met de Markt van Morgen aan alle betrokken partijen laten zien: ‘Kijk, zo kan de markt ook zijn’. Maar hun reactie was lauw: veel te ideaal en niet-realiseerbaar. Waarop Freehouse zei: als wij dit op zondag kunnen realiseren dan ook op zaterdag.” Pielen in de marge “Gelukkig heeft Freehouse de kloof tussen de dagelijkse politieke werkelijkheid en het realiseren van een ideale markt redelijk kunnen dichten. Maar we zijn er nog niet. Zo kreeg ik onlangs weer een mail van de deelgemeente dat ze voor de zoveelste keer afzien van ons verzoek voor een experimentstatus. Nu blijft het pielen in de marge. Iedere keer moeten we weer vechten voor een stukje ruimte binnen de bestaande regels om wat te kunnen veranderen aan de markt. Dat is niet fijn werken. We hebben een legale basis nodig waarop we ons werk kunnen doen, anders blijven we die meisjes die weer iets leuks doen. De gemeente moet inzien dat we met een serieuze zaak bezig zijn, namelijk het veranderen van het economisch systeem. Zolang de politiek niets vastlegt, kan er niets worden bestendigd. Steeds worden zaken op het laatste moment weer teruggedraaid. We waren op een gegeven moment zover dat we samen met de deelgemeente een beleidsplan hadden geschreven om het gebied economisch een nieuwe bodem te geven vanuit onze visie de wijk als warenhuis van de toekomst. Alles wees erop dat het plan doorgevoerd zou worden. Vier jaar zou Freehouse de tijd en het geld krijgen om het plan mede te realiseren. Maar het plan is bij de gemeente op tafel blijven liggen. Reden: de betreffende wijkeconoom kreeg een nieuwe baan en haar opvolger werd vlak na haar aanstelling overspannen. Het plan werd uiteindelijk negen maanden ná de deadline ingediend, toen het geld al lang was vergeven.” Afhankelijk “Veel gaat mis door personele wisselingen. Iedereen heeft zijn goedkeuring gegeven aan een projectplan, maar op de valreep vindt een nieuwe bestuurder dat het plan toch herschreven moet worden. En Vestia, die ons altijd enorm steunde en een grote fan van ons was, is nu failliet. We ervaren keer op keer hoe afhankelijk we zijn van de persoonlijke inzet van mensen. Freehouse is van alle betrokken partijen de meest stabiele. Ik zeg al twee jaar dat ik ermee stop, maar zit er nog steeds net als de andere medewerkers van Freehouse. We houden zoveel van het project. Ook de marktkooplieden trouwens. Ze zeggen regelmatig dat ze ons missen als we een tijdje ons gezicht niet hebben laten zien. Freehouse is financieel ook afhankelijk en dat maakt kwetsbaar. Als partijen het belang van ons project niet inzien, dan hebben wij geen reden van bestaan. Gelukkig ziet iedereen het belang van ons in. Zodra we zeggen: ‘we halen de stekker eruit’, worden alle geldlaatjes opengetrokken waar bijna niemand het bestaan van wist.”

MARKT VAN MORGEN, 6/7 JUNI 2009

“Freehouse is geen knip-en-plak model” “Het Freehouse-model in zijn huidige vorm is toegespitst op de Afrikaanderwijk. Het is geen knip-en- plak model, maar moet vertaald worden naar de situatie. Wat wel onlosmakelijk aan het model verbonden is, zijn de mensen om wie het draait: de mensen uit de wijk en praktijk van wie de economische positie verbeterd moet worden. Verbetering door ze de macht te laten nemen over hun eigen situatie. En daarvoor is bewustwording nodig over het feit dat ze kunnen kiezen en invloed uitoefenen op hun situatie. Zo zijn er veel Turkse vrouwen die de hele dag thuis zitten en nauwelijks buiten komen. Door ze een workshop handwerken aan te bieden en deel te laten nemen in het wijkatelier zijn velen nu actief in het economisch proces. En ze voelen zich meer verbonden met de wijk. Een ander basisaspect van het model is de samenwerking met en verbinding van alle betrokken partijen. Iets van de grond krijgen betekent dat alle betrokkenen hetzelfde doel voor ogen hebben. In kader van Freehouse betekent dat praten en nog eens praten zodat alle neuzen op een gegeven moment dezelfde kant opstaan. Essentieel daarbij is praat mét en niet óver mensen”.

OVERVIEW AFRIKAANDERMARKT OVERVIEW AFRIKAANDERMARKT

Lange adem nodig “Sinds anderhalf jaar is er een marktcommissie waarin praktische problemen van de markt worden besproken. Vier jaar geleden was dat nog onmogelijk. Toen sprak niemand met elkaar. Maar nu wel, dankzij Freehouse. We horen niet in de commissie te zitten, maar op aandringen van de marktkooplui zitten we er wel bij. Freehouse weet namelijk welke praktische problemen er zijn op de markt. Inmiddels beseffen zowel de marktmannen als stadstoezicht dat verandering noodzakelijk is en beschouwen ons daarvoor als dragende kracht. Beide partijen hebben aan de wieg gestaan van alle ingrepen die Freehouse heeft gedaan om de markt te verbeteren en ze zijn enthousiast. We zijn alleen nog met de handen gebonden aan het geldende beleid om alle veranderingen daadwerkelijk te kunnen doorvoeren. En deze laatste stap, om de gemeente zover te krijgen dat ze het beleid aanpassen, is het moeilijkst. Het gaat eigenlijk om een formele beslissing. En juist dan wordt men bang. Zo wil Freehouse onder meer af van het feit dat iedereen zonder opleidingspapieren of knowhow zich kan inschrijven voor de beroepsgroep. Het duurt ruim tien jaar voor er een plek vrij is. Vakbekwame ondernemers hebben geen zin om zo lang te wachten op erkenning. Ze zoeken liever alternatieve wegen om hun waar te verkopen. Maar een goede markt heeft ondernemers met hart voor hun vak en kennis van zaken nodig. Toch gaat die verandering er wél komen, ook al heeft het proces een lange adem nodig.”

het gebied al geldstromen, ondernemers, kunstenaars en locaties zijn. Vestia wilde al investeren, dus geldstroom was aanwezig. Daarbij liep de markt leeg, wat voor ondernemers een aanleiding kon zijn om open te staan voor nieuwe impuls. Verder Afrikaandermarkt is de tweede grootste markt van Rotterdam en als setting ideaal. Niemand hoeft zich er te legitimeren. Cultuurverschillen samenbrengen Kosmopolis heeft tot en met de Markt van Morgen geïnvesteerd in Freehouse. Als ik er nu op terug kijken vind ik het project moeilijk maar ook geslaagd. Geslaagd, want het heeft geleid tot verduurzaming in wijkkeuken, wijkatelier en –winkel. Maar moeizaam in de samenwerking. Kosmopolis werkt met gewone werktijden en gescheiden expertises. Dit strookt niet met de werkwijzen van ondernemers, kooplieden, kunstenaars en ook Freehouse. De cultuur binnen de samenwerking was van ‘alles wat voor handen komt, aangrijpen’, terwijl Kosmopolis planmatig werkt en met draaiboeken. Daarbij vond ik dat Freehouse veel voor zichzelf hield; weinig taakverdeling naar buiten toe. Ook nu wat ons betreft het project is afgelopen, blijven we bijsturen. We investeren nog steeds in Het Gemaal, waar de wijkkeuken deel van uitmaakt. Het moet geen buurthuis worden en dienen als mooie plek bij de markt waar ontmoetingen kunnen plaatsvinden voor geïnteresseerden en partijen van binnen en buiten. Het is een locatie, ingebed in de wijk, maar wel met een eigen programma. Ik vind het Freehouse-model heel goed. Gebruik van ondernemers die geprofessionaliseerd worden tot ZZPer, ook al gaat het om gedeelde zelfstandigheid (dus met begeleiding van bijvoorbeeld Lisa). Het creëert voor deze mensen een beter sociaal netwerk, zelfvertrouwen en financiële zelfstandigheid. Ook Kosmopolis geeft behalve van de ‘begeleiders’ impulsen door bijvoorbeeld de Snack Tamam te organiseren. Dit houdt het alles levendig en zorgt dat mensen van buitenaf geïnformeerd worden over de wijk en de activiteiten die het allemaal mogelijk maken.

DE LUCKY MI WAGEN OP HET NOORD PLEIN

Waarom de Afrikaanderwijk? 4.2 Interview Liane van der Linden — Kosmopolis Rotterdam (projectpartner 2008–2012), bestuurslid Stichting Freehouse (2013-heden)

Citymaking Ik kwam met Dennis en Annet in gesprek toen ik nog in Amsterdam werkte met Imagine IC. Zij waren toen bezig met het project Freewheelers en begonnen aan de West-Kruiskade met een pilot in kader van Freehouse. In Amsterdam wilde we iets doen met de Chinese horeca (impuls nodig, verouderd imago, willing en veel

ondernemerschap). Zo werd Debra Solomon erbij gehaald omdat zij al bezig was met fushion cooking (culiblog). Toen Liane en Kosmopolis naar Rotterdam kwam werden de handen ineen geslagen. “Nog steeds wilden we iets doen met de Chinese gemeenschap”. Waarom de Afrikaanderwijk? “In kader van citymaking: bepaalde groepen met elkaar verbinden. Daarbij moeten in

OORDEEL KOOPLIEDEN AFRIKAANDER Na de opheffing van de Dienst Marktwezen in april 2006 besloot de gemeente Rotterdam onderzoek te doen naar het ruimtelijkeconomisch functioneren van de Rotterdamse warenhuizen. De resultaten vormen de basis van de Beleidsnota Warenhuizen, die toen nog geschreven moest worden. Uit het onderzoek, getiteld ‘Met oog op de toekomst’ bleek onder meer dat de kooplieden negatief waren over de Afrikaandermarkt . Gemiddeld geven zij hun markt een 4,4 (woensdag) of net een 5,6 (zaterdag). Ten opzichte van het Rotterdamse waarderingscijfer (6,3) is de beoordeling onder de maat. Over de Afrikaandermarkt oordelen de kooplieden als volgt:

• Omgevingsfactoren, zoals winkelomgeving, sfeer,

parkeren en toegankelijkheid vinden de kooplieden duidelijk onvoldoende. Dit geldt voor de zaterdagmarkt, maar vooral ook voor de woensdagmarkt. • De opstelling, de volledigheid van het aanbod en de productkwaliteit leveren ontevredenheid op. Op zaterdag is men hier iets positiever over dan op woensdag. • De openingstijden en de locatie zijn het beste beoordeeld, maar ook die blijven achter bij de algemene waardering in Rotterdam. • Opvallend is de lage waardering voor de prijs. Door de kooplieden is deze onvoldoende tot net voldoende gewaardeerd. Hoewel het een goed verkoopargument is richting de consument, blijkt de prijsconcurrentie te groot en de omzetsnelheid te laag.

De onaantrekkelijkheid van de directe omgeving komt ook terug in de locatieverkenning. De winkelomgeving is laagwaardig en de wisselwerking met de warenmarkt onvoldoende. Ook het parkeren en de bereikbaarheid met de auto laat te wensen over. Verder geven kooplieden aan dat het plein als marktterrein veel problemen geeft met de afwatering, en smerig aandoet. “Als hier textiel op de grond valt, dan kun je het direct weggooien”, aldus een verkoper. Bron: Met het oog op de toekomst. Onderzoek naar het economische functioneren van de Rotterdamse warenmarkten en hun toekomstperspectief. September 2007.

Eveline Visser — designer Eveline Visser studeerde ‘Public Space’ aan de Design Academie. Ze kwam in 2009 bij Jeanne van Heeswijk terecht als stagiair. Ze vond in de aanpak van Jeanne vernieuwing: de markt, publieke ruimte, als levende maquette. Freehouse wil middels interventies nieuwe manieren van presenteren en productontwikkeling uitproberen, rechtstreeks in de publieke ruimte met mensen die er zelf aan mee willen werken. Dit op basis van dit idee wordt gewerkt volgens een op de praktijk gebaseerde aanpak; vooraf onderzoek doen, testen, improviseren en dit verder uitwerken. Met De Markt van Morgen zijn kunstenaars en ontwerpers betrokken bij de presentatie van marktkramen. Doe was om ze zo mooi mogelijk eruit te laten zien waardoor de omzet kan worden verhoogd. Ik heb zelf twee keer een kraam gestyled; verder vooral gecoördineerd. De samenwerking met de kooplieden en kunstenaars was wisselend. De ene keer liep het lekkerder dan de andere keer. Van beide partijen werd een flexibele houding verwacht. De ene kunstenaar kon beter aanvoelen wat een marktkoopman wilde en/of bij hem paste. Waar we ook op stuitten: koopmannen waren wel bereid om mee te werken maar het moest niet teveel moeite kosten. We moesten het hebben van de echte die hards. Vaak begonnen we met een rigoureuze make-over. Eigenlijk essentieel, want dan de meeste kans dat er een koopman er iets aan over hield. Het moest vooral praktisch zijn anders gaat een verkoper het niet gebruiken. Door make-overs werden omzetten verhoogd. En als de buurman een gestyled was, dan wilde de ander ook wel. De kraam die ik gestyled heb was onder meer van een stoere Rotterdammer. Hij verkoopt kettingen voor dames. Ik heb de kraam knalroze gemaakt met veel spiegels en zo. Hij heeft mijn styling overgenomen en

ook zelf roze gordijntjes, bakjes etc. aan toegevoegd. Zo waren er nog een aantal die zaken gewoon overnamen, afhankelijk van type koopman en aanpak kunstenaar. Maar veel ook niet. Bij styling beter overdrijven, want dan nog iets over. Wat ik me ook herinner: Pimp your pumps. Iemand die alleen maar schoenen verkocht en er rossetjes op plakte om ze te pimpen. Er werd iets toegevoegd, waarmee de gevoelswaarde steeg. Mensen kwamen steeds weer terug met de vraag of ze nog meer van de dingen had. Wat ik ook merkte: we moesten alles aanreiken om zaken mogelijk te maken in de hoop dat anderen het oppakken en er hun profijt mee doen als ze zien dat het een economische meerwaarde oplevert. Maar de kooplieden meten resultaten alleen op korte termijn. Zegt veel over marktwezen: als het maar iets oplevert dan doen ze mee. Hoe kun je ze overtuigen dat resultaten van veranderingen op zich laat wachten, maar op langere termijn zijn vruchten afwerpt? Het contact met marktondernemers en hen overtuigen om mee te doen aan De Markt van Morgen is vooral ontstaan op basis van de ervaring van Jeannel: vaak over de markt lopen, mensen spreken, je gezicht laten zien en vooral heel goed luisteren. Freehouse is heel hard schudden voor je iets kunt gebruiken. Mooie kans om dingen uit te proberen. Hoe reageren mensen; verwachtingen; welke kennis is er? Snel in vergissen. Heel veel energie om alles op poten te zetten, op gang te brengen. Het is een bijzonder project. Heel utopisch en van binnenuit waarbij niet voorspelbaar is welk resultaat het gaat opleveren.

MARKET INTERVENTION - STYLING BY DESIGNER EVELINE VISSER

4.3 Interview

MARKET INTERVENTION - STYLING BY DESIGNER EVELINE VISSER

Heel hard schudden voor je iets kunt gebruiken

4.4 Interview Alexandre van der Moezel — Zelfstandig Ondernemer van Fel Design en VRINDAVAN, Deelnemer aan de Markt van Morgen Alexandre woont samen met zijn vriendin Wrienda Baboeram in een pand speciaal bedoeld voor creatief zelfstandige ondernemers. In eerste instantie kwam hij daar wonen in het kader van het project Freewheelers. Destijds werd hem gevraagd om samen met de andere creatieve bewoners na te denken over ‘werk op wielen’. Het thema paste perfect in het bedrijfsprofiel van Alexandre. Vlak na een ‘teleurgesteld’ jaar aan de universiteit, waar hij geen enkele ruimte kreeg voor creativiteit, is hij elf maanden door India gaan fietsen. Fiets in vliegtuig, gereedschap in zijn zakken (mocht toen nog) en naar Delhi gevlogen. Het was het jaar 1999 en Alexandre was 20 jaar. “Bij aankomst kwam ik een meisje uit Amsterdam tegen die net een rondreis achter de rug had en op het punt stond naar huis te gaan. Ik ben samen met haar de straat op gegaan. We zijn samen met de kinderen op straat gaan spelen. Die krabbelden van alles in mijn dagboek. Ze probeerden ook het alfabet na te schrijven dat op een van de eerste bladzijden van mijn dagboek stond. Toen zag ik al dat het hen heel veel moeite kostte. Voorbijgangers riepen ons toe: ga niet met die honden om (wijzend op de straatkinderen) want dat is slecht voor je karma. Ik was verontwaardigd en trok me er ook niets van aan. Later fietste ik naar Bangalore, een grote stad in het zuiden van India. Daar trof ik allemaal suikerbeesten aan. Ze deden me denken aan Sinterklaas, waaronder het paard. Ik ging op zoek naar andere Sinterklaaslekkernijen en trof er een hoop behalve de chocoladeletter. Chocolade was toen nog een vrij onbekend product in India, maar er bleek wel een markt voor te zijn. De cacaosmaak beviel de

hindoes. Eenmaal terug in Nederland wist ik wat ik wilde: het Indiase alfabet in de vorm van chocoladeletters ontwikkelen en daarmee het alfabet voor de (armere) bevolking toegankelijker maken.” Choco babba “Begin 2011 ben ik in contact gekomen met Jeanne van Heeswijk via mijn vriendin die toen stage liep bij de Wijkkeuken. Ik vertelde Jeanne waar ik mee bezig was, niemand wist toen nog iets van het concept af, en dat ik haar hulp goed kon gebruiken. Ik heb in opdracht van haar het idee verder uitgebouwd. Zo heb ik een rakhi wallah gemaakt, een bakfiets waarop de chocoladeletters werden verkocht. En ik heb gezorgd voor een ‘choco babba’, een Indiase gastheer die de mensen moest zien te lokken. Ook heb ik rakhi-armbanden ontwikkeld, geïnspireerd op de oorspronkelijk Indiase armbanden. Deze zijn door het wijkatelier gemaakt en worden in de winkel verkocht. Evenals de chocoladeletters. Wrienda was op dat moment projectleider van de wijkkeuken, waar we gedurende vier marktdagen Indiase producten verkochten zoals amandelmelk en gemberbier. Zo wilden we de keuken meer naar buiten brengen. Ik stond gedurende deze interventiedagen aan de rand van de markt, want de regels belette mij om op de markt te staan. Ik had geen kraam en was ook geen meeloper.¹ En als meeloper kon ik ook niet meedoen. Zo krom allemaal. Op de Haagse markt idem dito. Daar zeggen ze domweg: kom over drie jaar maar terug als de regels wat flexibeler zijn geworden. Ik stond tijdens de interventiedagen op een plek waar maar een summier aantal mensen langskwamen, die het bijna hinderlijk vonden dat daar plotseling ook nog een verkoopstand stond. Uiteindelijk wist Freehouse wel een kraam voor ons te regelen, maar daar mochten we niets verkopen. Toen was ik er wel even klaar mee. Het was natuurlijk een uitgelezen moment om wél te verkopen. En mensen begrepen ook niet dat ze spullen alleen mochten bekijken. In de wijkwinkel is wel wat verkocht, maar niet bovenmatig veel. De chocoladeletters kostten daar 3 euro per stuk en veel mensen vonden dat al te duur. Rotterdam-Zuid is arm; ze hebben het geld er niet voor over. Later

¹ Vrijgekomen plaatsen worden eenmaal per jaar toegewezen aan ondernemers. Vaste plaatshouders krijgen voorrang op het kiezen van een nieuwe plaats. Overige plaatsen die beschikbaar zijn, worden toegewezen aan de meelopers die zich ’s ochtends bij de marktmeester hebben gemeld.

werden ze ook bij Jamin en in musea verkocht voor 4 tot 5 euro en daar verkopen ze wel goed. Gedurende de marktinterventiedagen heb ik overal persberichten naartoe gestuurd. Zo heb ik wel veel media-aandacht gegenereerd. Kranten hadden een leuk nieuwtje zo in de ‘kale’ zomermaanden. Vervolgens heb ik alle grote verkoopmanagers benaderd zoals V&D, Bijenkorf etc. Ik ben nadien van drie naar drieëndertig verkoopplekken gegaan en dit aantal groeit nog steeds in hoog tempo”. Kwaliteit wint “In de afgelopen 10 jaar is de afzet voor chocolade in India enorm gegroeid en ook de industrie. Vorig jaar heb ik er 5.000 chocoladeletters verkocht en komend jaar zullen er dat nog veel meer zijn. Ik wil graag met

de locale boeren gaan samenwerken. Dat de cacao ook echt daar vandaan komt. En uiteindelijk wil ik met de winst van de letters een educatieprogramma opzetten met name voor de lagere kasten. “ “Ik ben er van overtuigd dat resultaat wint en niet de prijs. Ik gebruik chocolade van zeer goede kwaliteit, getest door een Hindoestaans panel: veel cacao maar niet te bitter. Het is UTZ Certified. De naam van het product is VRINDAVAN. Vrinda is de naam van mijn vriendin en VAN is de geboorteplaats van Krishna. Een soort plaaggeest die altijd met zoetigheid wordt geassocieerd. De naam ligt goed bij Hindoestanen, dat vind ik ook heel belangrijk. Het is een naam die eigenlijk niet stuk kan.”

MARKET INTERVENTION - ALEXANDRE

Met De Markt van Morgen kon ik mijn idee voor de Indiase markt uitbreiden

5. COÃ&#x2013;PERATIEVE WERKPLEKKEN: Wijkatelier op Zuid

Ik wilde vooral een product ontwerpen dat uitblonk in eenvoud en comfort 5.1 Interview Cindy v van den Bremen – ontwik wikkelaar Suit It You Y rself, betrokken bij opstart p Wijkatelier op Zuid

WIJKATELIER OP ZUID VOOR JEAN PAUL GAULTIE

W IJK ATELI ER OP ZUI D

soort specialistisch maatwerk biedt locale productie in het Wijkatelier uitkomst.

Het eerste lustrum voorbij Het Wijkatelier op Zuid vierde in 2014 al weer het vijfjarig bestaan. In 2009 werd de basis gelegd met het Suit it You Y rself project van ontwerpster Cindy van den Bremen. Sindsdien combineert het Wijkatelier (mode) productie met ontwerp en educatie. In het atelier werken getalenteerde bewoners uit de Afrikaanderwijk nauw samen met partners en opdrachtgevers uit de mode en design. Lokaal aanwezige kwaliteiten worden benut en overgedragen, waarmee ze voor de toekomst behouden blijven. Het Wijkatelier weet zich te onderscheiden door maatwerk en de beheersing van bijzondere technieken gecombineerd met een ruime ervaring in productontwikkeling. Het is gespecialiseerd in de productie van bijzondere sample collecties, haute couture of prêt-à-porter, maar ook in installaties voor kunstenaars en (interieur)architecten. Juist voor dit

Lokale kwaliteiten zijn van internationale waarde Inmiddels heeft het Wijkatelier op Zuid een indrukwekkende lijst producties op haar naam staan. Van haute couture stukken voor Marga Weimans en Jean Paul Gaultier tot sample collecties voor beginnende ontwerpers, maar ook de inrichting van exposities en zelfs hotelkamers. De producties zijn onder andere te zien geweest op nationale en internationale catwalks, in Museum Boijmans Van Beuningen, Kunsthal Rotterdam, de designbeurs Object Rotterdam, maar ook in internationale exposities in Leuven en Graz. In het Eindhovense Van Abbe Museum was zowel een stuk uit de Beroepskleding collectie als het korset van Jean Paul Gaultier te zien. Ook werkt het Wijkatelier op Zuid aan een nieuwe collectie bedrijfskleding voor de 100 medewerkers van het museum. In Museum Rotterdam was dat jaar ook een van de stukken uit de Wonderland collectie van Marga Weimans te zien. In 2015 is het atelier een zelfstandige stichting geworden.

www.wijkatelieropzuid.nl

Vrouwelijke voetbalspelers mogen van de Wereldvoetbalbond Fifa een hoofddoek dragen, dankzij langdurig gelobby van onder meer Cindy van den Bremen, meldt Tr T ouw op 7 juli 2012. Het recht op het dragen van een hoofddoek gaat Van den Bremen sinds haar studie aan de Design Academie aan het hart. Aanleiding was een krantenbericht waarin een meisje met hoofddoek geweigerd werd om aan een gymles deel te nemen. De docent vond het onveilig. Van den Bremen besloot als afstudeeropdracht hoofddoeken te ontwerpen die veilig en comfortabel zijn om mee te sporten. Een succesvol product dat ze sindsdien verkoopt onder de label Capsters. “Ik ben geen voor- of tegenstander van de hoofddoek. Iedere vrouw heeft het recht om er uit vrije wil voor te kiezen”. Jeanne van Heeswijk vroeg Van den Bremen vlak na haar afstuderen in 2001 om met haar sporthoofddoek een samenwerkingsverband aan te gaan met een Hindoestaanse kledingwinkel aan de West-Kruiskade in Rotterdam. Freehouse was toen nog in de opstartfase (zie V rgeschiedenis). Van den Bremen: “In de eerste fase Voo van het project heb ik onderzocht waar de hoofddoek in de Hindoestaanse cultuur mee verweven is. Ik wil geen stempel op iets drukken waar ik weinig van af weet. Het resultaat van dit onderzoek heb ik samengebracht in een rijk geïllustreerd ‘Hindoe inspiratieboek’, dat Jeanne vervolgens gebruikte bij haar lobby voor het project. Op basis van de onderzoeksresultaten heb ik een aantal ontwerpen gemaakt die ik in de tweede fase getest heb op haalbaarheid. Maar toen we eenmaal met de goedgekeurde concepten een samenwerkingsverband wilden aangaan, bleek dit moeilijker dan gedacht.

De kledingwinkel was van eigenaar veranderd. Deze was niet geïnteresseerd in mijn sari en ook niet in het model Freehouse. Een poging met een andere ondernemer liep op niets uit. Jeanne had inmiddels van diversen mondeling toezegging gekregen om Freehouse vaste grond te geven, maar niets stond nog zwart op wit. T Toen kwam Pim Fortuyn en de crash in New York Y op 9/11, waarna er een nieuwe wind begon te waaien in de politiek. Niemand wilde meer iets toezeggen. Het project konden we voorlopig wel op onze buik schrijven.” Eenvoud en comfort Vanaf 2007 start Freehouse in Rotterdam-Zuid en werkt onder meer samen met Kosmopolis om de Afrikaandermarkt op een hoger plan te brengen. Jeanne vraagt Cindy om de draad weer op te pakken. Ze maakt een serie producten met gekleurde en geborduurde stoffen van met name Pakistaanse handelaren op de Afrikaandermarkt. En niet alleen kledingstukken, maar ook accessoires als bolero’s, blouses en tassen. Van den Bremen: “Gedurende de eerste maanden hebben we een inventarisatie gemaakt van de wijk: waar worden stoffen verkocht en welke handen naaiateliers zijn er? Ik wilde vooral een product ontwerpen dat uitblonk in eenvoud en comfort. Het moest niet te uitbundig zijn, vooral ‘gewoon’. Ook wilde ik geen modeontwerper zijn. Productontwikkelaar is namelijk mijn vak”. Suit It You Y rself Sari Cindy deed opnieuw onderzoek. Dit keer naar de wijze waarop kledingstukken worden gedragen in de diverse culturen die in de wijk vertegenwoordigd zijn. Dit resulteerde in de Suit It You Y rself Sari: twee losse lappen met inkeping waarmee oneindig veel variaties op gemaakt kan worden: van broek, bolero tot tas. “Ik wilde iets ontwerpen dat voor iedereen te maken en te dragen is en daarmee een zo’n breed mogelijk publiek bereiken. De Suit It You Y rself Sari kan feestelijk worden gebruikt, verleidelijk in de vorm van topje of jurk, maar ook als verhullende strandkleding of als tulband”. Behalve een kant-en-klare SIYY Sari stond Cindy ook op Y-

Onderlinge strijd “In het begin bezocht ik wekelijks de markt en ging in gesprek met de marktkoopmannen om te inventariseren wat er speelde en te lobbyen voor het project De Markt van Morgen. Zo bouwde ik een relatie op met deze kooplui. Ik kocht meteen ook divers (rest)materiaal in en heb handvatten laten maken voor tassen in Pakistan. De samenwerking verliep goed maar afspraken maken was er niet bij. Ook mondeling gemaakte afspraken worden veelal niet nagekomen of pas veel later dan beloofd. Ze leven van dag tot dag. Zo heeft Freehouse met vrij ingrijpende interventies marktkramen volledig gerestyled. Het bracht de omzet enorm om hoog, maar vervolgens neemt niemand iets van de styling over. Wat ik ook merkte is dat er veel onderlinge strijd is en jaloezie. Een Freehouse-catwalk op de markt mondde uit in ruzie: kooplui die vonden dat ze daardoor minder omzet draaide”. Samenwerking “Voor V Voor het maken van mijn ontwerpen voor het Suit It Y rself-project heb ik nauw samengewerkt met drie You naaigroepen: Koçatepe Moskee, Buurthuis de Arend en Stichting Pameijer. Met name in de moskee bleken veel naaigroepen te zijn. Ik sloot me bij hen aan, dronk thee en sprak met hen over van alles en nog wat. Op een gegeven moment kwam mijn Suit It You Y rself-project ter sprake. Ik heb ontwerpen mee genomen en toen zijn we met z’n allen aan de slag gegaan om de kleding en accessoires te maken. Gedurende deze naaisessies kom je van alles te weten over de gemeenschap waarin de vrouwen leven en de sociale druk die daar vanuit gaat. Zo nodigde ik vaak vrouwen uit om samen met mij op de markt te komen staan, maar dat bleek weer de jaloezie van andere vrouwen of hun echtgenoot op te roepen. Het duurt een tijd voor je het vertrouwen van de hele gemeenschap hebt.” Hoewel de naaigroepen grotendeels onder Cindys leiding vielen, hoopte ze dat de vrouwen na een

lange opstartfase zelfstandig verder konden werken. Aanvankelijk was dat ook zo, maar de motivatie en opkomst namen af. “Deels heb ik dit willen oplossen door vakbekwame mensen uit de wijk in te zetten, maar daar was de continuïteit helaas ook niet van gegarandeerd. Er moest echt wekelijks iemand zijn die de verantwoordelijkheid op zich nam om te zorgen voor materiaal en patronen en de kwaliteitscontrole bewaakte. In de praktijk kwam deze verantwoordelijkheid op mij neer”. Ontstaan Wijkatelier “De bedoeling van Freehouse is om het cultureel ondernemerschap een boost te geven. Mijn SIYY Yproducten zijn dan ook tot stand gekomen in samenwerking met de plaatselijke stoffenhandelaren, naaigroepen en –ateliers. Het was de bedoeling dat de stoffenhandelaren op de markt de SIY-p Y roducten Y-p zouden verkopen als aanvulling op hun gebruikelijke collectie. Ook liet het anderen zien wat je met hun mooie stoffen allemaal kunt maken. Maar dit kon niet doorgaan. V gens de marktregels mag een stoffenhandelaar alleen Vol stoffen verkopen en bijvoorbeeld geen tassen. Toen T ben ik met een eigen SIY-kraam op de markt gaan staan, voorzien van zij- en achterflappen, foto’s en een SIYY Ylogo. Ik kreeg geen verkoopvergunning, dus mijn kraam diende vooral als showroom. Ik liet de vrouwen zien hoe van de sari ook een broek, blouse of jurk gemaakt kon worden. Stoffen waren bij de prijs inbegrepen. Deze konden ze uitzoeken bij de marktkooplui met wie ik een samenwerkingsverband was aangegaan. Uiteindelijk wilden we de sociale en economische positie van vrouwen uit de wijk verbeteren. Farida, de hoofdcoupeuze van het Wijkatelier, is daar een goed voorbeeld van. Ik ontmoette haar bij één van de handwerkgroepen. Zij bleek officiële papieren te hebben en ook nog eens een natuurlijk talent voor ontwerpen. Dankzij Freehouse runt ze nu een Wijkatelier, en mét succes”.

SUIT IT YOURSELF

de markt met een kant-en-klaar SIY-pakket met patroon, werkbeschrijving en een ideeënboek, en een (mobiele) 1 uur service waarmee op bestelling SIY sari’s gemaakt konden worden in samenwerking met locale naaiateliers. “Hier is maar één keer gebruik van gemaakt, terwijl ik wel iedere week trouw op de markt stond met die naaimachine. Grappig was dat ik wel voortdurend van ‘de mannen’ de vraag kreeg hoeveel de naaimachine kostte”

Artikel uit de Trouw: T ‘Met sporthoofddoek kan vrouw zich ontwikkelen’ Interview Cindy van den Bremen 07-07-2012 INTERVIEW | Ze is ‘trots en blij dat dit gelukt is’. Ontwerpster Cindy van den Bremen uit Eindhoven doelt op het besluit van de wereldvoetbalbond Fifa donderdag dat vrouwelijke voetballers een hoofddoekje mogen dragen. Van den Bremen, die met haar bedrijf Capsters al jaren hoofddoeken maakt voor vrouwelijke sporters, heeft zich een jaar lang beijverd om de bond zo ver te krijgen. Ze ontwierp een sporthoofddoek die de Fifa nu heeft goedgekeurd. Lange weg Het was een lange weg, vertelt Van den Bremen. Via de Nederlandse trainster van het Jordaanse vrouwenvoetbalteam, Hesterine de Reus, kwam Van den Bremen vorig jaar in contact met de Jordaanse prins Ali Bin al Hoessein, vicevoorzitter Fifa Azië. “Die wil het Aziatische vrouwenvoetbal naar een hoger plan tillen. Maar het hoofddoekverbod zat daarbij in de weg. “ Een hoofddoek op het voetbalveld, oordeelde Ifab, het beslissingsorgaan achter de Fifa, zou gevaarlijk zijn omdat die de vrouwen zou kunnen verstikken. Dus werden vrouwen die toch met een hoofddoekje het veld betraden, consequent gediskwalificeerd. Dat lot trof ook de Iraanse vrouwen tijdens hun kwalificatiewedstrijd voor de Olympische Spelen tegen Jordanië, november vorig jaar. Ramp “Dat was een ramp”, herinnert Van den Bremen zich. “De meiden hingen huilend op de vlag. Moet je je voorstellen: ze komen uit een land waar allerlei restricties gelden, ze moeten heel hard vechten om te kunnen sporten, laat

staan topsporten, en dan worden ze op het voetbalveld tegengewerkt door de Fifa.” Het was vervolgens Ali Bin al Hoessein die de door Van den Bremen ontworpen sporthoofddoek introduceerde bij de Ifab. Haar doek ‘ademt’ en is dus ook geschikt om te dragen bij hogere temperaturen, en zit bovendien vast met klittenband, waardoor hij snel afgaat. Van den Bremen wist de medische commissie van de Fifa uiteindelijk te overtuigen van de veiligheid van haar ontwerp. Betaalde profs “Het gaat me niet alleen om het commercieel belang. Dit onderwerp gaat me erg aan het hart. Ik ben geen voor- of tegenstander van de hoofddoek. Ik ben voor een vrije keuze. Het is een recht van de vrouw zelf. Ik vind het zeer kwalijk dat sommige landen, zoals Iran en Saoedi-Arabië vrouwen dwingen een hoofddoek te dragen.” Maar datzelfde Iran heeft wel een professioneel vrouwenvoetbalteam, net als Jordanië, merkt ze op. “Jordanië loopt voorop in de regio, daar zijn de vrouwen betaalde profs. In Nederland zijn de voetbalvrouwen amateur en is het heel moeilijk om sponsors te vinden.” Deze mijlpaal is vooral belangrijk voor de voetballende moslimvrouwen zelf, stelt Van den Bremen vast. “Ook voor de vrouwen die verplicht worden om een hoofddoek te dragen, geldt dat ze zich door hun topsport kunnen ontwikkelen als prof en dat ze later in staat zijn zelf hun eigen keuzes te maken. Ze zijn een rolmodel in hun eigen land.” En hoe nu verder? “Er komt een testfase waarin onze hoofddoeken mogen worden gebruikt op het voetbalveld. In oktober volgt een bijeenkomst waarin gesproken wordt over het ontwerp, materiaal en de kleuren. Voorjaar V 2014 beslist de Ifab definitief over het hoofddoekverbod.”

Auteur: Sytske van Aalsem in: Tr T ouw 07-07-2012

Het gevoel dat je mensen iets kunt leren door kennisoverdracht 5.2 Interview Farida Moultmar — hoofdcoupeuse Wijkatelier op Zuid “Cindy van Bremen gaf in de moskee naailes aan locale mensen in verband met haar project Suit It Yourself voor Freehouse. Ik gaf op dat moment naailes in één van de buurthuizen. Als zij niet kon, verving ik haar. Zo raakte ik bij Freehouse betrokken. Mode zit in mijn familie. Ik ben een derde generatie coupeuse. Mijn opa maakte uniformen voor het leger en mijn moeder en zus kaftans. Ik merk aan mijn dochter dat zij ook passie voor mode heeft. Het mode-bloed kruipt waar het niet gaan kan. Een kaftan kun je zien als een lege canvas die nog beschilderd moet worden. De persoonlijkheid van degene voor wie je het maakt is heel belangrijk. De één prefereert strak, de ander kort of zonder franje.”

“Mijn familie wilde liever dat ik in een ziekenhuis of bij een apotheek ging werken, maar dat wilde ik niet. Ik wilde naaien, net als mijn moeder. Maar ik wilde daarvoor wél een diploma halen. Ik woonde destijds in Brussel en heb daar de papieren gehaald. Het was een opleiding van A tot Z, waarvan ik in het Wijkatelier nog steeds plezier heb. In het Wijkatelier werk ik met één kerngroep van vijf á zes vrouwen. Ik weet van hen dat ze net zo perfectionistisch zijn als ik. Ik bel ze op als we een belangrijke klus hebben. Ze hebben aan één woord genoeg en weten wat er van hen wordt verwacht. Als een ontwerper komt in het atelier met een opdracht, koppel ik hem of haar aan een van deze naaisters die voor die opdracht het meest geschikt is. De ontwerper moet zien dat zijn opdracht wordt uitgevoerd én dat het naar een hoger plan is gebracht. We willen als atelier meerwaarde bieden aan ontwerpen, zodat de klant er rijker van wordt.”

Vakmanschap “Ik heb een coupeuse opleiding gevolgd in tegenstelling tot mijn medewerkers. Maar dat maakt me niet vakbekwamer. Er zijn vrouwen die beter kunnen naaien dan ik. Daarentegen komen hier studenten die wel kunnen ontwerpen, maar niet weten hoe je een zak

op een jas moet naaien. Dat is een gemis. Tussen de bedrijven door geef ik naailes aan vrouwen en studenten die zich erin willen bekwamen. De kaftancursus is het populairst. Ik heb zelfs cursisten uit Den Haag en Utrecht! Fairouz is bijvoorbeeld een cursist van mij, die nu bezig is met een kaftan”. Fairouz: “De cursus is puur een hobby van mij, Farida heeft me geleerd hoe het moet. Ik vind dat deze cursus echt nooit mag eindigen. Dankzij de lessen kan ik nu zelf naar de markt gaan, stoffen kopen en kleding maken. Dit is een wijk waar niet iedereen het heel breed heeft. Daarom is het erg belangrijk dat een dergelijke laagdrempelige cursus blijft bestaan”. “Ik begeleid eigenlijk uiteenlopende projecten, waarbij het doel altijd ‘vakmanschap’ is. De aanwezige kwaliteiten van de medewerkers in het naaiatelier worden gekoppeld aan de opdrachtgevers. Het is een compliment als afgestuurde ontwerpers aan de Willem de Koning Academie terugkomen om hun collectie hier te laten naaien. We werken samen met de stoffenhandelaar van de markt en de kleermaker van hiernaast. Zij zijn geen concurrenten van ons. Naast het atelier bevindt zicht de Wijkwinkel waar je allerlei kledingstukken van ontwerpers vindt uit de omgeving, waaronder betaalbare en draagbare jurkjes van de Rotterdamse ontwerper Michael van der Meide. Die waren in een mum van tijd uitverkocht. Steeds vult hij het rek weer aan; ze blijven in trek. Behalve mode vind je in de winkel ook kledingstukken die buurtbewoners gemaakt hebben. Als de winkel straks van mij wordt, wil ik die ‘buurtetalage’ eruit hebben. Ik zou enkel kiezen voor draagbare en betaalbare kleding alla Van der Meide.”

Verbinding is een meerwaarde voor de wijk “Het belangrijkste vind ik het gevoel dat je mensen iets kunt leren door kennisoverdracht. En dat niet alleen. Vrouwen leren door het Wijkatelier zelfstandig te worden en uit hun isolement te breken. Velen zitten 24 uur per dag thuis met man en kinderen. Zo zat ik er in eerste instantie ook bij. Het idee dat ik voor niets had gestudeerd, beviel me niet. Ik wilde wat met mijn studie gaan doen en dat is ook gezond. De deuren van het wijkatelier staan altijd open en er hangt een prettige sfeer. Mensen voelen zich snel welkom en op hun gemak. Maken dan ook graag even een praatje. Dit is een meerwaarde voor de wijk; het bindt mensen met elkaar. Veel vrouwen hebben een kleine sociale kring, maar door het werk in het atelier leren ze meer mensen

kennen. Zo worden ze onderdeel van de gemeenschap en bouwen ze een netwerk op. Het werk in het Wijkatelier geeft de vrouwen zelfvertrouwen, waardoor ze ook meer gaan stralen. Want veel vrouwen die thuis zitten zijn depressief. Ze zijn teveel alleen en zitten teveel in hun cocon. Het is daarom belangrijk dat ze uit hun isolement komen.

“Ik zou graag willen dat het wijkatelier meer bekendheid krijgt. Dat we zichtbaarder worden, niet alleen binnen de wijk maar ook daarbuiten. In de zomer van 2012 heb ik een modeshow gegeven met kleding die iets vertelt over onze identiteit. Alle vrouwen uit het Wijkatelier hebben meegeholpen en ik gaf ze naailes ervoor terug. Mijn droom is om een eigen atelier te beginnen. Het is de bedoeling dat dit atelier verzelfstandigt en ik er de eigenaar van wordt. Het concept blijft hetzelfde. Samen met Freehouse doorloop ik de stappen om de verzelfstandiging te realiseren. Ik beschouw het als risicovol, met name als het gaat om financiën. Ik wil geen problemen of te veel zorgen erover hebben. Stel dat een belangrijke klant wegvalt: wat dan?”

Met talentvolle mensen uit de wijk samenwerken

Marga Weimans modeontwerpster, ontwerpster Wonderland 2009 Marga Weimans is een Rotterdamse modeontwerpster met ambitie. Haar atelier is gevestigd in de buurt van de Afrikaanderwijk. Voor haar collectie hoefde ze maar uit het raam te kijken. “Ik zie een realistische wereld, waarin ik als ontwerper werk, maar ik kan ook een fantasiewereld oproepen. Die contrasten wilde ik in Wonderland 2009 naast elkaar zetten en daarmee lelijkheid veranderen in hallucinerende schoonheid”. Zo gebruikte ze de grauwe flatgebouwen ter inspiratie voor surrealistische jurken met grijze fotoprints van flats. “Waardeloze prullen” van de markt, liet ze met hulp van onderzoeksinstituut TNO inscannen en vergroten, waardoor ze veranderden in sprookjesjurken met onder meer gouden bloemornamenten. Freehouse gaf Weimans in 2008 de opdracht om een draagbare collectie te maken die verkocht kon worden op de Afrikaandermarkt. De collectie moest tot stand komen in samenwerking met de locale bevolking. “Draagbaar druist in tegen mijn werkwijze. Ik wil vooral kunstwerken van kleding maken. Ik heb bewust gekozen voor de Academie voor Schone Kunsten in Antwerpen om kunst en mode met elkaar te kunnen verenigen. Zo kan ik vrij zijn in mijn ontwerp en hoef ik niet na te denken over het praktisch nut. Met Freehouse heb ik daarom afgesproken om de collectie breed uit te werken.” Wonderland bestaat uit een high end, gericht op haute couture en een low end gericht op onder meer verkoop in de wijk. Marga Weimans for Freehouse Het onderdeel dat Weimans speciaal voor Freehouse ontwikkelde kreeg de naam ‘Marga Weimans for Freehouse’, waarvoor ze in de wijk verkrijgbare materialen gebruikte. Voor de hele collectie werkte ze samen met locale naai-en handwerkgroepen waarmee Van den Bremen voor haar project Suit it Yourself al contact had gelegd. “Tot nu toe werkte ik samen met bekende ateliers in Amsterdam. Het was een verrassing dat in mijn eigen buurt ook mensen zitten die graag

willen meewerken en dat nog kunnen ook!” Ze moet bekennen dat ze bevooroordeeld was. Weimans dacht dat vrouwen uit Rotterdam-Zuid traditioneel waren en haute couture beschouwden als een soort gekte. “De naaivrouwen stonden heel open voor nieuwe ontwerpen en materialen. Ik wil met talentvolle mensen uit de ploeg in de toekomst blijven samenwerken.” Flatgebouwjurk Marga koos als materiaal voor de draagbare low end van Wonderland voor T-shirts en pantalons. De T-shirts kocht ze op de markt en transformeerde deze met behulp van zeefdrukken tot nieuw design. Bij het Broekenpaleis aan de Pretorialaan werden herenpantalons in extreem grote maten ingekocht. Daarvan maakte ze jurkjes met oude broekzakken als armgat. Voor de haute couture vond Weimans inspiratie pal voor de deur: het appartementencomplex uit de jaren 50 waar ze vanuit haar atelier op uitkijkt. Een foto ervan printte ze op stof waarvan ze een flatgebouwjurk maakte. “Deze jurk heb ik gebruikt voor Freehouse omdat deze past bij zijn filosofie. Freehouse wil (ook) van een grauwe, lege wijk iets leefbaars maken.” Emancipatieslag De collectie Wonderland 2009 is gebaseerd "#! en ontstaan in de Afrikaanderwijk. Er zijn elementen uit de wijk terug te vinden zoals typische architectonische structuren, maar ook beeldfragmenten ontleend aan kenmerkende interieurs, traditionele decoraties en op de Afrikaandermarkt verkrijgbare sieraden en stoffen. De collectie is gemaakt in samenwerking met locale naaiateliers waaronder het Wijkatelier. Met haar collectie keert Marga de wijk binnenstebuiten door de verborgen schoonheid en visuele rijkdom, die achter de grauwe façades schuilt, zichtbaar te maken. “De Afrikaanderwijk is redelijk arm. Het is steeds weer de uitdaging hoe je mensen uit de wijk warm krijgt voor het project, zodat ze met enthousiasme zaken eens anders aanpakken. Dat moslimvrouwen actief aan de maatschappij gaan deelnemen en niet meer passief thuis zitten, waardoor er een emancipatieslag plaatsvindt.”

MARKET INTERVENTION - ALEXANDRE

5.3 Interview

COÃ&#x2013;PERATIEVE WERKPLEKKEN: Wijkkeuken van Zuid

Van restmaterialen duurzame producten maken 5.4 Interview Debra Solomon – kunstenaar, oprichter van URBANIAHOEVE, ontwikkelaar Lucky Mi Fortune Cooking

WIJKKEUKEN

DE WIJKKE UKE N VAN ZUI D De smaak van de Afrikaanderwijk Begin mei 2010 opende ‘De Wijkkeuken van Zuid’ haar deuren in ‘t Gemaal aan de Pretorialaan. Sindsdien is daar elke woensdag en zaterdag het marktterras met heerlijke gezonde en betaalbare maaltijden bereid door talentvolle lokale koks. De ingrediënten komen van de Afrikaandermarkt. Naast het marktterras verzorgt De Wijkkeuken caterings en workshops. De bijbehorende mobiele keuken, De Lucky Mi bus is regelmatig op verschillende locaties binnen en buiten de wijk te vinden als culinaire ambassade van de Afrikaanderwijk. Lokale koks en producten Alle gerechten worden gemaakt met ingrediënten van de Afrikaandermarkt. In de keuken koken afwisselend

getalenteerde buurtbewoners met een passie voor koken. De Wijkkeuken stimuleert hen om hier hun beroep van te maken. De grote culturele diversiteit van de koks zorgt ervoor dat De Wijkkeuken van alle smaken thuis is. Het productassortiment omvat onder meer gesuikerde walnoten, siropen, jams, compotes, cakes en diverse chutneys. De producten worden verkocht in de Wijkkeuken in ’t Gemaal, de Warmoesmarkt op Katendrecht, de Wijkwinkel en op verschillende culinaire festivals. Ze kunnen los gekocht worden (per potje, flesje of doosje), maar ook als compleet pakket in de vorm van relatiegeschenk of kerstpakket.

De Wijkkeuken van Zuid was een project van Freehouse en Kosmopolis Rotterdam en is opgestart in samenwerking met Harmen en Hendrikus Sliep. Het is voortgekomen uit het project Lucky Mi Fortune Cooking van Debra Solomon. Inmiddels is de Wijkkeuken van Zuid al een aantal jaar een zelfstandige stichting die wordt gerund door chef-kok Aicha El-fassi.

www.wijkkeukenvanzuid.nl

Debra Solomon, multimediakunstenaar en schrijver van het culiblog.org, werd eerst door Freehouse benaderd om als sous-chef mee te doen aan de pilot met als werktitel Chinese Urban Cuisine. “Jeanne benaderde me destijds vanwege mijn culiblog, waarop ik sinds 2004 onafhankelijk onderzoek plaats over voedsel, voedselcultuur en voedselstromen. Gedurende dit project heb ik de behoeftes en mogelijkheden onderzocht van de Chinese horeca in Rotterdam en Amsterdam”. Het project kreeg vanaf 2008 een nieuw gezicht toen Freehouse zich ging toespitsen op de Afrikaanderwijk. Onder de nieuwe naam Lucky Mi Fortune Cooking ontwierp Debra een Afrikaanderwijkvoedsellijn, waarbij ze gebruik maakte van fruit- en groenteoverschotten op de markt. Samen met locale ondernemers resulteerde dit in duurzame producten als siropen, jams, pickels en soepen. “Aan het einde van een marktdag ging ik bij de groente- en fruitkramen langs om onverkochte waren op te halen. Deze verwerkte ik in chutneys en andere conserven, die ik vervolgens weer op de markt verkocht. Het idee was marktkooplui laten zien hoe zij met overschotten om kunnen gaan. Ze verbreden hun aanbod met de geweckte producten en voorkomen verspilling. Hun koopwaar wordt zo optimaal benut”. “Ik kom oorspronkelijk uit Californië, waar we thuis ons eigen voedsel verbouwden. Toen ik op mijn twintigste naar Nederland kwam, verbaasde ik me erover dat men voor basisingrediënten als groente en fruit naar de supermarkt ging. Ik koos tijdens mijn studie aan de Design Academy voor een alternatief op Fooddesign Corporate Catering, In plaats van catering oriënteerde ik me op de voedselflows, verspilling, recycling. Dit bleek

perfect te passen in het plaatje van Freehouse.” Recycle restaurant “Gedurende het project kwam ik op het idee om een ‘recycle restaurant’ te beginnen. Op de Afrikaandermarkt wordt veel verspild. Het is een typische markt waar je veel voor weinig kan kopen en dan ook nog de meest exotische producten. De producten komen allemaal van ver, waarbij de echte prijs van zaad tot vrucht, inclusief verbouwing, vervoer en mankracht, absoluut niet in verhouding staat tot de prijs waarmee de vrucht op de markt wordt verkocht. Op de markt kun je bijvoorbeeld 5 kilo appels voor een euro krijgen. Denk eens na hoeveel dit in werkelijkheid heeft gekost! Ik kreeg toen het verlangen om gratis voedsel te produceren. Alle mensen die op een of andere wijze deelnamen aan de Lucky Mi Wijkkeuken, van voedselondernemers, vrouwengroepen, kinderen tot marktverkopers, mochten de daaruit voortvloeiende producten gebruiken of verkopen naar eigen wens.” Lucky Mi Bus Lucky Mi Fortune Cooking werd een culinair project waar met betrokkenheid uit de wijk optimaal gebruik werd gemaakt van locale voedselstroom, expertise en faciliteiten. Want bij iedere schakel van de voedselketen gaat voedsel verloren: bij de oogst, distributie en verpakking, in de keuken en op het bord. Debra heeft gebruik gemaakt van de kennis en kunde uit de wijk om bijzondere producten te maken. Ze maakte daarvoor gebruik van professionele keukens uit de wijk die op gezette tijd niet werden benut. Het idee achter dit concept was om horecaondernemers en voedseldetailhandelaren uit de Afrikaanderwijk een extra markt te bieden. “2012 Architecten hadden voor het project een Lucky Mi Wagen ontworpen in de vorm van een bus. Een enorm ding dat de helft van de tijd niet deed wat ‘ie moest doen. Een absolute pain in the ass. Beschouw de bus als een stomme keuze, waar ik ook nooit een voorstander van ben geweest. Mijn advies is ‘houd het klein’; een trolley car of een bakfiets werken veel beter”.

Debra vindt eten op straat ook een mooie uiting van cultuur; samen etend wordt iedereen gelijk. Met Fushion Cooking wilde ze een soort ‘culinaire ambassade’ creëren. Voor de ingrediënten en eindproducten heeft Debra een Irakese supermarkt, een Marokkaanse slagerij, de snackbar van de Vietnamese Le Thie en een Chinees benaderd. Met het idee om ondernemers te inspireren met nieuwe bereidingen en methoden die ze ontleent aan fushion cooking. Fushion cooking biedt volgens de Leuvense onderzoekster Ching Lin Pang veel voordelen. Wederzijdse beïnvloeding zorgt dat vreemde dingen vanzelf als eigen worden beschouwd. Zo is de fortune cookie een Japanse uitvinding maar China heeft het groot gemaakt. Lin Pang schreef tien jaar geleden een brochure over Chinatown in Antwerpen en het belang van eten in de Chinese cultuur. Ze doet ondermeer onderzoek naar migrantengroepen en hun identiteit en transnationaal ondernemerschap. Anders dan normaal “De samenwerking tussen kunstenaars en buurtbewoners is eigenlijk ongelijkwaardig. Wij bedenken een project vanuit een bepaalde utopie en schakelen hen daarvoor in. Ik hoef niet te leven van de opbrengsten van de pickles, siropen en andere conserven die ik samen met de wijkbewoners maak. Zij daarentegen leven van de opbrengst. De alternatieve voedsellijn die ik heb ontworpen druist ook in tegen hun eigen gewoontes en tradities. Ik laat hen enkel zien hoe het anders kan, maar schrijf het niet voor. Ik kom zelf uit een immigrantenfamilie. Aan ons hoefde je ook niet te vertellen ‘ga dit of dat eens proberen.” “Ik vind dat de markt door Freehouse echt een boost heeft gekregen. Er worden nu nieuwe bijzondere producten verkocht. Kan verder niet beoordelen hoe blijvend het resultaat is. De Wijkkeuken is min of meer een vervolg op Lucky Mi Fortune Cooking, hoewel ik heel belangrijk vind dat alles voor iedereen is. Zo ben ik ook opgegroeid. Iedereen die aan Lucky Mi Fortune Cooking meedeed, mocht gratis van de producten gebruik maken.“ “Als ik mensen op de markt vroeg om wat te proeven, waren ze vaak heel huiverig. Ik herinner me een Turkse

vrouw die reageerde alsof ik haar wilde vergiftigen. Het duurde best lang voor ik het vertrouwen van mensen had gewonnen. Soms kwam dat door mijn eigen gebrek aan kennis. Zo had ik eens blauwebessenjam gemaakt, waarvan islamitische mannen niet wilden proeven. Ze waren namelijk bang dat het niet halal hou zijn; dat ik misschien menstrueerde tijdens de bereiding. Ik heb daarna nadrukkelijk op het etiket ‘rein’ gezet.” Wijkkeuken van Zuid Vanaf 2010 is het concept van Debra overgegaan in een duurzaam project: de Wijkkeuken op Zuid. Het doel van Debra bleef daarin overeind: samen met deelnemers uit de wijk duurzame producten maken uit overschotten van de markt en andere bedrijven. De Wijkkeuken gaat gepaard met een educatief programma waarin wijkbewoners alias deelnemers bij het koken professionele begeleiding krijgen – in eerste instantie door het kunstenaarsduo Harmon en Hendriekus Sliep. “Over de Wijkkeuken op Zuid heb ik ambivalente gevoelens. Buurtbewoners willen vooral van eigen ‘volk’ kopen en niet via iets ‘van buiten’. Maar over het geheel ben ik tevreden over Freehouse en de manier waarop ze een gebied wil vernieuwen. Het kost wel veel tijd. Er moet een cultuurverschuiving plaatsvinden. In de Afrikaanderwijk wonen veel eerste generatie immigranten. Zij hebben veiligheid en weerklank nodig bij gelijkgestemden omdat ze in een kwetsbare situatie zitten. Je moet daar geen risicovolle projecten aangaan. Freehouse wil door ondernemers tijdelijk samen te laten werken met kunstenaars, laten zien hoe sommige zaken ook anders aangepakt kunnen worden. Het gaat altijd om een kleine verandering in aanbod of vorm, waardoor het aanbod net iets gevarieerder wordt en de omzet hoger”.

OVERVIEW AFRIKAANDERMARKT

Straatvoedsel Debra kwam op het idee tot deze zogenaamde ‘street food design’ tijdens één van haar reizen door Azië, waar veel voedsel op straat wordt bereid en gegeten. Ze bewonderde de enorme vindingrijkheid van de straatkoks, die de meest uiteenlopende snacks en gerechten bereidden. Ook viel het Debra op hoe duurzaam er met de ingrediënten wordt omgegaan. Alles wordt gebruikt, niets weggegooid. “Een belangrijk detail, omdat veertig procent van al het voedsel verloren gaat in de keten van oogst tot consumptie. Wat in restaurants en op de markt niet meer bruikbaar is, wordt door straatverkopers verwerkt in allerlei gerechten, bijvoorbeeld door van gefermenteerde groenten gebruik te maken.”

Ik ben kunstenaar, het product is het resul taat van mijn werk 5.5 Interview Harmen Sliep coördina dinator De Wijkkeuken van Zuid Genieten van lokale producten en gerechten In 2010 is de Wijkkeuken van Zuid van start gegaan, als project van Freehouse en Kosmopolis Rotterdam. De locatie grenst aan de markt. Het terras is gedurende de zomermaanden iedere marktdag (woensdag en zaterdag) geopend. Mensen kunnen er iets gezonds en betaalbaars eten, bereid van locale producten door mensen uit de wijk. De gebroeders Harmen en Hendrikus Sliep zijn destijds gevraagd om de Wijkkeuken op te starten en bekendheid te geven. “Mijn broer werkte destijds voor stichting Van Harte als professionele kok. Hij runde het restaurant Van Harte in de Afrikaanderwijk. Mensen uit de buurt konden er voor weinig geld een gezonde maaltijd krijgen. Via mijn broer kwam ik in contact met Jeanne van Heeswijk. In eerste instantie heb ik een soort businessplan ontwikkeld voor een de Warmoestraat in Katendrecht. Zodoende ben ik ook gevraagd om mee te werken aan de ontwikkeling van de Wijkkeuken. Ik heb het terras ontworpen en samen met mijn broer hebben we de catering opgezet. De Wijkkeuken was met name een wens van stichting Kosmopolis om de markt via catering zichtbaarder te maken. Maar niet alleen Kosmopolis is bij de Wijkkeuken betrokken, ook het Centrum voor Beeldende Kunst, Museum Rotterdam, de eigenaars van ’t Gemaal en Freehouse”.

Salomon tijdens de Markt van Morgen voor moest leuren. We hielden van een laagdrempelige benadering: iedereen was welkom voor een bakje koffie of thee en een praatje. We hoorden alles van wat er zich op de markt afspeelde. Over toiletgebruik deden we niet moeilijk. En zwervers konden aankloppen voor een bord eten. Maar Kosmopolis en consorten waren niet blij met deze laagdrempeligheid, omdat ’t Gemaal nu eenmaal meer is dan alleen de Wijkkeuken. Jammer.” Een totaalpakket“Hendriekus en ik werkten met een soort totaal pakket om mensen met een goed en tevreden gevoel naar huis te laten gaan. In het kader van klant is koning, zorgde ik dat ieders wens of verzoek werd vervuld. Als mensen bij de hapjes thee wilden, dan zorgde ik daarvoor. Kunt u ook bloemen verzorgen? Ja, hoor, geen probleem. Iets leuks doen met de jarige? Ik regelde een picknick in het park. Mensen kregen zo net iets extra’s of bijzonders wat maakte dat ze je niet snel zouden vergeten. Kortom: de Wijkkeuken kreeg goede PR en de klant een goed gevoel.” “Ik ben kunstenaar. Het product is het resultaat van mijn werk; dat moet dus goed zijn. De catering beschouwde ik ook als één van mijn producten, waardoor ik erg kritisch was. Ze noemden me vaak een zeurpiet. Elk bord dat de deur uitging controleerde ik op smaak. Klonten in de soep? Dan moest de soep teruggenomen worden. Ik wilde geen uitgesproken Tur T kse smaken, omdat niet iedere afnemer van Tur T ks eten houdt. En ik lette erg op de presentatie. ’s Avonds laat naaide ik thuis nog wat tafelkleedjes. Broodjes lagen in een mandje. Hoe mooier de presentatie van het product des te waardevoller wordt het ervaren”.

De Wijkkeuken is gevestigd in het Gemaal dat vlakbij de markt ligt. In ’t Gemaal worden regelmatig presentaties, workshops en tentoonstellingen gehouden. Tijdens marktdagen kunnen mensen buiten zitten of binnenlopen en genieten van lokale producten en gerechten. Harmen: “Hendriekus – mijn tweelingbroer - en ik hebben veel dingen uitgeprobeerd om een betaalbare en lekkere menukaart samen te stellen. Hij stond in de keuken en ik deed het regelwerk als boodschappen, planningen maken, vergaderingen bezoeken en zo meer. We vulden elkaar perfect aan.”

Lastig voor een creatief ondernemer “Bij het samenstellen van de menukaart betrokken we soms de mensen in de keuken, niet altijd. We hebben gezorgd voor typische (Tur (T kse) gerechten. En we hebben een keer een harirasoep-wedstrijd gehouden tussen mijn broer en de vrouwen die in de keuken hielpen. Maar ik dacht ook commercieel. Zo bleek de Tur T kse Ista Köfte gretig aftrek te hebben. Ik heb de vrouwen gevraagd om hier varianten op te maken, zodat de klant meer keus zou hebben. Dit riep weerstand op. Ze zijn traditioneel: zo hoort het en niet anders. Maar uiteindelijk hebben we een vegetarische variant erop gemaakt, waarmee we een grotere markt konden bedienen”.

“Mijn broer is aards, sociaal. Hij maakte altijd praatjes met de marktkooplui en zorgde op die manier voor contacten. Op een gegeven moment kwamen ze zelf overgebleven voedsel bij ons brengen, waar Debra

“Ik wilde op een gegeven moment inspelen op het Tur T kse sentiment door het hek rondom de Wijkkeuken vol te hangen met Tur T kse vlaggetjes. De vrouwen hadden uiteraard Tur T ks gekookt. Met wat flyers wisten we veel

mensen naar de keuken en te krij krijg gen. Ik heb tegen de vrouwen ge ezegd dat wij de produc oductten betalen maar oduc de winst voor oor hen is. De deal was dat zij de volgende keer de produc oducten zouden ouden halen en uiteraard was dan wederom om de win winst voor hen. Zo stimuleerde ik het ondernemersscha onderneme chap cha p. Maar het bleef bij deze ene keer. De vlag vlaggetjes mo moes estten weg. De Wijkkeuken is in handen van mee meerderre partijen, die allemaal een andere agenda hebben. La Lasstig voor een creatief ondernemer alias kunsstenaar als ik kun ik.” ’t Komt goed, daar zorg rrg ik voor “Bij het runnen van een toko is continuïteit heel belangrijk. Mensen naar de Wijkkeuken trekken is één, maar ze houden is twee. We waren altijd bereikbaar, ook als de Wijkkeuken gesloten was. We hielden ons strak aan de afspraken; belden mensen terug en gaven onze klanten een gevoel van veiligheid: ’t komt goed, daar zorg ik voor. Zo hebben we in een korte tijd veel klandizie gekregen en de Wijkkeuken naamsbekendheid.” “We hebben veel gebruik gemaakt van de Lucky Mi Bus. We hebben zeker twintig festivals aangedaan, maar die bus was echt ‘hel’. Hij startte vaak niet en de deur ging vaak niet dicht. We raakte ook een keer verstrikt in de modder. De bus was ontworpen op basis van een soort recycletheorie. Olie werd gefilterd en water werd gefilterd met hulp van planten. Prachtige theorie, maar in de praktijk werkte het niet. Iedere keer moest ik mensen uitleggen waarom er van die rare stelen in het afvoerputje zaten. Laten we het erop houden dat de bus een reclamebord was voor de Wijkkeuken”.

COÃ&#x2013;PERATIEVE WERKPLEKKEN: Fast Flex Feijenoord

O N DE DER RZO E KS S A M EN ENV VA V AT T IN AT NG FA A ST FLEX FL FEII J ENOO FE ENOORD Duurzame mobiliteit en werkgelegenheid ONDERZOEK SAMENVA VATTING VA ATTING FA F ST T FLEX FEIJENOORD V FF naar FFF Van Het project Fast Flex Feijenoord is een vervolg op Freehouse FA F ST, een onderzoeksproject naar kleinschalig elektrisch vervoer in en om de Afrikaanderwijk. Stichting FLEX heeft op verzoek van Freehouse de haalbaarheid van een zelfstandige duurzame transportservice onderzocht. Een jaar lang verzorgden zij een werkgelegenheidstraject met twee elektrische FFF wagentjes die elke marktdag gratis personen- en goederenvervoer boden. Het onderzoeksproject heeft plaatsgevonden vanuit de Afrikaanderwijk in Rotterdam-Zuid, maar de dienst bereikte ook de omliggende wijken. De Fast Flex Feijenoord wagentjes bedienden namelijk de hele deelgemeente Feijenoord waarbij het zwaartepunt van de activiteiten rondom het Afrikaanderplein lag waar zij gestationeerd waren. Robedrijf Baan en Markt verzorgde de instroom van de chauffeurs bij vervoerder RTC/RMC. Freehouse verzorgde samen met

FLEX de begeleiding en opleiding van de chauffeurs en Ves V tia Feijenoord bood ruimte voor stalling met oplaadpunt voor de FFF wagentjes. De Afrikaandermarkt kreeg zo ruimte voor zijn eigen milieuvriendelijke transportservice. F st Flex Feijenoo Fa F rd Gedurende de onderzoeksprojectperiode hebben de FFF’s wekelijks zo’n tachtig passagiers vervoerd. Op jaarbasis hebben er dus ruim vierduizend mensen van deze elektrische transportservice gebruik gemaakt. Iedere marktdag hebben twee chauffeurs werk aan gehad, waarbij zij praktijkervaring hebben opgedaan voor rijdende beroepen zoals taxichauffeur. Er zijn in deze periode zeven chauffeurs opgeleid, waarvan er één naar aanleiding van het project als zelfstandig ondernemer is begonnen. Inmiddels hebben verschillende locale ondernemers (o.a. rijwielwinkel Alblas en Hotel Pinkoffs) concrete interesse getoond om hun klanten / gasten van de dienst gebruik te laten maken. Gedurende het project heeft Alblas de service ook gebruikt voor transport van pakketjes, maar ook marktkooplui die elders parkeerden maakte van de dienst gebruik om zich naar de markt te laten vervoeren. De deelgemeente Feijenoord heeft op de Paul Krugerstraat naast Alblas Tw T eewielers een speciale parkeerplaats aangelegd met oplaadpunt voor elektrische voertuigen. Freehouse heeft daarmee gezorgd voor de eerste laadpaal voor hybride voertuigen in de wijk.

Onderzoek naar haalbaarheid Freehouse richt zich met name op het versterken van de kansen van ondernemende particulieren en startende ondernemers en legt daarbij vanuit de culturele sector een verbinding tussen de wijk en partijen daarbuiten. Fast Flex Feijenoord had als cultuurproject dan ook een sterk economisch-maatschappelijk karakter en heeft lokaal de bereikbaarheid van ondernemers en organisaties in het gebied, waaronder per marktdag driehonderddertig marktkoopmannen, vergroot. Gedurende de testperiode was het voor bezoekers van buiten extra gemakkelijk en aantrekkelijk om in de Afrikaanderwijk te komen winkelen. Te T gelijkertijd is de hoge parkeerdruk in het

gebied afgenomen doordat in de route ook de omliggende parkeerterreinen waren opgenomen. Na afloop van de testfase heeft Flex Rotterdam de dienst zelfstandig voortgezet en uitgebreid naar een breder servicegebied.

COĂ&#x2013;PERATIEVE A ATIEVE WERKPLEKKEN: De W Wijk van Zuid

D E WI J KWI N K E L VAN V AN Z U I D Platform voor lok lokale kwaliteiten In de periode tu tussen de De Mar Markt van Morgen (2009) en de opening van het Wijijk kwaardenhuis (in 2013) werd duidelijk dat er in Rottterdam dam-Zuid behoefte is aan een plek waar beginnende ontwerpers, ondernemende bewoners, artiesten en andere makers hun producten aan de man kunnen brengen. Een platform voor lokale kwaliteiten. Door de betrokkenheid bij de Afrikaandermarkt werd duidelijk dat de markt zelf, uiteindelijk een instituut met strakke regels, niet op een flexibele manier in een dergelijke behoefte kan voorzien. V eigenschap naar eigen schap Van De Wijkwinkel van Zuid is een platform waar producten van lokale ontwerpers gepresenteerd en verkocht worden. Een conceptstore met lokale producten van (vooral jonge) ontwerpers waarvan de meeste uit Rotterdam Zuid komen. Van unieke kledingstukken, uit het naastgelegen Wijkatelier, tot de hippe

fashionaccessoires. Maar ook keramiek, amiek, boeken, cdâ&#x20AC;&#x2122;s, woonaccessoires, multicultureel fooddesign en stijlvolle designer toys. De Wijkwinkel is van alle markten thuis. Designers en ondernemers Jonge kunstenaars en designers kunnen er gemakkelijk binnenstappen om hun producten onder het Wijkwinkel label aan te bieden. De Wijkwinkel van Zuid scant voortdurend het gebied af naar nieuw lokaal talent om in de collectie op te kunnen nemen. De in de wijk woonachtige Tur T kse modeontwerper Dennis van Dorrem vervulde daarbij een belangrijke rol. Met een uitgebreid lokaal netwerk en open blik heeft hij laten zien welke functies deze plek allemaal kan vervullen. Naast een verkooppunt is het een plek voor modeshows, fotoshoots en videoclipopnamen, is het uitgegroeid tot een productie hub voor startende ondernemers.

www.wijkwinkelvanzuid.nl

6. ORGANISATIE ONTWIKKELING:

WIJKWA W ARDENHUIS WA Het beste van de Afrikaanderwijk Om de kracht van de wijk een nog breder podium te geven is het Wijkwaardenhuis (2012 – 2014) opgezet. Een nieuw platform rondom de waarden en wat de kracht en noodzaak van lokale productie direct tastbaar maakte. Het toonde in het Gemaal op Zuid het beste wat de Afrikaanderwijk te bieden heeft. Dat wat de wijk zelf van waarde vindt. Het is een plek voor nieuwe samenwerkingsvormen en een ontmoetingspunt voor gedreven bewoners, ondernemers, makers, klanten, opdrachtgevers. Gezamenlijk is er gewerkt aan het opzetten van een wijkcoöperatie om tot een meer inclusieve ontwikkeling van het gebied te komen.

V Verbinden, ontwikkelen en verduurzamen Het interieur van het voormalige gemaal (wat direct naast de markt ligt) kreeg door het internationale collectief Exyzt, in samenwerking met de Bende en de Wijkschool Feijenoord, een spectaculaire make-over. Het bood ruimte om producten en diensten te testen en te demonstreren, het kon omgebouwd worden tot een podium voor presentatie en discussie, maar ook tot een catwalk om de nieuwste mode te showen. Daarbij werd er direct een verbinding gelegd tussen de verschillende werkplaatsen, de markt, het winkelgebied en de rest van de wijk. Het Wijkwaardenhuis fungeerde zo als een levendig informatiepunt en een plek voor debat en kennisuitwisseling. Het project heeft een belangrijke rol gespeeld in de ontwikkeling van de Afrikaanderwijk Coöperatie en uiteindelijk is het pand ook voor de lange termijn voor de wijk verkregen.

6.1

Thuur Caris Onderzoek de Freehouse praktijk

Van maart 2012 tot maart 2013 heeft docent en onderzoeker Thuur Caris voor zijn Phd onderzoek aan de Universiteit van Groningen Freehouse gevolgd en uitgebreid geobserveerd. Doormiddel van onafhankelijk onderzoek, observaties en interviews met de organisatie en betrokkenen maakte hij de rol van Freehouse en manier waarop Freehouse functioneert inzichtelijk.

Report: "Freehouse" Jeanne van Heeswijk ___________________________ ______________________________________________________________________

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Version 02 March 13th 2013 Arthur Caris

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��tterdam Afrikaanderwijk Jea��e �a� Hees�i�� a�d her sta�� Freeh�use �e�ple a�d pr��e�ts

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1 Typ�l��y �1 The �ultural pr�du�ti�� Freeh�use �2 F�rms �� e��a�eme�t a�d i��l�eme�t �3 Additi��al �bser�ati��s �� the setti�� er�i�� e�der ___ 2 �a��itude �1 Durati�� 2 S�ale �3 �ultiple le�els

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This ï¿½ï¿½mmuï¿½itï¿½ shï¿½ï¿½ aï¿½sï¿½ seï¿½ï¿½s hï¿½memade ï¿½ï¿½ï¿½thesï¿½ ï¿½eï¿½eï¿½rï¿½ï¿½ tï¿½ï¿½eï¿½s aï¿½d ï¿½eddiï¿½ï¿½. Here I met ï¿½iï¿½a. The ï¿½rï¿½ï¿½eï¿½t she reï¿½reseï¿½ts is ï¿½aï¿½ï¿½ed ï¿½reads ï¿½iï¿½e ï¿½ï¿½iss ï¿½ demï¿½ï¿½itiï¿½ï¿½ï¿½ ï¿½ut sï¿½uï¿½ds ï¿½iï¿½e the ï¿½utï¿½h ï¿½ï¿½rd ï¿½ï¿½r ï¿½ï¿½iï¿½ï¿½ï¿½ï¿½ï¿½aseï¿½ï¿½. is ï¿½ï¿½t ï¿½art ï¿½ï¿½ ï¿½reehï¿½use ï¿½ut is iï¿½itiated ï¿½ï¿½ ï¿½estia. It is a ï¿½rï¿½ï¿½eï¿½t that reï¿½ruits artists tï¿½ redeï¿½ï¿½rate aï¿½aï¿½dï¿½ï¿½ed hï¿½uses iï¿½ ï¿½rder tï¿½ ï¿½et them as aï¿½ï¿½ï¿½rdaï¿½ï¿½e hï¿½teï¿½ aï¿½ï¿½ï¿½mmï¿½datiï¿½ï¿½s. ï¿½iï¿½ture ï¿½eï¿½tï¿½ eï¿½hiï¿½itiï¿½ï¿½ sï¿½aï¿½e. ï¿½iï¿½ture riï¿½htï¿½ ï¿½ï¿½eï¿½ ï¿½itï¿½heï¿½. ï¿½ï¿½ï¿½ ï¿½iï¿½tures are deï¿½iï¿½tiï¿½ï¿½ the situatiï¿½ï¿½ iï¿½ summer ï¿½01ï¿½.

The hï¿½stess ï¿½ï¿½ the ï¿½aï¿½ï¿½erï¿½ ï¿½as ï¿½aï¿½ï¿½eï¿½e. ï¿½uriï¿½ï¿½ mï¿½ iï¿½ï¿½estiï¿½atiï¿½ï¿½s she tï¿½ï¿½d me a ï¿½ï¿½t aï¿½ï¿½ut her eï¿½ï¿½erieï¿½ï¿½es ï¿½ith this attemï¿½ted ï¿½utreaï¿½h. ï¿½t the ï¿½eï¿½iï¿½ï¿½iï¿½ï¿½ ï¿½ï¿½ ï¿½01ï¿½ the ï¿½ï¿½iï¿½t ï¿½eï¿½ture ï¿½ï¿½ the ï¿½ï¿½ï¿½aï¿½ museums ï¿½rashed. ï¿½ï¿½ ï¿½eaï¿½ï¿½e aï¿½d her team seiï¿½ed the ï¿½ï¿½ï¿½ï¿½rtuï¿½itï¿½ tï¿½ taï¿½e ï¿½ï¿½er the ï¿½ï¿½mï¿½ï¿½ete ï¿½eï¿½ue tï¿½ deï¿½eï¿½ï¿½ï¿½ it as a staï¿½e ï¿½ï¿½r ï¿½reehï¿½use. ï¿½isa is hired ï¿½ï¿½ ï¿½reehï¿½use tï¿½ ruï¿½ the ï¿½itï¿½heï¿½ï¿½ tï¿½ maï¿½e it ï¿½rï¿½ï¿½itaï¿½ï¿½e aï¿½d deï¿½eï¿½ï¿½ï¿½ it as a maï¿½ï¿½et ï¿½ï¿½r the ï¿½eï¿½ue. ï¿½ï¿½r three ï¿½ears ï¿½heï¿½ ï¿½isa ï¿½isited art sï¿½hï¿½ï¿½ï¿½ aï¿½d aï¿½ter that she studied art eduï¿½atiï¿½ï¿½. ï¿½t the mï¿½meï¿½t she has ï¿½ï¿½ amï¿½itiï¿½ï¿½ tï¿½ ï¿½eï¿½ï¿½me a reï¿½uï¿½ar art teaï¿½her ï¿½ut ï¿½eeï¿½s mï¿½re at hï¿½me iï¿½ ï¿½rï¿½ï¿½eï¿½ts ï¿½iï¿½e this.

ï¿½eï¿½t aï¿½d middï¿½eï¿½ Hï¿½memade ï¿½ï¿½ï¿½thes aï¿½d ï¿½eï¿½eï¿½rï¿½ iï¿½ the shï¿½ï¿½. ï¿½iï¿½htï¿½ hï¿½me deï¿½ï¿½ratiï¿½ï¿½ iï¿½ ï¿½ï¿½us ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ aï¿½artmeï¿½t.

ï¿½eï¿½t dï¿½ï¿½r tï¿½ the shï¿½ï¿½ I met ï¿½arida ï¿½hï¿½ ruï¿½s the seï¿½iï¿½ï¿½ ï¿½ï¿½rï¿½shï¿½ï¿½. ï¿½he has ï¿½ï¿½rï¿½ï¿½ï¿½aï¿½ rï¿½ï¿½ts aï¿½d sï¿½eaï¿½s ï¿½ith a ï¿½reï¿½ï¿½h aï¿½ï¿½eï¿½t. Her mï¿½ther tauï¿½ht her tï¿½ maï¿½e ï¿½ï¿½ï¿½thiï¿½ï¿½ ï¿½ut she aï¿½sï¿½ studied taiï¿½ï¿½riï¿½ï¿½ iï¿½ ï¿½russeï¿½s. This ï¿½aï¿½ she ï¿½ï¿½ï¿½ï¿½s ï¿½ï¿½th stï¿½ï¿½es aï¿½d ï¿½raï¿½ts ï¿½ï¿½ taiï¿½ï¿½riï¿½ï¿½ ï¿½hiï¿½h resuï¿½ts iï¿½ a ï¿½eï¿½ stï¿½ï¿½e ï¿½ï¿½ ï¿½ï¿½ï¿½thiï¿½ï¿½ that is ï¿½uiet ï¿½ï¿½ï¿½uï¿½ar amï¿½ï¿½ï¿½ ï¿½ï¿½uï¿½ï¿½ ï¿½raï¿½ ï¿½ï¿½meï¿½.

ï¿½isa ï¿½sittiï¿½ï¿½ at the taï¿½ï¿½eï¿½ ï¿½ith her ï¿½arï¿½iï¿½ï¿½ ï¿½reï¿½ ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½s ï¿½ï¿½miï¿½ï¿½ ï¿½rï¿½m ï¿½arï¿½iï¿½ï¿½ ï¿½uï¿½turaï¿½ ï¿½aï¿½ï¿½ï¿½rï¿½uï¿½d.

ï¿½ithiï¿½ the muï¿½tiï¿½uï¿½turaï¿½ ï¿½itï¿½heï¿½ ï¿½reï¿½ the ï¿½ï¿½ï¿½uï¿½teers share their ï¿½ï¿½ï¿½ï¿½ï¿½edï¿½e aï¿½ï¿½ut ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½. ï¿½isa ï¿½ï¿½ her turï¿½ uses this iï¿½ï¿½ï¿½rmatiï¿½ï¿½ tï¿½ ï¿½ï¿½me uï¿½ ï¿½ith eï¿½ï¿½tiï¿½ ï¿½usiï¿½ï¿½ meï¿½us ï¿½ï¿½r ï¿½uï¿½ï¿½h aï¿½d ï¿½ï¿½r their ï¿½ateriï¿½ï¿½ serï¿½iï¿½es. ï¿½ï¿½me ï¿½ï¿½ï¿½ï¿½s ï¿½iï¿½e ï¿½arï¿½aï¿½a aï¿½d ï¿½imï¿½ï¿½a aï¿½sï¿½ trï¿½ tï¿½ seï¿½ï¿½ their ï¿½ï¿½ï¿½ï¿½iesï¿½ ï¿½hutï¿½eï¿½s ï¿½r ï¿½ams iï¿½ the ï¿½ï¿½mmuï¿½itï¿½ shï¿½ï¿½ aï¿½d eï¿½seï¿½here.

ï¿½eï¿½tï¿½ ï¿½ï¿½ï¿½ï¿½eï¿½tiï¿½ï¿½ ï¿½ï¿½ ï¿½iaï¿½a ï¿½uaï¿½ae. ï¿½iddï¿½eï¿½ ï¿½ï¿½tiï¿½itï¿½ iï¿½ the ï¿½ï¿½rï¿½shï¿½ï¿½. ï¿½iï¿½htï¿½ ï¿½ï¿½ï¿½ï¿½eï¿½tiï¿½ï¿½ ï¿½ï¿½ ï¿½arida ï¿½ï¿½uï¿½tmar.

ï¿½ï¿½sï¿½ ï¿½ï¿½rï¿½iï¿½ï¿½ at the shï¿½ï¿½ is ï¿½eï¿½ï¿½is ï¿½hï¿½ iï¿½trï¿½duï¿½es himseï¿½ï¿½ as a ï¿½ashiï¿½ï¿½ desiï¿½ï¿½er. He teï¿½ï¿½s me he ï¿½ï¿½ï¿½siders himseï¿½ï¿½ ï¿½taï¿½eï¿½ted iï¿½ ï¿½ashiï¿½ï¿½ aï¿½d ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½ ï¿½ï¿½r deï¿½eï¿½ï¿½ï¿½meï¿½tï¿½. He ï¿½ets sï¿½me assiï¿½ï¿½meï¿½ts thrï¿½uï¿½h the eï¿½teï¿½diï¿½ï¿½ ï¿½reehï¿½use ï¿½etï¿½ï¿½rï¿½. He is trï¿½iï¿½ï¿½ tï¿½ seï¿½ï¿½ his ï¿½rï¿½duï¿½ts aï¿½d ï¿½ï¿½ï¿½asiï¿½ï¿½aï¿½ï¿½ï¿½ he is suï¿½ï¿½ï¿½rtiï¿½ï¿½ the aï¿½tiï¿½ities iï¿½ the seï¿½iï¿½ï¿½ ï¿½ï¿½rï¿½shï¿½ï¿½. I uï¿½derstï¿½ï¿½d he ï¿½ï¿½ï¿½rï¿½duï¿½ed a ï¿½ï¿½uï¿½ï¿½e ï¿½ï¿½ ï¿½ashiï¿½ï¿½ shï¿½ï¿½s ï¿½ï¿½r ï¿½reehï¿½use. ï¿½ï¿½e ï¿½ï¿½ these shï¿½ï¿½s tï¿½ï¿½ï¿½ ï¿½ï¿½aï¿½e duriï¿½ï¿½ the maï¿½iï¿½estatiï¿½ï¿½ ï¿½aï¿½ï¿½ed ï¿½ï¿½arï¿½et ï¿½ï¿½ Tï¿½mï¿½rrï¿½ï¿½ï¿½ iï¿½ ï¿½00ï¿½. This ï¿½as a series ï¿½ï¿½ artistiï¿½ iï¿½terï¿½eï¿½tiï¿½ï¿½s at the marï¿½et that ï¿½uï¿½miï¿½ated iï¿½ a tï¿½ï¿½-daï¿½ eï¿½eï¿½t. ï¿½ï¿½ter this a ï¿½rï¿½ï¿½ess ï¿½ï¿½ imï¿½ï¿½emeï¿½tatiï¿½ï¿½ aï¿½d ï¿½ï¿½ï¿½sï¿½ï¿½idatiï¿½ï¿½ ï¿½ï¿½ ï¿½haï¿½ï¿½es iï¿½ reï¿½uï¿½atiï¿½ï¿½sï¿½ desiï¿½ï¿½ aï¿½d ï¿½rï¿½aï¿½iï¿½atiï¿½ï¿½ started.

Hï¿½me made ï¿½ï¿½ï¿½dï¿½ ï¿½ï¿½ï¿½thes aï¿½d aï¿½ï¿½essï¿½ries iï¿½ the ï¿½eiï¿½hï¿½ï¿½rhï¿½ï¿½d shï¿½ï¿½.

ï¿½

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Typology

�1

�� ra� pr�d��i�� Fr��s�

�� d�a�i�� i�� ar� as a pra��i�� r�a�i�� r d�si��i�� s�� r� �� a ��r� �� ar� is ��p��d �� app�ar. ��i�� I did �a�� a �ard �i�� p�i�� p��p�� i��d i� Fr��s� �� i�i�i�s a� �� ar�� r�� a�i��s�a�i�� b� Fr��s� i� 2��

�r�isi�� a�d �bs�r�i�� ar�� i� 2�12 I �a��d �� s��ra� ��d�rs. �� as ��b� a �ar�� ra� �i�� a �a�i�� b�si��ss �� ip�� ar�s s��i�� Fr�� ri�s. Fi�a�� I a�s�

p�i�� J�a��s ��r� �� ar�. ��is ��d ��r� �� b� �� r�s�� i��p�ri�� as a r�s�ar��r. ��a�� as a� i��s�i�a��r I ��d �� ar d�s�rip�i��s: �irs� d��i��r�d b� Farida a�d �i�a�� b� J�a�� i� ��r �as� �a��. Farida:

�isi��d a� ��i�ia� �� si�� p�ra�i�� V�s�ia. His �a�� is ��rb�� a�d �� is J�a��s

�� s d��p�r ��a� �� a��as �r �� a��. ��is ar� �a�� b� s�� i�� a��d ��. �� pass�d �� r ar� �� a�� p��p�� a�� r�� i�� i��i�� i� a�d �i�� p��p�� r�a�i�i�� a� ��is p�a�� as d�i�� . �...� �� s��r�� pai��d s��i�� i� �� ads �� is ��a� �r �a�� a�i�� s�� r �i�� di��r�� s. ��a� is d��i�i�� a� ar�� a ��r� b�a��i�� ar� ��. I� �� si� ��r� ��r� da� �� a� s�� i� �app��i�� a�d I �a� s�� i� ��r ��r�ai�. ��d I ��a�� r ��r ��is�.�

��a�� a� V�s�ia. H� is ��i��ri�� i��b�r��d i� s�ar�� r ��a��s �� i�pr�� a� ��b�i�� a�d i� ��a� �a� i��r�asi�� a�� r�a� �s�a�� pr�p�r��. �� rs� I did ��r� ��a� �a�� p��p��. I sa� p��p�� r�i�� i� �� Fr��s� pr�d��i�� i�s� a�d �bs�r��d sp��a��rs �isi�i�� Fr��s� a��i�i�i�s a� �� ar�� r ��s��r�. I a�s� a��d�d �� s��p� �� a��s�� a�d �� s��ar� a� ��-�ar�� da�s i� �rd�r �� a ��i�� dai�� p�b�i� �i�� i� �� i��b�r��d.

I r�sp��d b� ��i�� J�a�� pari�� rs�� i�� a p�r�rai� pai��r b�� Farida disa�r��s: �� is ��r� �i�� a pai��r �� s I ��d sa�. ��p�� a�� r�� i�sid��. ��is ��s�i�� r�a�� i�pr�ss�d �� a�d I �� pi�� i�d ��r�. I �ri�d �� p� ��rs i��d �� d�s�rib� J�a��s ar� b�� I �� s� i� �as� ��issi��s a�d ��ab�ra�i��s. ��is s�r�� as pr�bab�� a� J�a�� d��d �� s�� d �� I �as ��i�� i� �� r�� dir��i��. �� r �pi�i�� I �as as�i�� r ��i��s� �ri��ria �r b��ar�s. �� r� is �� r. ��s� ar� a��i�a�i��s �� i�� a�d spa�� i� a ��r�. �� r b�� s �� i��si�� a�d d��si�� J�a�� p�ai�s. �� r��rs �� a� i��r�i�� s�� ad a �� i�� a��. I� d�s�rib�s �� s�� s��s �p p�a��r�s �� pr�s�� i��s. J�a��: �� s� p�a��r�s d�ba�� r��a�i�� r ��r ��i��s �app�� i�� a ��r�ai� ��. ��s� ��i��s �a�� a ��r�ai� s�ap� a�d b�� a p�a��r� ��r dis��ssi�� s��s. �� ps ar� ��r��d �i�� d�s. ��s� ��d�s ar� ��i��s. ��is �a� b� �� r��a�i��s� a b�� a� ar�i�a�� p�r��r�a�� a ��r� a ��i�� pra��i�a�� a��i�� a ��d ��a�. I�p�r�a�� is ��a� ��s� d��si�i�a�i��s �a�� a ��a�i�� ir ��. � r��a�i�� s� b� i��r�s�i�� b�� s� b� ��d� a �i�� s� b� ��d� a�d s� ��. �� a� ��d�� s� d��si�i�a�i��s �� ir �� a�i�i�s. ��d �� b�� d��si�i�a�i�� r ��r� �� pr�� p�rrid�� pr��ss�s. I� is a ��s��a�i�� d��si�i�a�i��s� s��i�� r�a� �� a� �a�� ab��. ��r� I a� ��i��i�� ab�� is �� r�a�� s�� s��a�i��s �� d��si�i�a�i��s i� s�� a �a� ��a� �� a� s�� i� �� a ��s�� a�d �r�a�� dis��ssi�� r� ��.6

� 6

JVH12a-2�1�12 ��rsa�i�� i�� Farida JVH13b-21�113 ��d ��rsa�i�� i�� J�a�� 12

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�he ��s �� t �e��e is ��i�� e ��e�e� �s sit��ti�� t. �t is e��ee�i�� the ��mes �� the e�hi�ite� ��ti��t �� the st��e� �e��m��e. �he� it ��mes t� �e�i�i�� the �� t th�t is ��e� �e��e �s �e�� s ��is�� the ��tists i� the ��e �� the ��ti�� te�m� e��te i� � �es��i�ti�e� s�metimes e��si�e� ��y. �ti�� thi�� th �� ee t� s�e�i�y it ��the� �s ��e�t ��t� si��e they ��si�e� the ��e�t ��e� ��eeh��se� t� �e � �� t. �� m�� e��ity�� e��e e��i�s i� �� i�te��ie�� st ��si�e� me t� �e � ��tem��y ��t��it ��i�te�. �� ti�� ith �the�s � ��t��it �e��ity - s��iety -� ��y � �� i� th�ee �ime�si��s �� i� �e�i�ite time�.� ��m this �e��e�ti�� the �� t ��sists � �� et�� e��e i��e� i� � ��m�e� �� t�� ti�� its i�te��e� �ith �e��e�s i�te��ti�� et�� tists �� esi��e�s. �he h�s �ee� ��i��i�� this �et�� time ��t the ��eeh��se ��e�t �e�i�ite�y t�� i� �� ith the m��i�est�ti�� the ��et �� m��.

�� i�t��es� e��m��es �� estheti��y e�h��e� �is��y �t the ��et �� m�� .

�e��e �e�ies th�t the m��i�est�ti�� itse�� s �� tim�te �� t. ��he �� t is ��t � �e��ti�� y m��et �� e-time-��y �i��s ��eeh��se. �he �� t is � ��ess �� thi��i�� t the m��et �s � �e�t�� he��t �� te��it��y. �...� �he ��me�t��s �� my �� e the �is��i��ti��s �� ti�� y me��s �� t�ti�� e�ti�� e� ��m��i�ity. �� th�t sh��e� im��i��ti�� e�e� t� �� it sei�e� im��i��ti��.�

��m this m��i�est�ti�� eeh��se �e��me � s��t �� m��eme�t i� the �ei�h��h�� the �ity. �t �e��me hi� �m�� tists t� m��i�est themse��es �t the ��i��e� m��et. �he m��et itse�� t�i�e� �� e��e�ime�t�� st�t�s �ith ��se�e� �e��ti��s. �e��y ��eeh��se est��ishe� � �it�he�� sh�� s��te� t��s��t se��i�e �� se�i�� sh��. ��eeh��se ��s� i�s�i�e� e�te��ises �i�e ��y �e�s��s ��e sh�� the �� st��s �t the m��et. �� the �est �� the �ity the m��i�i��ity �e��si�e�e� �e��ti��s �� the� m��ets t��.

��te� � �ese��h �e�i�� i� �� e��e ��i�e� ��t 1�� tist i�te��e�ti��s �t the m��et. �hese i�te��e�ti��s i��e� ��t � 1�� t� 1�� m��et �e��s �� e�t�e��e�e��s ��m the ��i��e� �ei�h��h��. �he se�ies �� i�te��e�ti��s ��mi��te� i� � t��-��y m��i�est�ti�� i� ��e ��. �he �est i�e�s �� the m��et �e�e ��ese�te� �t the m��et itse��. �e��e ��si�e�e� this m��i�est�ti�� t� �e t�� i�e si�e m��e�s �� ssi��e ��t��e m��et. �

htt��.�e��e��s.�et�ess�ys��em�mi��m��e��ee��t�ets�hi��e�� 13

�e�t� ��st s��te� t��s��tse��i�e �ehi��e. �i�ht� ��y �e�s��s ��e sh��.

� ��se��e� th�t �� e��s t� �e � ��ite ��m �� t�� ti�� i� the ��eeh��se ��e�t �� e��i�� theme i� �e��e�s ��. ��t ��y i� ��tte��m ��t ��s� i� �i�e�� he�e �e��e is �e�e��i�� mm��ity ��e�y. �e�t t� �� mes ��shi��. �esi�es the �

htt��.�e��e��s.�et�ess�ys��em�mi��m��e��ee��t�ets�hi��e�� 1�

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ï¿½2

ï¿½ï¿½ï¿½eï¿½ï¿½ï¿½ï¿½ï¿½

eï¿½ï¿½ï¿½ï¿½ï¿½ï¿½

thï¿½t

thï¿½ï¿½

ï¿½ï¿½ï¿½ï¿½eï¿½t

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½eï¿½ï¿½

1ï¿½

the

ï¿½hï¿½ï¿½e

ï¿½eï¿½ï¿½hï¿½ï¿½ï¿½hï¿½ï¿½ï¿½

tï¿½

ï¿½e

ï¿½

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Magnitude

�� r�a��at�� me ��t �� t�e ��e t� �e��er �e�� reate ��rt��t�e� �r ��e

�1

��rat��

�r��em�.11

��e �� t�e ��r�t t�� am�� e��a��e� t� me �a� t�e �a�t t�at �t ta�e� a �� t�me ��r a

�e�e��me�t �� t�e �e��r�� ar�� t�e mar�et. Jea��e �a�e�� t�em �a�e�t�� a�� e�� a�m� �� t�e ��e��. �� a�� t�ere are �a��e�� t�� r��ate �e��e �r re�re�e�tat��e�

�r��e�t ��e �ree��e t� �e��me �m�e��e� �� t�e ��mm��t�. He �tate� t�at �t ta�e� a ��t �� 3

��t��a� ��er�at�� t�e �ett�� er�� e��er

��r� ��t� �� r��re�� a �eta��e� �e�e�. He �a�� e �a� ��er�ta�� t�at ma�� e��e

��t�� t�� t�� t a ��a�t�tat��e ��r� ��t� t�e ��m��t�� t�e ��a� �ett�� t�e

�a��t �er�e�ere �� r��e�t�. He a�� t��e� t�at t�ere �� a ��te�t �art a�� a �art t�at ��

��m��a��e �� t�e �ema�e �e��er �a� a�rea�� remar�a��e at ��r�t ��t. ��ere �ere �� me�

�� ta�t ��. �ea�� t� t�e�e ��rt a�� term� at t�e �ame t�me �� te ��m��e�

��r�� t�e ��t��e�� t a ��e �� ma�e ��art��a�t�� t�e �e�� r�� a��

�e�a��e �� a ��e�t�a� �e��e t�e�e �er��e�t��e� ��t�ate �et�ee� t�e �er� a��tra�t a��

��e ma� - �am�� - ��r�� t�e ��re �� a��rat�r� a�� ta��.

t�e �er� �r��ar�� t�e a�m��t �a�a�.12

��rt�erm�re ��a� �treet ��e �� t�e �e��r�� a� a�� e�re�ate� �� e��er. � �e�

�� me �e��e �� m��t�� a �� term�� ar��a e�a��rate�. �� er a�� t� Jea��e t��

��me� ��e�ta�� at�ere� at t�e tea��e ��e t�e me� ��e� t��et�er at t�e

a ��rt term. Jea��e �� t�� et�ee� t�e ��-term �r��e�t� a�� t�e ��rt-term

��ee��e� at t�e ��e�a�� r��t �� a �a�e �r �� t�e ��r�er� �� t�e �r�� et�ee�

��e��a�e�� e�� te�t� a�� t�er e��t��. �t�� t�e�e ��-�a��e� ��rt-term �r��e�t� ta�e

�r��er �treet a�� ret�r�a �a�e.

�� t� �� m��t��. ��e �t�er �r��e�t� ta�e �e� t� ma�� ear�. �ree��e t�� te ��me t�me t� �e�e�� tart�� 1��. �e�at��e�� t�e �ar�et �� m�rr�� a� ��te� �� a� ��ta��e. ��t t�e ��re �� t�� rea�� a�� t�e �e�e� �� a��er� �a��t �ee� rea��e� �et�� ar��a ��er�e�.13 �� ee� t�me �a� �e ��ere� a �trate�� ar��a ar��e��

��t ta�e� t�me ��r t�� t� ��a��e. �� a�ter�at��e� ��e� ��t mea� t�at �e��e a��e�t t�e�e a�ter�at��e� r��t a�a�. �� ee� t� �e �er��te�t. �t �� a ��t ��e ��tr��at�� e a�m�t�. ��e� �� ee� re�eat�� met�� e��e �� tart t� �e��e�e �t. �t �� a�� a matter �� rr��. ��tr��at�� t t�e r��t ��r� �e�a��e t�ere �� t ��met�� e a� ��e�� t�at �a� t� �e �m��e� �� e��e. �t �� m�re ��e �e�� er��te�t �� e�t�� t�e �tat�� ...� �� mea�� t�at �� a�t ��met�� t� �a��e� �� a�e t� ta�e ��r t�me t� �et t� t�e ��re �� t�� a�� e��me a�t��e �� e�er� �e�e�. ��at �� at �t �ee�� t� ma�e a �etter ��r��. � �a��t e��a�� t �� a�� t�er �a�. �t ta�e� t�me t� �et ��met�� r�� a�� t�me �� t�e re��reme�t ��r ea�� a�� e�er� art �r��e�t �� t�� . �� a� �� a�� r a ma�a�eme�t ��mmar�� er�e�� a� at t�e Ve�t�a �� erat�� e�t��a�t��a�� m� �� e�am��e� �� t�e �� a�� t�e �e�e��me�t� �� t�e �e��r�� er t�e �ear� a�� te�t��e� �� e �ear�e� t� re��e �� ree��e t�r�e� ��t t� �e a �r�� e��e �� t�e ��a� e��m� �� t�e �� r��. �� am a ��t �� a ��e�e�� e ��te� Jea��e� ��t ta�e� ��me t�me ��r me t� �arm �� a�� t e�er��e �ee� ��at �� a�t�a�� a��e�� t ��e t�� et �� a��t �t�� t.� 10 JVH11�-231012 �e�� er�at�� t� �am�� 11 JVH02-130312 ��r�t ��er�at�� t� Jea��e

1�

12 13

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�2

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��a��

�� a�� i��d �� Fr�� r�� i� ��. �� r� �� a ��d �� r��i�� Fr�� d�� b�� i� �� a �� aid �� i� �� i� i� �� i�� . �� i� a �� i�d��d�� r��i�d� �� i�d i� �ard �� ai� �� ra�� i��.1� Farida� a�� r�i�� a� �� i�� r�� i�a�� b�r �� i��b�r��d ��r� �� b� ��a�i�� b�� 30 a�d 60. �� ar� �i��d �� d��i��r� a�d ar�i��. �� r� a� �� bri�� b��i�� r��r.1� J�a�� ai�� a� �� b�r �� -�r�d��r� �� r�bab�� a�� ab�ra��r�� i� �� Fr�� r�� i� r��a�i�� bi�. ��id�� a� ��r� ar� ��dr�d� �� ar�i�i�a�� i�� r�� a�� a� ��d�� r �� i� �� r �a�. �� b�r �� i��i�� i��r��i�� a�d �a�i��a�i�� i� �ard �� d��r�i�� b�� a��rdi�� J�a�� i� �� b� ��a�d�. ��id�� a� ��r� i� a� ��r�� i��a�� r�� b��a�� i�i�� i�� a��r� a�d �� ar�i�� r�� a�� r �� r�d� �� i�� . 16 �a�� ai�� a� �� r��rd� �� i��r�� b�� a� �� a� �a�i�� d��r�i�� b�r� b� ��i�� a� �� r� �� a��d �� a� �� b �i�� J�a��r��.��.1�

�3

��i��

�ari��a i� i��ri��d b� �� i�� a� J�a�� i�� r�i�� a�d ��ri��d ��d�� a�� i�d� �� i��a� ��. ��i� �a� �� r� i� ��a�di�� r��r a�d ��r��r. �� a�� a�� a� r��a�i�� a�� a�� a�� ar��i��r� a�d i��ra��r��r�� a�i��. �� a�� r� �� a��i�� a�d d�� b�� bri�� a�d ��. �� d i��r�� r��r b�� i� �� d� �� a�� ir��a�� i�� i�� r�a�� a��. �� a�� r� a� di��r�� a� �� a�� i��. �� J�a�� r� �a� �� a��r��.1� �� b��id�� ar�i�� Fr�� a�� r��d �i�� ar��i�� i��i�� r��ar��r�� d��di�� r�� i�� b�� a� �� i� ��i� �r�� d �r��r �� r� �i�� a� ��i�� a�� . �2012 ar��i�� ar� ��i�� i�� a�� i� �� ar�a. �� i�d i� i��r��i�� id��i�� a�� r�ai� ��ab�ra�i�� a��a�i�� a�d a�� i� �� d �� a� a�� i�� i� �ai� b��id�� ar�i��i� b��i��.1� ��i��a�i�� a� �r�d��i�� a�d ��i�� i��i� �� i��b�r��d i� �� adi�� ri��i�a�� Fr��. �� i�� :

�� r��r �r�d��i�� i�� a� i��r�di��. �� i�� b�� r�d�� ar�� r ��a��. �� ir�� a�� a�d �� r �a�d �� ar� ��adi�� bi� �� r�� id� i�� a� �ir��i�. �� d a�� r �i��r-� �a�i��a� ��di�� i� �� i��b�r��d a�d �r� �� i� ��r� ��r a� �� a� ��ib��.20 �� ab�ra�� i��r�a�� b�i�� ab�� i�� r�� i�di�id�a� �� bi��r �i��r� a�d ba��:

�� i� ��r� bi� a�d ��r� ��a�� a� �� a�� i�� a�d i� r�a�� a� �a�. �� a�� i�� i� a�d ��. ��d �� i� i�di�id�a� ��a�� i� i� ��r�� i�� a� �� a�� i�� i� i� r�a��i�� r��r. ��a�� b�r �� i�� a� ��a�� i� ��r� �i�i��d. �� a�� b� ��d a�� b� i��ira�i�� ...� �� a�� i� a�d �� a�� i�� r� �r�� i�� i� �� d��ai�� r�da� �i�� d�ri�� i�� i�� d� �� a�� r��r ��r� �� r�ad i� �� i�� r�� a�� i� �� i�� d �� r��b�r ��a� ��i� i� a�� ar� �� r� �� ar� ��r� �a�i��.21

��ai� �� r� �a� a� di��a��d �� .��a��r��.��

1� 1� 16

JVH0�a-120�12 ��r� i� �� r�� JVH12a-2�1012 ��r�a�i�� i�� Farida JVH13b-210113 ��d ��r�a�i�� i�� J�a�� 1�

1� JVH11�-231012 ��d ��r�a�i�� i�� a�� 1� JVH11a-231012 ��r�a�i�� i�� ari��a 1� JVH11�-231012 ��d ��r�a�i�� i�� a�� 20 JVH06b-100�12 ��r�a�i�� 21 JVH03a-0�0�12 ��r� ��r ��r�a�i��

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��i�� this ��e�t �� a m��ti �e�e� a��r�a�h the �reeh��se �r��e�t is ��iet �i�ers i� its a�ti�ities a�� e�ti��s. �t rea�hes a �i�e �ariet� �� e��e a�� r�a�i�ati��s i��ee� a�� m�are� t� �ther art �ra�ti�es its ��trea�h is ��si�erab�e. �ti�� a s��ieta� �e�e� the �r��e�t has ��a�titati�e �imitati��s. �ase� �� the t��e �� isit�rs �isa is �ateri�� at she �bser�es that ��ti� �� the ��hr��m a��e� e�hibiti�� s�a�e is har�� isite� b� ��a�s. �t seems t� ��r� the �ther �a� r�� tsi�ers �isiti�� the ��e�i�� arties �� the �a��er� �is��er the mar�et a�� the ��r�� ei�hb�rh��. �he ��mber �� these �isit�rs is t�� sma�� t� e��it the �it�he�. �� r�er t� �� s� the e�ter�rise �ee�s t� ��s �� ateri�� bs� �isa e��ai�s.

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Frequency

�1

��b�i� e��a�eme�ts

�s a �r��er ��et has �re��e�t ��ta�t �ith the ��ab�rat�rs�. �aris�a is Jea��e�s e�te��e� ri�ht arm �� the streets. �he tries t� ma�e a t��r ar�� the mar�et e�er� �e��es�a� a�� at�r�a� t� �ee� i� t��h �ith the �e��rs. �he ta�es ��ts �� i�t�res a�� s�metimes re��r�s st�ries. ��st �� the time she sim�� ta��s t� the �e��rs i� �r�er t� mai�tai� the re�ati��s a�� their tr�st ��r ��mi�� i�ter�e�ti��s �r i�itiati�es.23 ��th ��et a�� aris�a re��ar�� isit the sh�� the ��r�sh�� a�� the �it�he�. ��th ��ti�� as �reeh��se �i��rehea�s ��r �ertai� �r��s �� ab�rat�rs a�� arti�i�a�ts. �he� ta��i�� t� �i��ere�t �e��e � �i�� t that s�me are �ea�i�� ith ��et a�� thers are �ea�i�� ith �aris�a. � a�s� �� t that at the m�me�t �e� �e��e i� the �ei�hb�rh�� are �ea�i�� ith Jea��e. �he e��ai�s that i� that area �e��e ��t �� her �� a �ai�� r�i�� basis. �he� mi�ht �� her as s�me��e �h� ��mes a�� t� stir �� ebate� ��t as s�me��e steeri�� the �r�a�i�ati��.2�

��ether �ith �am�� Jea��e is ��r�i�� the ��b�i� re�ati��s �ea�i�� ith the ��er�me�t �e�t� ��e�i�� art� �ei�hb�rh�� it�he� 2012. �i�ht� ��e�i�� art� ��i��aar�e�h�is� 2013.

a�� the art ��r��. �he �e� times � sa� Jea��e i� the �ie�� ri�� ast �ear�s �bser�ati��s� she �as a��m�a�ie� �ith ��i�ia�s� re��rters �r �ther ��ests. � ��erst�� that this �se� t� be

�ai� ��ie�ts ��r the �it�he� are ��a� �r�a�i�ati��s �i�e �reeh��se� ��sm��is� a��

�i��ere�t �he� the� �ere e��ri�� the �ei�hb�rh�� 200��200�. ��here is the resear�h

Vestia. �� there are a�s� assi��me�ts ��tsi�e the �ei�hb�rh��. ��ai� m��e� is br��ht i�

�hase� the �r��e��i�� hase - a�� ha�e t� be �� ati�� t� �� s� - a�� the� the - rather

�r�m the ��tsi�e t� �ir��ate ��a�� si��e the� b�� the i��re�ie�ts at the mar�et.22

b�ri�� - ��s��i�ati�� hase �i�e �e��e bee� i�t� �� here i� ��tter�am ��ri�� ast �ear.� �� rea�h her a��ie��e Jea��e a�s� �rites arti��es� e�its b��s a�� a��ears �� i�e� �rese�tati��s �� the �eb. �he ��te�t �� these ��b�i�ati��s �ea� �ith the i�te��e�t�a� matters �� her ��r�. �he treats iss�es ��er�i�� her i�eas ab��t art a�� b�i� �rba� �i�e� h�� art mi�ht he�� e��e t� ta�e i� ��b�i� ��siti��s as a s�b�e�t� a�� h�� e mi�ht ra�i�a�i�e the ��a�. �he ��b�ishes re��ar�� i� art a�� ar�hite�t�re ma�a�i�es. ��stairs i� the meeti�� r��m � a�s� �� ab��t a ��e� b��s ��me�ti�� her �r��e�ts i� the �ast. �i�a�� Jea��e a�s� e��a�es the ��b�i� thr��h her �rese�tati��s that ta�e ��a�e i� the a�a�emi� �ir��it �� art s�h��s �r i� the art ��r�� at bie��ia�s� e�hibiti�� e�i��s �r e�e�ts �i�e �esi�� tests. �he ��si�ers the bie��ia�s as a testi�� r�� r sma�� e��erime�ta� a�� m�re �er��rmi�� r��e�ts.2�

2�

JVH0�a-1�0�12 ��ersati�� ith �isa 21

JVH03b-0�0�12 ��e�i�� ei�hb�rh�� it�he� JVH13b-210113 �e�� ersati�� ith Jea��e 22

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ï¿½2

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ï¿½3

ï¿½ï¿½ï¿½ï¿½rï¿½rï¿½sï¿½.

ï¿½ï¿½ ï¿½ï¿½rsï¿½ sï¿½ï¿½ï¿½ï¿½.2ï¿½

ï¿½ï¿½ï¿½ï¿½ï¿½bï¿½rï¿½ï¿½ï¿½ï¿½.

Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â 26 2ï¿½

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ï¿½ï¿½rï¿½ï¿½hï¿½ï¿½. ï¿½he eï¿½ï¿½reï¿½ï¿½eï¿½ her aï¿½aï¿½eï¿½eï¿½t that Freehï¿½ï¿½ï¿½e iï¿½ ï¿½ï¿½t better ï¿½ï¿½ï¿½ï¿½ï¿½ aï¿½ï¿½ï¿½ï¿½ the

The Freehï¿½ï¿½ï¿½e reï¿½ated ï¿½ï¿½bï¿½iï¿½ aï¿½tiï¿½itieï¿½ that ï¿½ ï¿½itï¿½eï¿½ï¿½ed ï¿½ere tï¿½ï¿½ ï¿½aï¿½hiï¿½ï¿½ ï¿½hï¿½ï¿½ï¿½ aï¿½d three

ï¿½eiï¿½hbï¿½rï¿½.2ï¿½

ï¿½ï¿½ï¿½aï¿½iï¿½ï¿½ï¿½ ï¿½ï¿½ ï¿½ï¿½bï¿½iï¿½ ï¿½ï¿½ï¿½eriï¿½ï¿½ ï¿½ï¿½ ï¿½ï¿½ï¿½d. The ï¿½irï¿½t ï¿½aï¿½hiï¿½ï¿½ ï¿½hï¿½ï¿½ ï¿½aï¿½ direï¿½ted bï¿½ ï¿½eï¿½ï¿½iï¿½ iï¿½ ï¿½rder tï¿½

ï¿½eï¿½ideï¿½ thiï¿½ ï¿½erï¿½aï¿½eï¿½t aï¿½tiï¿½itï¿½ theï¿½e ï¿½eï¿½ï¿½ï¿½e aï¿½ï¿½ï¿½ taï¿½e ï¿½art iï¿½ the ï¿½ï¿½ï¿½t eï¿½e-ï¿½atï¿½hiï¿½ï¿½

ï¿½reï¿½eï¿½t a ï¿½ï¿½ï¿½aï¿½ ï¿½ï¿½ï¿½thiï¿½ï¿½ braï¿½d ï¿½aï¿½ï¿½ed ï¿½ï¿½ï¿½it ï¿½ï¿½ï¿½. ï¿½t ï¿½aï¿½ ï¿½taï¿½ed iï¿½ a ï¿½hï¿½ï¿½ï¿½iï¿½ï¿½ ï¿½aï¿½ï¿½ dï¿½ï¿½ï¿½ tï¿½ï¿½ï¿½ iï¿½

ï¿½ï¿½ï¿½ï¿½abï¿½ratiï¿½ï¿½ ï¿½ith aï¿½ï¿½ï¿½ï¿½ï¿½t ï¿½therï¿½ the ï¿½ï¿½ï¿½aï¿½ ï¿½rt ï¿½ï¿½hï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½iï¿½ aï¿½d a ï¿½ï¿½tï¿½h deï¿½artï¿½eï¿½t

deeï¿½ï¿½ï¿½ iï¿½ï¿½reï¿½ï¿½ed ï¿½he ï¿½aï¿½ bï¿½ ï¿½ï¿½e ï¿½ï¿½ theï¿½e eï¿½eï¿½tï¿½. ï¿½he beï¿½aï¿½e a ï¿½ï¿½ï¿½aï¿½ ï¿½artiï¿½iï¿½aï¿½t ï¿½ï¿½

ï¿½tï¿½re ï¿½aï¿½ï¿½ed Vï¿½ï¿½.3ï¿½ The ï¿½eï¿½ï¿½ï¿½d ï¿½aï¿½hiï¿½ï¿½ ï¿½hï¿½ï¿½ ï¿½aï¿½ ï¿½rï¿½aï¿½iï¿½ed iï¿½ ï¿½ï¿½eï¿½ air at the ï¿½arï¿½et dï¿½riï¿½ï¿½

Freehï¿½ï¿½ï¿½e aï¿½tiï¿½itieï¿½ eï¿½er ï¿½iï¿½ï¿½e.31

the ï¿½iï¿½it ï¿½ï¿½ the ï¿½iï¿½ï¿½ ï¿½reï¿½ reï¿½ï¿½rtiï¿½ï¿½ Jeaï¿½ï¿½eï¿½ï¿½ ï¿½ï¿½rï¿½ ï¿½ï¿½r the ï¿½ï¿½rrï¿½ ï¿½tï¿½ï¿½e ï¿½eï¿½iï¿½ï¿½ ï¿½riï¿½e eï¿½eï¿½t.36 ï¿½ï¿½riï¿½ï¿½ that ï¿½aï¿½e ï¿½ï¿½ï¿½aï¿½iï¿½ï¿½ the ï¿½itï¿½heï¿½ aï¿½ï¿½ï¿½ had ï¿½et ï¿½ï¿½ a ï¿½taï¿½ï¿½ at the ï¿½ï¿½riï¿½aaï¿½der ï¿½arï¿½etï¿½ aï¿½

ï¿½ï¿½ï¿½t ï¿½ï¿½ the tiï¿½eï¿½ ï¿½heï¿½ ï¿½ ï¿½aï¿½dered thrï¿½ï¿½ï¿½h the ï¿½eiï¿½hbï¿½rhï¿½ï¿½d there ï¿½ere ï¿½eï¿½ï¿½ï¿½e at ï¿½ï¿½rï¿½ iï¿½

ï¿½eï¿½ï¿½ aï¿½ a ï¿½taï¿½ï¿½ at the ï¿½ï¿½tterdaï¿½ Harï¿½eï¿½t ï¿½arï¿½et dï¿½ï¿½ï¿½ tï¿½ï¿½ï¿½.3ï¿½ The third ï¿½ï¿½ï¿½aï¿½iï¿½ï¿½ ï¿½aï¿½ the

the ï¿½itï¿½heï¿½. ï¿½ï¿½d eï¿½erï¿½ tiï¿½e ï¿½heï¿½ ï¿½ eï¿½tered ï¿½t ï¿½eï¿½aaï¿½ tï¿½ ï¿½iï¿½it theï¿½ ï¿½ aï¿½ï¿½aï¿½ï¿½ raï¿½ iï¿½tï¿½ Jaï¿½ï¿½eï¿½e

ï¿½ï¿½eï¿½iï¿½ï¿½ ï¿½ï¿½ the ï¿½itï¿½heï¿½.3ï¿½

the hï¿½ï¿½teï¿½ï¿½ ï¿½ï¿½ the ï¿½aï¿½ï¿½erï¿½. ï¿½ hardï¿½ï¿½ eï¿½er ï¿½ï¿½ï¿½ï¿½d aï¿½ï¿½ ï¿½ther ï¿½ï¿½ï¿½tï¿½ï¿½erï¿½ ï¿½ï¿½r ï¿½ï¿½ï¿½ï¿½h. Jaï¿½ï¿½eï¿½e eï¿½ï¿½ï¿½aiï¿½ï¿½ that ï¿½ï¿½ï¿½berï¿½ ï¿½eaï¿½ at ï¿½ï¿½eï¿½iaï¿½ ï¿½ï¿½ï¿½aï¿½iï¿½ï¿½ï¿½ ï¿½iï¿½e ï¿½erï¿½iï¿½ï¿½aï¿½eï¿½ ï¿½r ï¿½ther eï¿½eï¿½tï¿½. ï¿½tiï¿½ï¿½ there iï¿½ aï¿½ï¿½aï¿½ï¿½ ï¿½ï¿½rï¿½ tï¿½ dï¿½ ï¿½ï¿½r the ï¿½itï¿½heï¿½ ï¿½reï¿½ beï¿½aï¿½ï¿½e ï¿½ï¿½ the ï¿½aï¿½ï¿½ ï¿½ateriï¿½ï¿½ ï¿½ï¿½bï¿½.32

ï¿½ther thaï¿½ theï¿½e ï¿½rï¿½dï¿½ï¿½tiï¿½ï¿½ ï¿½ï¿½itï¿½ the ï¿½ï¿½eï¿½iaï¿½ï¿½ï¿½ deï¿½iï¿½ï¿½ed dï¿½eï¿½ï¿½iï¿½ï¿½ï¿½ ï¿½iï¿½e the teahï¿½ï¿½ï¿½e aï¿½d the ï¿½ï¿½ï¿½d ï¿½aï¿½ did ï¿½ï¿½t ï¿½eï¿½erate ï¿½ï¿½ï¿½h aï¿½tiï¿½itï¿½. ï¿½aï¿½ï¿½ tiï¿½eï¿½ ï¿½ tried tï¿½ haï¿½e a ï¿½ï¿½ï¿½ ï¿½ï¿½ tea at the teahï¿½ï¿½ï¿½e bï¿½t at ï¿½ï¿½e ï¿½ï¿½ï¿½aï¿½iï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ ï¿½ ï¿½ï¿½ï¿½ï¿½d a ï¿½ï¿½ï¿½ï¿½ï¿½e ï¿½ï¿½ ï¿½eï¿½ï¿½ï¿½e iï¿½ aï¿½d arï¿½ï¿½ï¿½d it. The teahï¿½ï¿½ï¿½e ï¿½aï¿½ ï¿½ï¿½t ï¿½ï¿½ï¿½ï¿½ï¿½ded aï¿½d theï¿½ ï¿½eeï¿½ed tï¿½ be ï¿½ï¿½iï¿½ï¿½ it ï¿½ï¿½r ï¿½erï¿½ï¿½ï¿½aï¿½ ï¿½ï¿½rï¿½ï¿½ï¿½eï¿½ ï¿½ï¿½t ï¿½erï¿½iï¿½ï¿½ aï¿½ï¿½thiï¿½ï¿½ tï¿½ the ï¿½ï¿½bï¿½iï¿½.33

ï¿½eï¿½tï¿½ aï¿½dieï¿½ï¿½e at ï¿½ï¿½eï¿½iï¿½ï¿½ ï¿½eiï¿½hbï¿½rhï¿½ï¿½d ï¿½itï¿½heï¿½. ï¿½iddï¿½eï¿½ ï¿½reï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½ Jeaï¿½ï¿½e dï¿½riï¿½ï¿½ ï¿½ï¿½eï¿½iï¿½ï¿½ ï¿½itï¿½heï¿½. ï¿½iï¿½htï¿½ ï¿½eï¿½dï¿½r ï¿½ï¿½ttiï¿½ï¿½ ï¿½ï¿½ï¿½ a ï¿½hï¿½ï¿½ ï¿½ï¿½d ï¿½iï¿½taï¿½eï¿½ ï¿½ï¿½r aï¿½ iï¿½terï¿½eï¿½tiï¿½ï¿½.

ï¿½ ï¿½ï¿½ï¿½t adï¿½it that ï¿½irï¿½t ï¿½ ï¿½aï¿½ ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½ ï¿½ï¿½r ï¿½ï¿½re aeï¿½thetiï¿½ aï¿½d ï¿½eï¿½ï¿½ ï¿½raï¿½ï¿½atiï¿½ ï¿½ï¿½ï¿½ï¿½erï¿½iaï¿½ eï¿½ï¿½reï¿½ï¿½iï¿½ï¿½ï¿½. The aiï¿½ ï¿½ï¿½ the iï¿½terï¿½eï¿½tiï¿½ï¿½ï¿½ ï¿½ ï¿½itï¿½eï¿½ï¿½ed ï¿½aï¿½ the ï¿½rï¿½ï¿½ï¿½tiï¿½ï¿½ ï¿½ï¿½ ï¿½aï¿½eï¿½ï¿½ ï¿½hiï¿½e ï¿½ ï¿½aï¿½ ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½ ï¿½ï¿½r iï¿½terï¿½eï¿½tiï¿½ï¿½ï¿½ aiï¿½iï¿½ï¿½ at aï¿½ aï¿½ï¿½ï¿½eï¿½tatiï¿½ï¿½ ï¿½ï¿½ ï¿½ï¿½bï¿½iï¿½ iï¿½aï¿½iï¿½atiï¿½ï¿½. Fï¿½r that reaï¿½ï¿½ï¿½ ï¿½ abï¿½ï¿½iï¿½eï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½eï¿½ted aï¿½ eï¿½ï¿½eï¿½triï¿½ ï¿½aï¿½ï¿½er-bï¿½ aï¿½ ï¿½eï¿½ï¿½ aï¿½ a ï¿½ï¿½aï¿½bï¿½ï¿½aï¿½t ï¿½arï¿½et ï¿½eï¿½dï¿½r tï¿½ be artiï¿½tï¿½ ï¿½ï¿½rï¿½iï¿½ï¿½ ï¿½ï¿½r Freehï¿½ï¿½ï¿½e.

Jeaï¿½ï¿½e ï¿½ï¿½aiï¿½ï¿½ the ï¿½arï¿½et ï¿½ï¿½ï¿½ï¿½ï¿½ better thaï¿½ beï¿½ï¿½re Freehï¿½ï¿½ï¿½e ï¿½tarted iï¿½terï¿½eï¿½iï¿½ï¿½. Tï¿½ ï¿½ï¿½ï¿½e eï¿½teï¿½d the ï¿½eï¿½dï¿½rï¿½ ï¿½ï¿½ï¿½ï¿½ the artiï¿½tï¿½ ï¿½hï¿½ ï¿½ere aï¿½tiï¿½e at the ï¿½arï¿½et. ï¿½e aï¿½ree that it iï¿½ aï¿½ï¿½ï¿½ï¿½t ï¿½eï¿½tï¿½ the teahï¿½ï¿½ï¿½e reï¿½aiï¿½iï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ed ï¿½ï¿½ï¿½t ï¿½ï¿½ the tiï¿½e. ï¿½iï¿½htï¿½ ï¿½ittï¿½e aï¿½tiï¿½itï¿½ at the teahï¿½ï¿½ï¿½e that ï¿½tiï¿½ï¿½ reï¿½aiï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ded.

ï¿½ï¿½ï¿½ï¿½ the ï¿½aï¿½ that ï¿½aï¿½ deï¿½iï¿½ï¿½ed tï¿½ traï¿½ï¿½ï¿½ï¿½rï¿½ iï¿½tï¿½ aï¿½ ï¿½ï¿½tdï¿½ï¿½r ï¿½itï¿½heï¿½ aï¿½d reï¿½taï¿½raï¿½t ï¿½aï¿½ ï¿½ï¿½t ï¿½ï¿½ed iï¿½ the iï¿½teï¿½ded ï¿½aï¿½. The ï¿½eï¿½ ï¿½ï¿½ï¿½aï¿½iï¿½ï¿½ï¿½ ï¿½ ï¿½aï¿½ the ï¿½itï¿½heï¿½ ï¿½reï¿½ ï¿½ï¿½e it ï¿½aï¿½ ï¿½ï¿½r traï¿½ï¿½ï¿½ï¿½rtatiï¿½ï¿½ ï¿½ï¿½rï¿½ï¿½ï¿½eï¿½ ï¿½ï¿½ï¿½ï¿½.3ï¿½ The ï¿½ï¿½eï¿½iaï¿½ï¿½ï¿½ deï¿½iï¿½ï¿½ed ï¿½arï¿½et teï¿½t ï¿½ ï¿½ï¿½ï¿½ï¿½ heard ï¿½ï¿½ bï¿½t ï¿½ ï¿½eï¿½er ï¿½aï¿½ it dï¿½riï¿½ï¿½ ï¿½ï¿½ ï¿½bï¿½erï¿½atiï¿½ï¿½ï¿½ iï¿½ 2012. Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â JVH0ï¿½a-120ï¿½12 ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½terï¿½ iï¿½ the ï¿½ï¿½rï¿½ï¿½hï¿½ï¿½ Â 2ï¿½ JVH12a-2ï¿½1012 ï¿½ï¿½ï¿½ï¿½erï¿½atiï¿½ï¿½ ï¿½ith Farida Â 30 JVH0ï¿½d-160ï¿½12 Faï¿½hiï¿½ï¿½ ï¿½hï¿½ï¿½ at / JVH10a-010ï¿½12 ï¿½bï¿½erï¿½atiï¿½ï¿½ ï¿½ï¿½terï¿½eï¿½tiï¿½ï¿½ Â 31 JVH03b-0ï¿½0ï¿½12 ï¿½ï¿½eï¿½iï¿½ï¿½ ï¿½eiï¿½hbï¿½rhï¿½ï¿½d ï¿½itï¿½heï¿½ Â 32 JVH0ï¿½-220ï¿½12 ï¿½bï¿½erï¿½atiï¿½ï¿½ï¿½ ï¿½itï¿½heï¿½ Â 33 JVH0ï¿½b-160ï¿½12 ï¿½bï¿½erï¿½atiï¿½ï¿½ï¿½ Teahï¿½ï¿½ï¿½e Â 2ï¿½

2ï¿½

iï¿½ï¿½ï¿½ï¿½ï¿½ibï¿½e ï¿½ï¿½r ï¿½e tï¿½ ï¿½ee thiï¿½. ï¿½iï¿½ï¿½e tï¿½ï¿½ ï¿½earï¿½ ï¿½ariï¿½ï¿½a haï¿½ ï¿½ade a ï¿½ï¿½t ï¿½ï¿½ ï¿½iï¿½tï¿½reï¿½ eï¿½erï¿½ ï¿½eeï¿½ tï¿½ ï¿½ee the deï¿½eï¿½ï¿½ï¿½ï¿½eï¿½tï¿½. ï¿½ï¿½ theï¿½e ï¿½iï¿½tï¿½reï¿½ the eï¿½hï¿½eï¿½ ï¿½ï¿½ the iï¿½terï¿½eï¿½tiï¿½ï¿½ï¿½ are ï¿½iï¿½ibï¿½eï¿½ ï¿½iï¿½e the ï¿½iï¿½ï¿½ï¿½ ï¿½ï¿½tarted bï¿½ ï¿½ï¿½etï¿½ï¿½ aï¿½d the ï¿½ï¿½rï¿½ï¿½ï¿½b ï¿½eï¿½dï¿½rï¿½. ï¿½ï¿½t ï¿½ï¿½eraï¿½ï¿½ it iï¿½ the eï¿½ï¿½eï¿½t that ï¿½eï¿½ï¿½ï¿½e ï¿½et eï¿½ï¿½ï¿½ï¿½raï¿½ed tï¿½ ï¿½ï¿½e their ï¿½ï¿½ï¿½ iï¿½aï¿½iï¿½atiï¿½ï¿½.3ï¿½ ï¿½ï¿½e ï¿½ï¿½rï¿½ed tï¿½ï¿½ether ï¿½ith ï¿½ï¿½tï¿½ ï¿½ï¿½ ï¿½ther artiï¿½tï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½et eï¿½ï¿½ï¿½aiï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½e ï¿½ï¿½ï¿½dï¿½ ï¿½ï¿½ï¿½e badï¿½ bï¿½t ï¿½ï¿½eraï¿½ï¿½ it ï¿½aï¿½ ï¿½ï¿½eï¿½iaï¿½ aï¿½d ï¿½erï¿½ diï¿½ï¿½ereï¿½t. ï¿½t iï¿½ the ï¿½aï¿½e ï¿½riï¿½ï¿½iï¿½ï¿½e that iï¿½ ï¿½ï¿½ed iï¿½ ï¿½ï¿½ï¿½iaï¿½ ï¿½ï¿½rï¿½ï¿½ Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â 3ï¿½ JVH0ï¿½a-160ï¿½12 ï¿½ï¿½ï¿½ï¿½erï¿½atiï¿½ï¿½ ï¿½ith ï¿½iï¿½a Â 3ï¿½ JVH0ï¿½d-160ï¿½12 Faï¿½hiï¿½ï¿½ ï¿½hï¿½ï¿½ at ï¿½ï¿½idï¿½ï¿½eiï¿½ Â 36 JVH10a-010ï¿½12 ï¿½bï¿½erï¿½atiï¿½ï¿½ ï¿½ï¿½terï¿½eï¿½tiï¿½ï¿½ Â 3ï¿½ JVH10b-010ï¿½12 ï¿½ï¿½ï¿½aï¿½ ï¿½rï¿½dï¿½ï¿½t ï¿½arï¿½et Â 3ï¿½ JVH03b-0ï¿½0ï¿½12 ï¿½ï¿½eï¿½iï¿½ï¿½ ï¿½eiï¿½hbï¿½rhï¿½ï¿½d ï¿½itï¿½heï¿½ Â Â

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�� i�� m � �i�� i��i��i�� b�� m �� b�i�� i��.�0 ��m�� i�� i�� i� �� i� �� b�� i� ��i��. �� im� i� �� b�� bi� �� m�� i�. ��i�� m� �� m �� i��i�� i�� i� �� i�� i� �� m �� b�i�� m�� i�� m�� i��.�1

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Causes and motivations

J�� i�� i� �� b� �� i�� i�� i��i�� i�� i��i��. �� i� �� i��i��i�� m �� i� ��i�� i� ��i�� i��i�� b�� i�� i� � ��m�� i��i�� i�� . �� i��i�� i�� J�� i�� i�� i� ��i� i�� i�� i� ��i� i�� . ��i�� i��i�� i�� i��.

�1

�mm��i�� i�i��

J�� i�� i�� i� �� -�� i��i�� i� �� i�� b�� i�� b� ��i��

�� i�� i� �� . �� i� im�� m�m�� i�� i�� i��i�� i�� i�� . �� i��i� ��i� �i�� i��i�� i�� m�� i�� i�i�� m��. �� m��i�� i� �� i� �� b�� i�� i�� i�� i� �� imm��i�� . �� i� i� �� m�� i��i��.�� m�� i� ��m��i�� i� �� i�� i�� V��i�. �� i�� i�� i�� im�� b�� i� m��i�� i��. V��i� �� m�i��i� i�� b�� i�� i��b�� i�� b� � �� i� ��i� ��m��. �� i�i� �� m �� m�� i�i�� i�� i� ��b�i� ��i�i�i�� m �� . �� i�� i� � m�� . ��b�� i�i�� V��i�� i�� b�� b�� i�� . �� m�m�� b�� m�� i�� J�� H��i�� .

�� i�� i� i� �� i� �mbi�i�� i�� . �� im �� b�i� ��m ��i�� b�i� ��i��. �� b�i� �� b� b��i�� i�� i�� . �� i� �� J�� i�i�� . 3� JVH13b-�10113 �� i�� i�� J�� 0 JVH06b-100�1� ��i�� 1 JVH0��-160�1� �i�� i�� i�� m��

�� i�� i��i�� m �� i��i�� i��i�� im �� i�. �� i� i�� b�� i�� i�� b� ��

��

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FREEHOUSE

PAGE 119

that �u��e. �e ��e�e� t� ��a�ate �� d��bed�e��e a�d a ��t��a� att�tude � h��e. �ut ��

�e�t��ed �u�� tat�� that had t� be tu��ed ��t� a �ub�� a��t�� a�d �� the ba��u�d the

the e�d ��u ha�e t� ��a� the �a�e�.�3

�eed �� the h�u�� e�at�� a�� t� �e�t�� the �e��hb��h��d. �he �a�e ��e� �� the �e��e ��ed� �� the�� tu�� the� �e��e the ��tu��t�e� Jea��e

�� the �� u� the ��e�t �ee�� t� be �ue��ed b� hu�a� ��te�e�t a�d �e�t. ��et e��a��

��e�� the�� e �u�� e�a��e. �he u�ed t� �e�� a� a �a��e� but �he �e�e�t�� be�a�e

�he �� e�� be�� u��ed ��th ��et� th�� a�. �� a�t t� �ut �� a b��e�

a ��the�� he �te��ed �ut �� the �a� ��e�e a�d �� he �� Ja��. �t�� he �� ee� t�

��a� ��a�e� �� the ��d� �hethe� �t ha� t� d� ��th a�t �� t�.

�et �� ta�e �� he �� a��a�� ead� t� he�� Jea��e a� a� �� a h��te�� a�d th�� a

�he� � a�� a�� h� he �a�t� t� be� a� a�t��t� a ��d �e��hb�� a �a��e�-b� �� a�

��u��e �� t� the ba��a�� a�� the �a�.��

��hab�ta�t� he �e��e�: ��e��e �a�� t ha��e�� that�� t �� a �ut�he��. He a��ue� that �t �� e�� ta�t that �hate�e� the� d� the� �u�t d� the be�t the� �a�. ��a�� the

�ue��ed b� �a�� a�d �dea�� the ��e�t �� a ��u�d ��u��e �a��at�� tu��t�e�

110�. �the�� ee that a�d �a�e ��e e��t the��e��e� a� �e��. ��hat�� hat � �a��

a�d th�eat�. �he�e �� a� de�t��at�� the �a�� t��h� t� be �a�tu�ed� �� d�a�� t�

�e��e�t�� a��a add�� t ha� t� �� e��e�t� the �h��e ��ete th�� u�t e�e��th��.

be ��a��. ��tead �� e��t ta��et� a�d ��ue� the�e �� a ��e �e�e�a� ��a� �� e-� ��e�t��

��d that�� the d��e�e��e bet�ee� ��eeh�u�e a�d a �e��hb��h��d ba�be�ue�� a��

�e��e ��th the�� u�ba� e��e�t. ��e��e ��t he�e t� ��e th�� Jea��e e��ha��e�. ��

��t��ue�� e��e ��e� �� a�� ha��e��e a�d �� eth�� d�e� ��t ha��e� �t �a� ��bab��

th�� a�� the�e ��a� ��ut�� ha�e be��e a bu�de� �� th�� a�ea. �hethe� the� �� t�

��b�e�. �...� ��t �a�� e��e a�e ��e�a�ed t� ded��ate the�� h��e ��e t� the�� a�d

at a �e�ta�� e�t the� ��e t� a �ta�d�t��. �hat �e �a�t t� d� �� t� de�e�� a� att�tude

that �� e�. ��t �� t ��th�ut �b��at�� the�e �� eth�� at �ta�e�� u��e�t. ��the��e

that �ee�� th�� .�� ut �t �� t a ��e�e�t �� e�e�t�� a�e. �he �e��e��e

��u �u�t �a��t �t�� t� �t�� a�� ude�.��

��a��at�� ub��tted t� a �a�e�u�� de�e��ed a�d ��te�t �et �� e� a�d �a�ue�.

�h�� ded��at�� a�� e�e�ate� ��e��u�e a�d �t�e��. �he ta�� u� at the �� a�e �ee��

e�d�e��

��de�at��

e�t��at��

e�a�uat��

a�d

��e�u�at��

��

��tu��t�e�� th�eat�� de��e�� a��et�e�� ha��e�� b�e�� h��e a�d a��e� �� the �et�� a�d the �e��hb��h��d.�� et e�ab��ate� �� the �� u�h:

�2

�de��a� ��t��e�

Jea��e ��a�� that �e��e d��t e��e��e��e �ub�� a�e a� the�� e��. �he� �ee� the� d� ��t ta�e �a�t �� ub�� e a�d Jea��e �a�t� t� �ha��e that:

��e�� e�a�d the ��u�tu�a�� the �ab��t�-t�-��ua��e� t� be a� e�t�e�e�� ta�t �ua��t� that �e��e ha�e ��t at the ��e�t. �a� t�� a�� e��e ha�e ��t the �ee�� t� be ��e�ted t� the ��a�e �he�e the� a�e. �he� a�e ��ed the��e ��t �� the ��tu�e� �� a� the� ��tu�e the��e��e� �� ha��e �� the ��d that �u��u�d� the�. �� d� �� u ha�e t� ��hab�t ��u� ��e ��d. ��hab�tat�� a �� a��e�at�� ea�� that ��u��e a��ed t� de�� a ��a�e. �h�� e��h�� t �� a�� e��e. ��e� the �e�� th�u�ht �� t �� t. �ut � th�� th�� a� ��ta�t a��et �� t��e��h��. ��e ��u�d �a� that th�� de�� a� ae�thet��a� ��a�t��e� a t��a� ta�� the a�t��.��

�... �e a�e �e�� bu�� a ��a��at�� e�e� �atu�a�� but the� ��u ��d ��u��e�� a�� th�� e �e�a� a��ta��e �� eb�d�� ate ��b�e��. ��d the� ��u th�� eb�d� a�� hat a�e ��u a�tua�� d�� that � ha�e t� d� th�� e that a� �a�t �� the ��b� but �t �a� a �� u��e� h�� u ��t the�e. ��d ��u ha�e t� �ea��e h�� u ��t the�e a�d �h� ��u��e d�� t�.�6 �� d��e�e�t �ha�e� a�d at d��e�e�t �e�e�� Jea��e�� a�t��e � �b�e��ed h�� tu��t�e� �e�e ta�e� a�d th�eat� de�u�ed. �he ��eeh�u�e ��e�t �t�e�� ta��e ��u�d ��t ha�e ha��e�ed �� the�e had ��t bee� the ��tu��t� �� a ��a� �ut�h �u�d�� a��a��e�e�t ��

�� Jea��e the ��ua� a�t� a�e the ��t �u�tab�e �� th�� b. �� ed that the ��a�e ��

a�t��t�� ed�at�� te�da�t �e�e��. �e��de� that the�e �e�e ��tu��t�e� ��e the

dete��e�t a� a �ea�� ett�� h��d �� the �u��u�d�� a�d a �a� �� a�� e�e��

�2 JVH02-130312 ��t ��e��at�� th Jea��e �3 JVH06b-100�12 ��e��at�� et �� JVH11�-231012 �e��d ��e��at�� th �a�� JVH03a-0�0�12 �� e��at�� 6 JVH03a-0�0�12 �� e��at��

the e��e�t. �� be ab�e t� ��t�� th�� a�e ��e �eed� t� be��e ��ua�� du�t��e�� he a��ue�.

��

2�

JVH03b-0�0�12 ��e�� e��hb��h��d ��t�he� JVH13b-210113 �e��d ��e��at�� th Jea��e 30

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These ar�is�i� idea�s see� �� be �eadi�� he e��i� ��e��s sha�i�� he �r��e��. �There

�aris�a ��siders i� �� be a �as� ��r ar�is�s �� as� a�d raise ��es�i��s ab�� s��ie�� a�d �ha�

are s�i�� hi��s �� se��e ��r �he ��a� e�� he re�a�i�� be��ee� hi�h a�d �� re�

is �ha� Freeh��se d�es �i�h �his �ra��i�e. ��d b� as�i�� es�i��s �e� ��ssibi�i�ies �a� be

be��ee� ��e� a�d i��si�� Jea��e s�a�es.�0 �� ra��i�e �h��h� �a��i�� he �e��e

�rea�ed. This is ��da�e��a�� di��ere�� ha� �ha� �r�a�i�a�i��s �i�e �he h��si�� era�i��

i��ed� �he �eadi�� ar�e�s see� �� a�e. �is��ssi�� he a�hie�e�e��s �� e �� heir

�r �he e��e�� i�e d�. The� �i�h� �a�� s�i��a�e e�� a�d e��er�rise b�� he�

��-��r�ers ��e� ��des�

d� s� �i�hi� �he s�a��s �� i�h�� es�i��i�� i�. �aris�a ��ses�

�Tha��s �here Freeh��se is a�� ab�� T� s�i��a�e e��er�rise� he�� e��e �� he d��e� �� s�i�� e� a��re ��r ��e a�d a ha�� ear a�read�� be��i�� e��i�a�� i�de�e�de�� a�d bei�� er� ha�� i�h �ha�� a�d a� �he sa�e �i�e bei�� a r��e ��de� ��r �he e��ire �ei�hb�rh��d�. �1

��ha� ha��e�s here �i� Freeh��se� �� is �he �rea�i�� s�e�es �hr��h i��er�e��i��s� b�� hese s�e�es are �� rea�ed i� sear�h ��r bea��. Tradi�i��a� �i�e ar� ai�s ��r ��eas�re �r �er�ai� aes�he�i� e��erie��e i� �he �er�e��i�� he ��si�i��. Tha� is �� he �ri�ar� iss�e i� Jea��e�s ar��. �...� �The ar� she �a��s �� er �� he ��b�i� is �� as�i�� r a ��d��e�� as�e b�� i��i�i�� hi�� ab�� he ��es�i��s �ha� are raised as a res�� he si��a�i�� ha� is �rea�ed�. �...� �� is �� e��h �� ee� �� si�� es�i��s as a� ar�is�. �� ha�e �� sh�� a��er�a�i�e �hi��s�.�6

H��e�er �he �i�a��ia� be�e�i� �� Freeh��se ��r �he ��r�ers is ��des�. �isa �a�� a� �he �re� ��re �ha� a� e��e�se a��a��e �� 1�0 �er ��h. �he d�es �� e��e�� be ab�e �� a�

�he� ��re i� �he ��re.�2 � a�s� heard Jea��e a�d �aris�a �a�� ab�� he ��e�i�ies �� a�i�� eers a�d �ree�a��ers� �r �he s��r� �� s�ar�-��s. There is a seri��s ris� ��

��are�� here are �a�� di��ere�� be�e�i�s �� ai� s� �here are a�s� �a�� di��ere�� eeds�

dra��i�� he� i�� a �ia�� a� deb�s �r �i�e �� as�i�� a�s.�3

��i�es �r i��eres�s dri�i�� he �r��e��. �he� dis��ssi�� he i��e��i�es �� he s��ia� desi��

Farida e��ai�s �ha� i� is �er� hard �� s�ar� a� e��er�rise a�d �ha� she herse�� a�e �� he

��e� �bser�es �ha� �i� �a� be �h�si�a� ��. �e�re i��ed i� �he desi�� he ��b�i� s�a�e

e��e��a�i�� i� d�i�� s�. �he e��ai�s i� is hard ��r�. �� a� �� a�hie�e �his �he� �� are

�� re��ria �a�e. �e�re �� ar�hi�e��s b�� e d� �hi�� ab�� he desi�� b�i� s�a�e. �� i� is

�� a�d �he� �� d�� ha�e �hi�dre� �� a�e �are �� be�a�se �� a�� r �hi�dre��s

�� s�ri�� s��i�-e��i��.��

��re a� ris��. ��her be�e�i�s ��i�a�e Farida �� d� �his ��r�. ��i�� a��are�� a�� i�a��ia� �r��i� d�es �� ea� �ha� �he e��i� a��r�a�h is �ai�i��. �r�d��i�� de�a�d is �he �ai� a��i�i�� a�d Farida e��ai�s �ha� ��r �ha� reas�� here is ��re dis�i��i�e here �ha� i� ��her ��i�� e��ers �here she �sed �� r� i� s��ia� ��r� �r��ra�s. �The di��ere��e is �ha� �e ha�e rea� dead�i�es�� Farida ar��es. �The �r�d��s ha�e �� be �� d ��a�i�� a�d �eed �� be de�i�ered �� i�e�.��

�� s��e �a� ��s� �� he �e��e i� �he ��re �� he �r��e�� are s��ia�� r ��i�i�a�� i�a�ed i� addi�i�� heir aes�he�i� a�d e��i� �b�e��i�es. �a�� hi�� e�er��e �� s �ee�s �he �eed �� ha��e �he ��r�d. �� s� see �he hi�her �a�se�. �� be��er ��r�d� �aris�a adds. �� i� is �er� hard �� i�di�a�e �his �ha��e� e�e� harder �� a��i�� i�. H�� d� � ��a��i�� he �a�� ha� �e�re ��i�a�ed i� �hi�a ��r a desi�� ri�e�� JVH02-130312 Firs� ��ersa�i�� i�h Jea��e �0 JVH13b-210113 �e��d ��ersa�i�� i�h Jea��e �1 JVH03a-0�0�12 ��r� ��r ��ersa�i��s �2 JVH0�a-160�12 ��ersa�i�� i�h �isa �3 JVH13a-210113 ��i�e �bser�a�i��s a� ��h �� JVH12a-2�1012 ��ersa�i�� i�h Farida �� JVH11�-231012 �e��d ��ersa�i�� i�h �a��

�6 ��

JVH11a-231012 ��ersa�i�� i�h �aris�a JVH06b-100�12 ��ersa�i�� e� 32

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Structure

�1

�a��

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��a� �a��e�� e��er ��e �� ar�� r ��. �� e� ��e �� e� �� a �a��er ��a�� r ��e a �e��re ��e ��e� �e��e� �� a��. �� e� �� e�era�e ��e b�� a�� b��.62

� a�� a�� e�ab�ra�e �� e �a� ��e� ��b��e ��e �� e ��b�� e ��

�a�� are �� b�� a�� e Jea��e�� a�� a� �e�� a��. ��e��er ��e� �r��e

��e ar� ��r��. �a�� e��a�� e� �� e �ea� �e�e�� e�r

re��r�� a�� a�� a��a�� r ��. �a�� re�� a�� a��. He ��

r��e� ��a��e� a�� re��b��e�� a�� e ��a�� e �r��e�� r��er. �a��

�er� b�� e �eb��e� a�� a�e� �are �� a�� e �r�� r� �� e �ea��e�� a�� er�. ��r

��ra�e�� e ��e�� re ��a�� e �� a�� e �e�� e�� re ��a��

�� rea�� a�� e�� a �� e �� e a�� a� ��e ��e.

�� e ra�� e�� a��. �� Jea��e �� ere �� a��re �� r�bab�� e ��r�� e ��

�� e ��rar� �ar��a a�� e� are Jea��e�� ar�� e�e� a�� ear� �� e ��ree�. �ar��a

�� e ��e�.�

e��a�� er �a�� a� �� e bee� b�� e �r��e�� b�� r�� e �ar�e�.

�a�� a� �e�� a� �ar��a ��e� e��a�� e�er�b�� a� �ar�� er��ar��

�a�� e �e��r�� e�� re��r�� a�� e��. � ��er ��a� ��

��re a�� e�� r�� a�� a�� be�e�� e�r e��e�� a� a �ea� a�� a�� e��

�a��e�� a� �e��e �a�� a�� e �� a�e �� a�� a� ��ea� ��

��e� �� a�� e ��re �r�� ere�� er��e��e�.�� a��er ��a�� ear� ��e�

��r�� .

�a� ��a� ��e �� er� a�are �� e r�� ee�� e ��e �� e� �a�� are

��e ��er �ar�� e �r��e�� are �a�e� �are �� b� ��e�. �� er ��e�� re �� a �r��er� ��a�� a� � �� a�� r��. �� a�� e e��er�r��e� �� ree��e ��r�

��e� �� e �r�� a�.��

��e �ee�� a� ��e �e�� a�� e �e��b�r�� r�.63

Jea��e�� a�� a�� r�e �� r �ree��e a� a ��a��. �a�� e��a�� a� Jea��e �� e� �� e ��r�� a �a�� ba�� b�� a� a ��re��r �� a b�r�� e�e ��e�� b�er�� a�� a�� e�era�. �� a� ��ere�� e� ��e e��er�r��e �a�

�2

��ar�� . Jea��e �a� �r��e�� re�e�� r�� a� ��a�e� �� e��

��...� b�� e �a� a ��ere�� e b�� r��er. Her ��a�� are a��a�� ar a�ea� a�� e �r� �� e� ��ere. �� er� ��r�a�� e �e�� e ��r�e. �� e�� r�� er� ��e��. �...� �� a�e a �� e�� e�� a�� a�� Jea��e ab�� e�er��. � �� e �� a�� a�e ��e �a�e �e�� 10 ��e�. �� e� � �e� �� e� �� a�� e�� e ar�� a�� e ��e �� e ��e a��er�. �� a�be �� r ��e ea�� a� ��.6�

�� e��er� a�� r��. �� er� �a�e ��er �� b a� a� ��era��a� �e�e�. 60 Jea��e �er�e�� er� �er�e�� e ��e�e�� a� a �a��r �r ��. ��e ar��e� ��a� ��e �� rea�er ��e �� ere��e�� rea�� e ��r� �� e�� e� a�� e��e ��a� a��er�� e ��r �r ��r�� ee.61 �� e��a�� b�er�a�� e ��ree� �e�e�. ��er� ��e � �a� Jea��e �� e ��ree� ��e �a� a��a��e� �� a�� ar�� r ��er ��r� a�� e ��e� a�� er� ��e� ��ere �ere ��ra��er� �r a �� re� �� er. �

H�erar��

� a�� e� ��a� �a�e� Jea��e ��e ar�� ea� �� er. ��e a��er��

�a�er � a�� a�� Jea��e ��re�� ree��e ar��a��. �a�� re��e��

�e�er �a� �er �a�� a �a��er-b� a�� e� ��e� � �a� �er ��e �� e ��r�er� �� e ��r� ��r. � ��are �� b�er�a�� Jea��e a�� e �ee�� be �� a�are �� e ��e �a� �� re�a�� e ��a��. ��e re�a��e� be�� e� b� a �a�era �re� �� r ��e ��rr� ��e �r��e a�� re�� er �� e re��r�er �� e ��a� �e�e�� a�� a� ��e ��e�� e ��e�. Jea��e a�� a�ree� ��a� ��e �� e� �� e �e��b�r�� e��e ar�� a�� a� be��e� ��e a��e�� e �re�� e� ��e��e��e� a�� e�� a�� e�er�� 60

JVH11�-231012 �e�� er�a�� a�� JVH03a-0�0�12 ��r� ��r ��er�a�� JVH0��-160�12 ��r�� er�a�� a�� 33

��e� - err - � �� ee� �� ba�� e ��re ��e� �� e a��e�b�� e �ea�. Jea��e �e�e�� a �r��e��. ��e� ��e �ee� �� a� ��re�� e�e�� a�� a� ��a��e� are �ee�e� �� rea��e a�� e�� e �r��e��. ��ere are a ��e �� re��rr�� ba�� e�e�e��. ��e �ea� �� ere a� ��e ��e� a�� a��a�� a�� e��e �� ar��a�e� ��re �r �e�� e��rar�� e �r��e�� r �� a �r��e�� e�r ��. �� a�� re��r�� e �e��. �� Jea��e �� e��e �� e� ba�e� �� er ��e�� a��e� �ee�e� �� ee� 61 JVH13b-210113 �e�� er�a�� Jea��e 62 JVH13b-210113 �e�� er�a�� Jea��e 63 JVH03a-0�0�12 ��r� ��r ��er�a�� 6� JVH06b-100�12 ��er�a�� e�

3�

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ï¿½aï¿½ï¿½ï¿½ iï¿½ï¿½ï¿½ï¿½ï¿½ï¿½s ï¿½arisï¿½a iï¿½ ï¿½ï¿½ï¿½ disï¿½ï¿½ssiï¿½ï¿½ asï¿½iï¿½ï¿½ ï¿½ï¿½r iï¿½ sï¿½ï¿½ aï¿½rï¿½ï¿½s ï¿½iï¿½ï¿½ ï¿½ï¿½is. ï¿½ aï¿½sï¿½ rï¿½ï¿½ï¿½r ï¿½ï¿½ ï¿½ï¿½

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ï¿½ï¿½ a ï¿½ï¿½ï¿½aï¿½ ï¿½ï¿½ï¿½raï¿½iï¿½ï¿½aï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ as ï¿½ï¿½ï¿½ï¿½ as ï¿½ï¿½ a ï¿½ï¿½ï¿½a-ï¿½ï¿½ï¿½ï¿½ï¿½ Frï¿½ï¿½ï¿½ï¿½ï¿½sï¿½ is ï¿½ï¿½siï¿½iï¿½ï¿½ï¿½d aï¿½ï¿½ï¿½ï¿½ ï¿½aï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½r ï¿½rï¿½aï¿½iï¿½aï¿½iï¿½ï¿½s. ï¿½ï¿½ ï¿½ï¿½ï¿½ ï¿½ï¿½iï¿½ï¿½ï¿½ï¿½rï¿½ï¿½ï¿½d ï¿½ï¿½ï¿½rï¿½ arï¿½ ï¿½ï¿½ï¿½-ï¿½rï¿½ï¿½iï¿½ ï¿½rï¿½aï¿½iï¿½aï¿½iï¿½ï¿½s ï¿½iï¿½ï¿½ Vï¿½sï¿½iaï¿½ ï¿½ï¿½sï¿½ï¿½ï¿½ï¿½ï¿½isï¿½ ï¿½ aï¿½d ï¿½ï¿½ï¿½F. ï¿½ï¿½ï¿½ï¿½ ï¿½aï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ iï¿½ï¿½rï¿½dï¿½ï¿½ï¿½d iï¿½ ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½rsï¿½ ï¿½ï¿½ ï¿½ï¿½is rï¿½ï¿½ï¿½rï¿½ aï¿½rï¿½adï¿½. ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½rï¿½ arï¿½ sï¿½ï¿½iaï¿½ aï¿½d ï¿½ï¿½ï¿½ï¿½ï¿½raï¿½ ï¿½ï¿½rï¿½ï¿½rsï¿½ ï¿½riï¿½arï¿½ sï¿½ï¿½ï¿½ï¿½ï¿½s aï¿½d ï¿½iï¿½ï¿½ sï¿½ï¿½ï¿½ï¿½ï¿½s. ï¿½ï¿½ a ï¿½iï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½rï¿½ is ï¿½ï¿½ ï¿½ï¿½ï¿½rsï¿½ ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½iï¿½iï¿½aï¿½iï¿½ï¿½ï¿½ iï¿½sï¿½iï¿½ï¿½ï¿½iï¿½ï¿½s ï¿½iï¿½ï¿½ ï¿½ï¿½ï¿½ ï¿½ï¿½sï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½aï¿½ arï¿½ aï¿½adï¿½ï¿½ï¿½ï¿½ sï¿½ï¿½ï¿½ ï¿½ï¿½siï¿½ï¿½ssï¿½s aï¿½d a ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½rï¿½iaï¿½ ï¿½rï¿½aï¿½iï¿½aï¿½iï¿½ï¿½s ï¿½iï¿½ï¿½ ï¿½ï¿½ï¿½ assï¿½ï¿½iaï¿½iï¿½ï¿½ ï¿½ï¿½ ï¿½arï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½dï¿½rs. ï¿½ï¿½d ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ a ï¿½aï¿½iï¿½ï¿½aï¿½ aï¿½d iï¿½ï¿½ï¿½rï¿½aï¿½iï¿½ï¿½aï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½rï¿½ arï¿½ arï¿½isï¿½s aï¿½d arï¿½ ï¿½ï¿½ï¿½ds. Frï¿½ï¿½ï¿½ï¿½ï¿½sï¿½ dï¿½ï¿½ï¿½ï¿½ds ï¿½ï¿½ ï¿½ï¿½ï¿½sï¿½ ï¿½rï¿½aï¿½iï¿½aï¿½iï¿½ï¿½s as ï¿½ï¿½ï¿½dï¿½rsï¿½ ï¿½ï¿½-ï¿½rï¿½dï¿½ï¿½ï¿½rs ï¿½r as ï¿½ï¿½sï¿½ï¿½ï¿½ï¿½rs. Fï¿½ï¿½diï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½s ï¿½rï¿½ï¿½ a ï¿½irï¿½ï¿½iï¿½ ï¿½ï¿½ï¿½sisï¿½iï¿½ï¿½ ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½rï¿½ï¿½ï¿½ï¿½ï¿½ aï¿½d arï¿½ iï¿½sï¿½iï¿½ï¿½ï¿½iï¿½ï¿½s. Jï¿½aï¿½ï¿½ï¿½ ï¿½riï¿½s ï¿½ï¿½ aï¿½ï¿½id ï¿½ï¿½iï¿½ï¿½ dï¿½ï¿½ï¿½ï¿½dï¿½ï¿½ï¿½ ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½dï¿½r. ï¿½ siï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½dï¿½r ï¿½iï¿½ï¿½ï¿½ aï¿½ï¿½ as a ï¿½riï¿½ï¿½iï¿½aï¿½ issï¿½iï¿½ï¿½ ï¿½rdï¿½rs. ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½rï¿½ ï¿½ï¿½ï¿½dï¿½rs arï¿½ iï¿½ï¿½ï¿½ï¿½ï¿½ï¿½d ï¿½ï¿½ï¿½ ï¿½iï¿½ï¿½ï¿½ ï¿½sï¿½aï¿½ï¿½isï¿½ a rï¿½ï¿½aï¿½iï¿½ï¿½ iï¿½dï¿½ï¿½ï¿½ï¿½dï¿½ï¿½ï¿½ï¿½. Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â

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J�a�� a ��a� �� a��.6� �� a�� a�� a�� b� a ��a�� a� �� a��a�� a�� a��. �� a� ��a�� a�� J�a�� a�� b�� a� a �� a�� b�� a� �� a� �� a�� . �� a �a�� a�� a��a�� a�� a�� a�� ab�� a�� b�� a�� a��a�� a�� . �� ab�� a� � �a�� .

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a�� a�� a� �� a�� b�� . �� a�� a� a�� b�� b�� b�� a�� a�� ab��a��. ��a� �� a� �� a�� a��. �� a ��a�� a�� a� �a��. �� b�� a��a�� .�3 �� a� �a�� a�� a�� a� �� a�� a�� a� a �ab��a��. �� a�� b� a �� b� �a�� a�� a�� a�� ba�� a�� .��

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�a�� b�� a�� a�� a� �� J�a�� . ��

�� a ��a�� a�� a�� a�� a� a�� . H�� a �� a�� b�� a��. �� a�� b�a�� a� ��a� ��a�� a�� b�� a�� a�� b��. �� a�� a �� b�� a� �� b� ��a�� . V�� b�� a�� a�� a�� ab�� a� a �a�� b�� . ��a� �� a�� a� �� a�� a�� . �� a�� a�� b�� a� �� a�� a��. �� a�� b�� a� �� a��.��

�� a��. �� a�� a�� a�� a�� a��. �� a�� b�� a�� a� �� a ��a�� a� �� a�� a�� . �� a ��a� �� a�� . �� a�� a ��a�� a�� a� �� . �� a�� a ��a� ��a��a�� a� a �� a�� . �� a�� .�0 �� a�� a�� a�� a�� . �� a�� a� �a�� a�� a�� a� �� b�� a�� - a�� a�� a�� a�� - �� .�1 � ��b�� a�� a�� a� �� a�� a� ��a� a�� a�� a�� a� �� a�� a� �� b� ��a�� a�� a�� .�� a� �� a�� a�� a�� b� �� .

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J�a�� a�� a� �� a�� a� b�� a��. �� b�� a�� b�� a� �� a� �� a�� a�� a�� a�� a� �� a� �� a� � �� . �� a�� a�� J�a�� a�� a�� - ��a� � a��a�� a� - �� a�� ba�� a�� a�� a�� a�� a �� - �� b�� - �� a��.��

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�erbe� i� �er� e�t��ia�ti� ab��t t�i� d��ami� a��r�a��. ��e� �� t� ��e�t t� t�e

��t a �reated a�d de�i��ed �it�ati�� b�t a �erie� �� -�reated �it�ati��. ��r t�at rea��

�� t�e �ei��b�r��d. �e all tal� ab��t it. �ree��e i� alread� d�i�� it. �...� �t i� ama�i��

��ld tal� ab��t ��it�ated art� i��tead �� it�ati�� art�.

�� t�e� �ee� �� t�e ��irit i� ��ite �� l��al ��er�me�t �alli�� be�i�d�. He me�ti�� ree��e�� late�t ��e�t �� t�e ! Jea��e e�e�t�all� ��e t� �all t�e �r��e�t

� e��re�� m� i�tere�t i� t�e �a� ��rat�r� relate t� t�e�e ��rm� �� art� ��ideri�� t�eir

��i��aarde��i�� a��i�� t�e ��t�� rd ��r ��are� ��are�� i�t� a ��rd t�at re�er� t�

�ra�ti�e bei�� r��ted i� t�e m��e�m� ��i�� a ��lle�ti�� t�i�� ile t�i� art i� r��ted i�

��al�e�� r ��ta�dard�� aarde��

e�er�da� li�e. � ��der i� t�e ��rat�r� a� a middlema�� i� �ta�di�� ide ��e� arti�t a�d ��bli� i�tert�i�e �it�i� t�e ��r� �� art. Jea��e d�e� ��t t�i��

�� bea�ti��l ��e�t t� be�i� �it�. �t ma� ��t be a ��ld mi�e b�t it �i�e� a t�tall� di��ere�t �er��e�ti�e. �� mi��t reb�t t�at it d�e� ��t ��e�t t� �r��tal t�e�r� �� t�e �ei��b�r��d a�d it� ��de�� b�t t�e ��rld i� m��i�� a�d t�i� i� a �e� �a� t� deal �it� it a�d l�� at it. ��i�i�al �la��er� ��ld ��t re��mme�d t� �et rid �� t�e �ld �a��i��ed �mall b��i�e��e� �it��t ��eri�� e� �er��e�ti�e�. �ree��e ma�a�e� t� t�r� �� a di�ad�a�ta�e ar��d i�t� a� ��rt��it� t� �reate ��a��e. ��i� �a� t�e� �e�erate a ��rt �� iti�e e�er�� - al�� r me �er��all� - t� �� t� ��r��.��

�... be�a��e t�e�e are t�� di��ere�t di��i�li�e�. �� a� �ee t�at ��r i��ta��e at t�e �i�er��l bie��ale ��ere �e �r�d��ed a ��ided t��r �it� t�e i��abita�t� t� �re�e�t t�e bie��ale a�die��e t� �et l��t� li�e ��re l��t �� ere i� �ree��e. �� tell �� a �t�r� it i� im��rta�t t� ��r� �it� a ��rat�r �� i� ��e�iali�ed i� �reati�� a ��te�t. �till t�i� d�e� ��t ��l�e t�e �r�blem �� t�e ��te�t ri��t a�a�. �� m�re t�a� e�er t�ere are t�i�� t� d� ��r ��rat�r�. ��d t�at i� ��at �� ee� t�eir �r��ram� be��me m�re im��rta�t�.�0

�erbe� ar��e� t�at t�e arti�t� t�e� ��r� �it� are al�� a�ter a�d m�re �le�ible� �� m� e��erie��e t�e� al�a�� eem t� be a �e� �te�� a�ead ��i�ti�� t �e� ��e��me�a. ��e� are alread� a�ti�e ��e� �e�re �till b�� ma�i�� li�ie�. ��e m�me�t �e be��me a�ti�e t�e� alread� �reated �e� ��e�ti��. ��eir ��eed� t�eir �i�i�� iet�� t�e ��ibilitie� i� t�e ��mm��it�� t�e e��re �� i�t� �� e�ti�� ere �� a� �reate m��eme�t� all t��et�er ��iall� a�d e��mi�all�� i� t�e�e t�i�� t�e��re m�� a�ter a�d better�. �... � ��eir a�al�ti� ��m�ete��e i� al�� er� �tr��. �ertai�l� a �art� li�e �ree��e �a� �reate m�ti�� i� a� alm��t ��e�ta��lar �a�. ��ti�ati�� artie� a�d �e��le al�� t�e �ell �� ladder �� rei�te�rati��. �� a� �ee t�at t�e� reall� ma�e t�at �a��e��.��

Jea��e ill��trate� �er �a� �� addre��i�� t�e ��e�tat�r b� telli�� t�e��re ma�i�� a dre�� i� t�e �e�i�� r�� r t�e �lar�e e��ibiti�� a�e i� ��tterdam�. ��ri�� t�e e��ibiti�� t�e ladie� �ill ��ti��e ��r�i�� t�i� dre�� al�� i�� t�eir ��ill� i� ��bli�. Jea��e i� ��ta�tl� e��l�ri�� a�� t� �re�e�t �er �it�ated art i� a m��e�m�

��...� �� ma� al�� e�ti�� i� t�e�e ��me� are ��t �� di��la� �r ��t. � d��t �� a�d � a�t�all� d��t �� at t�at mea��. � �a� t�i�� a ��ible mea�i�� r�e� b�t it i� alm��t a� i��er�i�� t e��ibiti�� t�e �r�d��t b�t t�e �r�d��ti��. �� t�e �e�i�� r�� ill be m��ed tem��raril� t� t�e . �eird �la�. J��t �i�e it a tr�. ��d a�ter t�at t�e dre�� ill ret�r� t� t�e �ei��b�r��d� t� t�e ! . ��d � ��der ��at ��a�e it ta�e� t�e�� a�d �� ill it be �er�ei�ed� et�etera� et�etera�.�1

�erbe� i� e�er�eti� a�d i��ired. He i� al�� ama�ed ab��t t�e i��ra��e �� ma�� e��le �e i� deali�� it� ��e� it ��me� t� re��i�i�� t�e ��ill� a�d merit� �� e��le li�e Jea��e.

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�e��i�i�ati�� a�d rei�i�ati�� d�e t� t�e art �ra�ti�e

��ri�� t�e �b�er�ati�� ree��e � lear�ed t�at t�e bea�� a� �a�i�ati�� ere t�� tati� ��r a d��ami� �it�ati�� li�e �ree��e. �l�� li�te�i�� t� Jea��e a�d �er �ta�� t�e term ��it�ati�� eemed ��t t� be a��rate eit�er �i��e t�i� term ��e�t� a ��rter ��a� �� time� �r a m�me�t �r i��ta�t �ar ��rter t�a� t�i� �r��e�t �a� r��i��. � ��ld �a� t�at �ree��e i�

�� JVH13b-210113 �e��d ��er�ati�� it� Jea��e �� JVH12b-2�1012 ��er�ati�� it� �erbe� �� JVH12b-2�1012 ��er�ati�� it� �erbe�

��t Jea��e�� r� al�� de��i�ie�� i� t�e ��a�e �� le�t�re�� arti�le� a�d a�di�-�i��al re��rt�. �� re��rted earlier � �a� Jea��e ��mm��i�ati�� it� t�e ��t�ide ��rld ��ti��l� ��ee ��a�ter �� 1�. ��i� �a� �art �� er ta�� a� �i��re�ead �� t�e �r��e�t. ��t � al�� a� t�at t�e �re�e��e �� t�e media� e��e�iall� t�e �amera�� e�t t�e ��bli� at a di�ta��e ��ile ��t ��l� Jea��e b�t al�� ari��a a�d ��et �ere ��ite ��ied �r��idi�� t�e re��rter� �it� material.�2

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�he Freeh��se �r��e�t has �a�� a�es. ��e �i�ht ar��e that it has as �a�� a�es as there are �e��le i��l�ed. ��t there are t�� di��ere�t �a�es that are th�r��hl� ��it�red a�d ta�e� �are �� b� the sta��. ��e is t�r�ed t��ards the �e��le i��l�ed a�d the �ther is �rese�ted t� the ��ders� i� this �ase the ��er��e�t a�d art ��rld. �� e side �� the s�e�tr�� Freeh��se � sa� the �r�d��ti�� a� art as des�ribed b� Farida. �his art �a� ��l� be e��erie��ed thr��h �arti�i�ati��. A�d �� the �ther side there �as a� art des�ribed i� edited a�d �ediated st�ries addressed t� the art ��rld a�d the ��er��e�t i� this �ase als� the ��ders �� the �r��e�t. �� bet�ee� these t�� ers�e�ti�es there is a� e�te�si�e �et��r� �� e��le �arti�i�ati�� i� di��ere�t �ra�ti�es. �he� �ather ar��d �ar�i�� r�d��ts ��ll��i�� e �r ��re �i��reheads �� the Freeh��se �r��e�t. �his �a� the��re ha�i�� their �� arti��lar relati�� ith Jea��e�s ��r� s��eti�es �ith��t e�e� ��i�� Jea��e.

�e�t� ��e �� a�� b��s deali�� ith Jea��e�s ��r�. �i�ht� ��e �� a�� eb�asts �eat�ri�� Jea��e �a� Hees�i��.

�ithi� the �e��s �� these e�tre�el� di��ere�t �ers�e�ti�es a ��lti-��ld ��r� �� art is �r�d��ed

�he i��ited artists e��erie��e the �ra�ti�e Freeh��se i� a �arti�i�ati�e �a� that is

�ith a �l�id sha�e that �aries i� ti�e a�d i� s�a�e a��rdi�� t� the a��le �� a��r�a�h. Jea��e

��arable t� the �a� that l��als �et i��l�ed. �ther re�rese�tati�es �r�� the art ��rld are

is the s�ider i� this �eb� se�si�� the ��e�e�ts. Fr�� this ��siti�� she is ��r�i�� the

��ided thr��h the �ei�hb�rh��d b� Jea��e �r �isit s�e�ial ��asi��s li�e . �a��

i�side as a �arti�i�ati�� leader� �hile she is telli�� st�ries t� the ��tside as a re�le�ti�e

�thers ��l� �� Jea��e�s ��r� readi�� bli�ati��s. Here thi��s t�r� ar��d� ��st �e��le

�i��rehead.

�h� �� Jea��e as a� artist �r�babl� �e�er heard �� aris�a �r �e��is.

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��e�ti�it� �� the art �ra�ti�e

��dersta�di�� the �r��e�t de�e�ds �� the le�el �� arti�i�ati�� a�d ��b�d�� t e�e� Jea��e�

�he� �bser�i�� the �ra�ti�e �� Freeh��se the �� the �e��le i��l�ed is ��ista�able.��

�a� ��ersee e�er�thi�� that is ha��e�i��. �ista�t s�e�tat�rs - re�rese�tati�es �� the art ��rld

Al��st e�er�b�d� l��s ha�� a�d all �� the� see� ea�er t� ��r� a�d a��ear t� be �illi�� t�

i��ide�tall� �isiti�� the site� �isit�rs �� bie��ials a�d e�hibiti��s� as �ell as ��bli� ��er��e�t

le�d a hel�i�� ha�d at a�� ti�e. �his �bser�ati�� i��l�des ��l��teers� as �ell as �reela��ers

i��r�ed b� ��i�ial re��rt - �b�i��sl� �ill �er�ei�e s��ethi�� letel� di��ere�t tha� the

�r ��i�ials li�e �erbe�.��

�e��le i��l�ed.

A�d the� are �r��d �� a�� thi��s. �he� are �r��d ��r e�a��le �� the �r�d��ts the� are �a�i�� the �ra�t a�d ��lt�re the� are re�rese�ti�� their �ers��al i�de�e�de��e� a�d �� the re��tati�� a�d re��iti�� the �r��e�t.��

�he �r�d��ti�� its li�e the ��r�sh�� r the �it�he� see� eas� t� e�ter. ��e see� a l�t �� e��le ��i�� i� a�d ��t �� the sh�� a�d the ��r�sh��. �� the �it�he� � re��larl� �et a �e� ��a��le �� Jea��e�s e�hibiti��s. Freeh��se �� dis�la� at the Arte�a�t �esti�al i� �e��e� 2�1�.

�a�e behi�d the ��ter. �heir ��r� a�d their e�th�sias� ��r�ed a brid�e that �as eas� t�

�t�d�i�� the �r��e�t �r�� b�th these a��les � �bser�ed that the �r��e�t is s� ��h di��ere�t

Als� d�ri�� the ��e�i�� the �it�he� � �it�essed h�� eas� it �as ��r a �isiti�� a� t�

�he� e��erie��ed i� the l�� r�� a street le�el i� ��aris�� t� �hat is �ritte� ab��t it b�

�et �� sta�e a�d �er��r� s��ta�e��sl�. �t t�� s��e ti�e b�t a�ter a ��ber �� ths he

re�ie�ers �r Jea��e hersel�. �� ra�ti�e � see li�ht�ess� e�er�� e��ti�� a�d ��lished�

�r�ss i� b�th �a�s� �i�i�� a� t� relate t� ea�h �ther.��

s��ta�e��s� a�the�ti� �e��le that d� ��t �at�h the abstra�t �ra�it� �� the ��l a�d a��ratel� ��r��lated seri��s s�ee�h i� the literat�re.

�1

��

JVH��a-1��12 ��ersati�� ith �isa JVH12b-2�1�12 ��ersati�� ith �erbe� JVH12a-2�1�12 ��ersati�� ith Farida �2

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FREEHOUSE

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ï¿½as iï¿½ï¿½iteï¿½ tï¿½ heï¿½ï¿½ ï¿½ï¿½ï¿½aï¿½iï¿½iï¿½ï¿½ ï¿½eï¿½ï¿½ï¿½ï¿½maï¿½ï¿½es ï¿½ï¿½ï¿½ ï¿½ï¿½eehï¿½ï¿½se.ï¿½ï¿½ ï¿½he ï¿½eï¿½maï¿½eï¿½t ï¿½ï¿½eseï¿½ï¿½e ï¿½ï¿½

ï¿½hese ï¿½ï¿½ï¿½ms ï¿½ï¿½ iï¿½eï¿½tiï¿½iï¿½atiï¿½ï¿½ ï¿½eaï¿½ tï¿½ a tï¿½aï¿½sï¿½eï¿½ ï¿½ï¿½ ï¿½ï¿½ï¿½eï¿½shiï¿½. ï¿½eï¿½ï¿½ï¿½e iï¿½ï¿½ï¿½ï¿½ï¿½eï¿½ ï¿½ï¿½ ï¿½ï¿½t taï¿½ï¿½

ï¿½aï¿½isï¿½a aï¿½ï¿½ Aï¿½ï¿½et ï¿½ï¿½ the ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ aï¿½ï¿½ the stï¿½eet aï¿½sï¿½ maï¿½es the ï¿½ï¿½ï¿½aï¿½iï¿½atiï¿½ï¿½ ï¿½ï¿½ ï¿½ï¿½eehï¿½ï¿½se

abï¿½ï¿½t ï¿½hat Jeaï¿½ï¿½e is ï¿½ï¿½iï¿½ï¿½ bï¿½t staï¿½t ï¿½siï¿½ï¿½ the ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½eï¿½ï¿½ ï¿½iï¿½e iï¿½ the ï¿½eï¿½t ï¿½ï¿½ï¿½te ï¿½ï¿½ ï¿½eï¿½ï¿½is

ï¿½ï¿½ite aï¿½ï¿½essibï¿½e.

eï¿½ï¿½ï¿½aiï¿½iï¿½ï¿½ his ï¿½heï¿½eabï¿½ï¿½tsï¿½

ï¿½isa is ï¿½eï¿½ï¿½ eï¿½thï¿½siastiï¿½ abï¿½ï¿½t the ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½tiï¿½ï¿½ ï¿½ï¿½its ï¿½ï¿½ ï¿½ï¿½eehï¿½ï¿½se aï¿½ï¿½ the ï¿½etï¿½ï¿½ï¿½ï¿½ sï¿½ï¿½ï¿½ aï¿½ï¿½ï¿½ï¿½ï¿½ them. ï¿½sï¿½eï¿½iaï¿½ï¿½ï¿½ the ï¿½itï¿½heï¿½ aï¿½ï¿½ the seï¿½iï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½shï¿½ï¿½ aï¿½e ï¿½eï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½eï¿½teï¿½. ï¿½heï¿½ bï¿½th

ï¿½ï¿½ast ï¿½eaï¿½ ï¿½e aï¿½ï¿½ ï¿½ï¿½t tï¿½ï¿½etheï¿½ï¿½ the shï¿½ï¿½ï¿½ the ï¿½ï¿½ï¿½ï¿½shï¿½ï¿½ aï¿½ï¿½ ï¿½e ï¿½aï¿½e ï¿½ï¿½ï¿½ï¿½ï¿½steï¿½s the ï¿½ï¿½ï¿½ï¿½ï¿½tï¿½ï¿½itï¿½ tï¿½ ï¿½eï¿½eï¿½ï¿½ï¿½ theiï¿½ taï¿½eï¿½ts. ï¿½e ï¿½eï¿½e ï¿½siï¿½ï¿½ the ï¿½eï¿½ teï¿½t ï¿½ï¿½ ï¿½ï¿½eehï¿½ï¿½se ï¿½iï¿½ ï¿½ï¿½ï¿½ see thatï¿½ ï¿½t is a biï¿½ bï¿½aï¿½ï¿½ aï¿½ï¿½ ï¿½hite teï¿½tï¿½ iï¿½eaï¿½ ï¿½ï¿½ï¿½ the maï¿½ï¿½etï¿½ aï¿½aiï¿½st the ï¿½aiï¿½ aï¿½ï¿½ the ï¿½iï¿½ï¿½ ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½. ï¿½e ï¿½emï¿½ï¿½stï¿½ateï¿½ that tï¿½ï¿½ theï¿½. ï¿½e ï¿½ï¿½ aï¿½ this at the same timeï¿½.ï¿½ï¿½

aï¿½ï¿½eaï¿½ ï¿½ï¿½ same ï¿½ï¿½ï¿½asiï¿½ï¿½s aï¿½ï¿½ ï¿½ï¿½e ï¿½ï¿½ the ï¿½ï¿½ï¿½ï¿½ï¿½teeï¿½s is ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½ at bï¿½th ï¿½ï¿½aï¿½esï¿½ ï¿½ï¿½ï¿½ iï¿½staï¿½ï¿½e. ï¿½he ï¿½ï¿½ï¿½ï¿½shï¿½ï¿½ aï¿½sï¿½ maï¿½es the aï¿½ï¿½ï¿½ï¿½s ï¿½ï¿½ï¿½ the ï¿½ï¿½ï¿½ï¿½s. ï¿½ï¿½ï¿½theï¿½mï¿½ï¿½e theï¿½ ï¿½ï¿½ï¿½staï¿½tï¿½ï¿½ eï¿½ï¿½haï¿½ï¿½e theiï¿½ eï¿½ï¿½eï¿½ieï¿½ï¿½es as ï¿½ï¿½ï¿½aï¿½ eï¿½tï¿½eï¿½ï¿½eï¿½eï¿½ï¿½s. ï¿½isa ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½es that aï¿½ï¿½ this has a ï¿½eeï¿½ imï¿½aï¿½t ï¿½ï¿½ the ï¿½iï¿½es ï¿½ï¿½ the ï¿½ï¿½eï¿½. ï¿½heï¿½ aï¿½e ï¿½eï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ aï¿½ï¿½ satisï¿½ieï¿½ aï¿½ï¿½ ï¿½ï¿½ï¿½m a tiï¿½ht team.ï¿½ï¿½ ï¿½he ties beï¿½ï¿½me stï¿½ï¿½ï¿½ï¿½eï¿½ ï¿½heï¿½ ï¿½aï¿½tiï¿½iï¿½atiï¿½ï¿½ tï¿½ï¿½ï¿½s iï¿½tï¿½ iï¿½eï¿½tiï¿½iï¿½atiï¿½ï¿½. ï¿½amï¿½ï¿½ ï¿½esï¿½ï¿½ibes hï¿½ï¿½ ï¿½aï¿½iï¿½a ï¿½ï¿½t iï¿½ï¿½ï¿½ï¿½ï¿½eï¿½ aï¿½ï¿½ ï¿½ï¿½timateï¿½ï¿½ beï¿½ame ambassaï¿½ï¿½ï¿½ ï¿½ï¿½ ï¿½ï¿½eehï¿½ï¿½se ï¿½ï¿½t ï¿½ï¿½ heï¿½ ï¿½ï¿½ï¿½ eï¿½ï¿½eï¿½ieï¿½ï¿½e-baseï¿½ ï¿½ï¿½ï¿½ï¿½iï¿½tiï¿½ï¿½. He aï¿½sï¿½ aï¿½mitteï¿½ that the sï¿½aï¿½e ï¿½ï¿½ sï¿½me ï¿½aï¿½ts ï¿½ï¿½ ï¿½ï¿½eehï¿½ï¿½se ï¿½iï¿½e the maï¿½ï¿½et miï¿½ht be tï¿½ï¿½ biï¿½ tï¿½ beï¿½ï¿½me ï¿½eï¿½sï¿½ï¿½aï¿½ iï¿½ that ï¿½aï¿½.ï¿½ï¿½ ï¿½tiï¿½ï¿½ ï¿½ ï¿½itï¿½esseï¿½ hï¿½ï¿½ ï¿½ï¿½bï¿½ ï¿½ï¿½e ï¿½ï¿½ the maï¿½ï¿½et ï¿½eï¿½ï¿½ï¿½ï¿½s aï¿½ï¿½ iï¿½itiaï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ as a seï¿½tiï¿½ tï¿½ï¿½aï¿½ï¿½s the ï¿½ï¿½eehï¿½ï¿½se iï¿½itiatiï¿½eï¿½ ï¿½ame tï¿½ ï¿½aï¿½isï¿½a shï¿½ï¿½iï¿½ï¿½ a ï¿½etteï¿½ he ï¿½ï¿½ï¿½te. ï¿½ï¿½ this ï¿½etteï¿½ he ï¿½as ï¿½eï¿½ï¿½estiï¿½ï¿½ ï¿½eï¿½ï¿½ï¿½siï¿½eï¿½atiï¿½ï¿½ ï¿½ï¿½ ï¿½eï¿½ï¿½ï¿½atiï¿½ï¿½s at aï¿½ï¿½theï¿½ maï¿½ï¿½et he atteï¿½ï¿½eï¿½ tï¿½ iï¿½ ï¿½eï¿½ï¿½shaï¿½eï¿½. Aï¿½ï¿½aï¿½eï¿½tï¿½ï¿½ he ï¿½as haï¿½ï¿½ï¿½ ï¿½ith the eï¿½ï¿½eï¿½imeï¿½taï¿½ statï¿½s ï¿½ï¿½ the maï¿½ï¿½et iï¿½ the Aï¿½ï¿½iï¿½aaï¿½ï¿½eï¿½ ï¿½eiï¿½hbï¿½ï¿½hï¿½ï¿½ï¿½ aï¿½ï¿½ ï¿½ï¿½ï¿½babï¿½ï¿½ ï¿½eï¿½iï¿½eï¿½ tï¿½ tï¿½ï¿½ tï¿½ aï¿½hieï¿½e the same at aï¿½ï¿½theï¿½ ï¿½ï¿½ï¿½atiï¿½ï¿½. He tï¿½ï¿½ï¿½ ï¿½s he haï¿½ï¿½ï¿½t ï¿½ï¿½itteï¿½ a ï¿½etteï¿½ iï¿½ 30 ï¿½eaï¿½s. ï¿½eï¿½eï¿½theï¿½ess the ï¿½etteï¿½ ï¿½as ï¿½ï¿½itteï¿½ ï¿½eï¿½ï¿½ aï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½eï¿½ a ï¿½ï¿½eaï¿½ ï¿½iï¿½e ï¿½ï¿½ aï¿½ï¿½ï¿½meï¿½t. He tï¿½ï¿½ï¿½ ï¿½s that it tï¿½ï¿½ï¿½ thï¿½ee ï¿½eeï¿½s ï¿½ï¿½ï¿½ him tï¿½ ï¿½iï¿½ish it. ï¿½ï¿½ the ï¿½etteï¿½ ï¿½ ï¿½eï¿½ï¿½ï¿½ï¿½iï¿½eï¿½ the ï¿½aï¿½ï¿½ï¿½aï¿½e ï¿½ï¿½eehï¿½ï¿½se ï¿½ses tï¿½ ï¿½ï¿½ï¿½mï¿½te theiï¿½ missiï¿½ï¿½. ï¿½ï¿½ï¿½ï¿½ ï¿½aï¿½ steaï¿½ this ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½eï¿½tï¿½ he saiï¿½ tï¿½ ï¿½aï¿½isï¿½a.ï¿½0 ï¿½ï¿½ me it ï¿½ï¿½ï¿½ï¿½eï¿½ ï¿½iï¿½e ï¿½ï¿½b haï¿½ ï¿½eï¿½eï¿½ï¿½ï¿½eï¿½ a ï¿½eï¿½ï¿½eï¿½tiï¿½ï¿½ aï¿½ï¿½ a ï¿½aï¿½ ï¿½ï¿½ thiï¿½ï¿½iï¿½ï¿½ iï¿½ aï¿½iï¿½ï¿½meï¿½t ï¿½ith ï¿½ï¿½eehï¿½ï¿½se. He haï¿½ ï¿½eaï¿½ï¿½eï¿½ iï¿½ sï¿½ï¿½h a ï¿½eeï¿½ ï¿½aï¿½ that the ï¿½ï¿½ï¿½ï¿½ï¿½eï¿½ï¿½e he aï¿½ï¿½ï¿½iï¿½eï¿½ haï¿½ beï¿½ï¿½me his ï¿½ï¿½ï¿½ ï¿½ï¿½mï¿½ï¿½eteï¿½ï¿½. ï¿½his ï¿½eï¿½ï¿½ï¿½ aï¿½ï¿½ï¿½iï¿½eï¿½ ï¿½ï¿½mï¿½eteï¿½ï¿½e ï¿½bï¿½iï¿½eï¿½ him tï¿½ taï¿½e aï¿½tiï¿½ï¿½ tï¿½ ï¿½haï¿½ï¿½e his ï¿½iï¿½e. Aï¿½ï¿½ ï¿½ï¿½ tï¿½ï¿½ ï¿½ï¿½ that he ï¿½eï¿½eï¿½ï¿½ï¿½sï¿½ï¿½ shaï¿½eï¿½ his iï¿½ï¿½ï¿½ï¿½matiï¿½ï¿½ aï¿½ï¿½ eï¿½ï¿½eï¿½ieï¿½ï¿½e. ï¿½ï¿½ï¿½h ï¿½ateï¿½ ï¿½heï¿½

At the same time Jeaï¿½ï¿½e beï¿½ï¿½mes iï¿½ï¿½isibï¿½e ï¿½ï¿½ï¿½ ï¿½eï¿½ï¿½ï¿½e ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½ iï¿½ the iï¿½ the ï¿½eï¿½iï¿½heï¿½ï¿½ ï¿½ï¿½ the ï¿½ï¿½ï¿½ï¿½eï¿½t ï¿½iï¿½e ï¿½iï¿½a ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½ iï¿½ the ï¿½ï¿½mmï¿½ï¿½itï¿½ shï¿½ï¿½ ï¿½ï¿½ï¿½ . ï¿½heï¿½ ï¿½ eï¿½ï¿½ï¿½aiï¿½eï¿½ tï¿½ heï¿½ that ï¿½ ï¿½as iï¿½ï¿½estiï¿½atiï¿½ï¿½ Jeaï¿½ï¿½e ï¿½aï¿½ Heesï¿½iï¿½ï¿½ï¿½s ï¿½ï¿½aï¿½tiï¿½e she asï¿½eï¿½ me ï¿½hat Jeaï¿½ï¿½e ï¿½as ï¿½ï¿½iï¿½ï¿½. ï¿½he ï¿½as ï¿½eaï¿½ï¿½ï¿½ sï¿½ï¿½ï¿½ï¿½iseï¿½ ï¿½heï¿½ ï¿½ tï¿½ï¿½ï¿½ heï¿½ that ï¿½ï¿½eehï¿½ï¿½se is aï¿½tï¿½aï¿½ï¿½ï¿½ heï¿½ ï¿½ï¿½eatiï¿½ï¿½. ï¿½iï¿½a ï¿½iï¿½ ï¿½ï¿½t ï¿½ï¿½ï¿½ï¿½ that aï¿½ï¿½ ï¿½eitheï¿½ ï¿½iï¿½ she ï¿½ï¿½tiï¿½e aï¿½ï¿½ aï¿½t iï¿½teï¿½ï¿½eï¿½tiï¿½ï¿½s iï¿½ the ï¿½eiï¿½hbï¿½ï¿½hï¿½ï¿½ï¿½.ï¿½3

ï¿½he ï¿½ï¿½ï¿½ï¿½ess ï¿½ï¿½ estabï¿½ishiï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½eï¿½tiï¿½ï¿½s iï¿½siï¿½e the ï¿½etï¿½ï¿½ï¿½ï¿½ ï¿½eaï¿½s thï¿½ï¿½ï¿½ï¿½h ï¿½aï¿½tiï¿½iï¿½atiï¿½ï¿½ aï¿½ï¿½ iï¿½eï¿½tiï¿½iï¿½atiï¿½ï¿½ tï¿½ï¿½aï¿½ï¿½s a tï¿½aï¿½sï¿½eï¿½ ï¿½ï¿½ ï¿½ï¿½ï¿½eï¿½shiï¿½. Aï¿½ï¿½aï¿½eï¿½tï¿½ï¿½ this ï¿½ï¿½es ï¿½ï¿½t ï¿½ï¿½ï¿½ï¿½ that ï¿½aï¿½ ï¿½ï¿½ï¿½ aï¿½ï¿½ the ï¿½ï¿½ï¿½ï¿½eï¿½tiï¿½ï¿½s. ï¿½heï¿½ aï¿½ï¿½ï¿½essiï¿½ï¿½ the ï¿½asseï¿½-bï¿½ ï¿½ï¿½ the tï¿½ï¿½iï¿½aï¿½ aï¿½t sï¿½eï¿½tatï¿½ï¿½ a ï¿½eï¿½taiï¿½ ï¿½istaï¿½ï¿½e ï¿½emaiï¿½s. ï¿½ï¿½ï¿½ eï¿½amï¿½ï¿½eï¿½ ï¿½ï¿½ï¿½iï¿½ï¿½ the ï¿½ï¿½eï¿½iï¿½ï¿½ ï¿½estiï¿½itï¿½ ï¿½ï¿½ the ï¿½itï¿½heï¿½ ï¿½asseï¿½s-bï¿½ ï¿½eï¿½e sï¿½ï¿½ï¿½iï¿½ï¿½ ï¿½ï¿½ï¿½ï¿½ theiï¿½ ï¿½aï¿½e aï¿½ï¿½ sï¿½me heï¿½ï¿½ stiï¿½ï¿½ at the eï¿½tï¿½aï¿½ï¿½e ï¿½ï¿½ the ï¿½ate tï¿½ see ï¿½hat ï¿½as ï¿½ï¿½iï¿½ï¿½ ï¿½ï¿½ bï¿½t theï¿½ ï¿½iï¿½ ï¿½ï¿½t ï¿½ï¿½me iï¿½. ï¿½ï¿½ï¿½ï¿½ aï¿½teï¿½ iï¿½ï¿½itiï¿½ï¿½ sï¿½me ï¿½ï¿½ them ï¿½eï¿½sï¿½ï¿½aï¿½ï¿½ï¿½ï¿½ ï¿½ï¿½e ï¿½ï¿½ tï¿½ï¿½ ï¿½ame iï¿½ tï¿½ taste sï¿½me ï¿½ï¿½ the ï¿½ï¿½ee ï¿½ï¿½ï¿½ï¿½.ï¿½ï¿½ ï¿½ï¿½eï¿½ mï¿½ï¿½e ï¿½iï¿½ï¿½iï¿½ï¿½ï¿½t it seems tï¿½ ï¿½iï¿½eï¿½t ï¿½eï¿½ï¿½ï¿½e ï¿½ï¿½ï¿½m the maï¿½ï¿½et iï¿½tï¿½ the eï¿½hibitiï¿½ï¿½s at . Jaï¿½ï¿½eï¿½e ï¿½bseï¿½ï¿½eï¿½ that ï¿½heï¿½ aï¿½ eï¿½hibitiï¿½ï¿½ is tï¿½ï¿½ï¿½eï¿½ iï¿½tï¿½ aï¿½ eï¿½eï¿½tï¿½ ï¿½ï¿½ ï¿½heï¿½ aï¿½ aï¿½tiï¿½itï¿½ is eï¿½teï¿½ï¿½eï¿½ ï¿½ï¿½tï¿½ï¿½ï¿½ï¿½s iï¿½ the ï¿½eiï¿½hbï¿½ï¿½hï¿½ï¿½ï¿½ï¿½ theï¿½ aï¿½hieï¿½e mï¿½ï¿½h mï¿½ï¿½e imï¿½aï¿½t. ï¿½he is aï¿½sï¿½ ï¿½ï¿½ï¿½ï¿½iï¿½ï¿½eï¿½ that a stï¿½ï¿½ï¿½tï¿½ï¿½aï¿½ ï¿½ï¿½ï¿½ï¿½abï¿½ï¿½atiï¿½ï¿½ ï¿½ith ï¿½theï¿½ aï¿½tiï¿½ities ï¿½iï¿½e the ï¿½itï¿½heï¿½ is ï¿½eï¿½ï¿½ eï¿½ï¿½eï¿½tiï¿½e.ï¿½ï¿½

ï¿½ taï¿½ï¿½eï¿½ tï¿½ Jeaï¿½ï¿½e abï¿½ï¿½t this iï¿½ï¿½iï¿½eï¿½t she saiï¿½ï¿½ ï¿½ï¿½aï¿½be he ï¿½ï¿½ï¿½ï¿½t seï¿½ï¿½ mï¿½ï¿½e ï¿½ï¿½ies bï¿½t hï¿½ï¿½eï¿½ï¿½ï¿½ï¿½ï¿½ he ï¿½iï¿½ï¿½ haï¿½e a ï¿½iï¿½e ï¿½aï¿½ï¿½.ï¿½1

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Topics and issues

�� e �a�� Jea��e �a�t� t� be a� a�ti�t ��t a ��a�� t�e �t�e� �a�� it �a��t be �e�ie�

�a�� e��e �i�e ��b �� i��ta��e a�� e��i�e t�e e��ati��a� a��e�t �� ee��e� ��t

t�at Jea��e�� a�ti�e i� aimi�� at a �e�tai� ��a��e� ��i� ��a��e i� ��t ��ima�i�� e��a� b�t

��e� t� be a bi� �e�i��a� ma��et�� b �emembe�� t�e� it be�ame a �ei��b�� ma��et

��t��a� a�� e��mi�a�� matte� t� ��at e�� Jea��e i� �e�ibe�ate�� i�te��e�i�� ia��

a�� it i� ��e bi� ��ia� ��11� �a�i��a �� e�i�ite�� e�e�t t�i� te�mi��

��t�� e��e�ie��e� ��me �i�a��a� �� t�e i�te�t �� - �� at �ea�t a ��iti�a� �e��e t� -

be�a��e �i��t t�i�� a�i��a t�i�� e� ta��i�� ab��t a ��ia� �� e�t i� ��i�ti��

m� ��e�ti�� e�a��i�� t�e �e�a��i� e��e�t� �� t�e ��a�ti�e� � �ti�� e�t m��t �ami�ia� t� it�

�� ab�� ei�te��ati�� t�a�e�t��ie�� a ��te�t �e��e a�e ��i�e�e� t� be a ��b�em�

i�te�� a�� it� ��i��i�a� ��te�t� ��te� a�� t�i� �t�� i� i��e�ti�ati�� t�e t�a��mati�e

��i�e i� t�e ��ee��e a��a�� t�i� i� t��e� a�� a�i��a a��e�� e��e a�� t�ei�

��e�� it�ate� a�t� �� t�i� �ea�� i�e t� ��mma�i�e m� �i��i�� t�e�e t��

��t� a�e ��i�e�e� t� be ��t��itie� �� e��e�ti�e t�at �a� be e��a��e� a�� t��e�

a��e�t� a� a� e�i��e �� t�i� �e��t�

i�t� t�e ba�e �� met�i�� i�e t�e �ei��b�� it��e� t�at ��timate�� mi��t be��me

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��m�a�i�� ee��e �it� �t�e� ��m� �� ia� i�te��e�ti�� et ��e�t� t�at be�a��e ��

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��e a�t �� a��e

��e abi�it� �� e��e t� ��b�i�a�� e��e�� i� �� t�e ��eate�t im��ta��e t� Jea��e�

t�e ab�e��e �� a ��-te�m e��ati�� a� t�e i�itiati�e i� ��ite ma�e��e�ab�e a�� ab�e t�

�� t�i� �e�� ea�� ee��e ��e� ��t e��ate �e��e i� t�e �e��e t�at t�e� ��t tea��

�ea�t �e��e�i�e a�� t i� time:

�e��e �� t� �� t�at� ��at t�e� �� i� t� ��t �e��e �� a��ea�� i� �i�ti��i��e� t�i� a�t ��m t�e t�a�iti��a� ��mm��it� a�t�

��e �� t��et�e� �it� Ve�tia a�� t�e� �a�e a �e�a�tme�t �it� ��e��i��a� ��ia� ��e�� a��e� ��ia� mai�te�a��e�� e� �� m�� bette� t�a� � �� t� �e�� e��e ��t� ��t ��metime� ��m �ea�i�� it� ��ia� ��e�� i�� t�i�t �ei�te��ati�� am�� t�e� �e ��me i� a� a�ti�t� �� i��e t�e�e �ate��ie� a�� t�ei� ��a�t a�� ta�e�t� ��ei� ��ia� ��b�em� ��me �e�� i� t�e a�ti�ti� a��a�� at�� ti�� a��a�� a� a� a�ti�t��11�

Jea��e be�ie�e� ��e �a� e��e ��iti�e ��ia� ��a��e b� ��a�i�a�i�i�� t�e ��a�� a� ��e ��e�e�� t� ��t it� ��e ��a� �� a�� be a �ie�� e�e��me�t a�� em��a�� e�t t� t�e e�e��a� te��i�� e�e��e it i� �e�� im��ta�t t� Jea��e t�at ��a� e��e�t� a�e i��e� i� �e� ��e�t�� i� e��e�ti�e �a� be a��t�i�� i�e ��i�� t� ba�e b�ea� �� e��ta��i�� at it i� �i�e t� �i�e i� t�e �ei��b�� e�e e��e�t� a�e teame� �� it� ea�� t�e�� i�t��e� t� e�te��a� e��e�t� a�� te� �it� ��a��e��e� �� i�ea�� e �� et�� i� b�i�� a�� ti��i�� it �a� t� be��me ��i�ate� a�� e��-��i�ie�t�112 �� t�i� �ea��i�� i�e ��i�� mm��it� t�e�e i� �� i�i�i�� bet�ee� �ea��e�� a�� tea��e�� t�e �ta�� i��i�� Jea��e� i� �ea��i�� a�� t�e time� ��i� �ea��i�� i� ��t ��a�i�e� a� �� t �a��e�� t�e �� te� �it��t ��ti�e� ��i�e �a�i�� t��et�e�� t �� m�me�t� � �b�e��e� t�e ��e� ��ati�� ea�� t�e� �� t�ei� ��e�� i� t�ei� �ai�� tti�� t�i�� t� a��i�� e�ti�� a�i�� i�ea� a�� b�em�� a�� e��a��i�� e�� a��

��a��i�� t�e a�t�

Jea��e ��i�e�� e� �� t� be a �i��a� a�t ��a�ti�e� ��e� � a�� e� i� ��e ��i�e�� t�e a�t �� t� be �e� ��me ba�e ��e a��e��: ��e�� i�e� it a t��it a�� m� ��iti�a� �a��t�� e�� t�e t�i�� am�� t�e �i��a� a�t�� t i� m� ��ame �� e�e�e��e� � �e�e�� m� t��t� ��m t�e�e a�� b�i�� it t� t�e ��b�i� �ea�m�� t Jea��e ��ea�� e� t�e b��e�� t�a�iti��a� a�t m��i�� i�t� e�e�� a� ��ba� �i�i�� a�� i�t� t�e e��m�� e� ��e �ta�te� ��ee��e t�e e��m� �a� a ��-�� a�ea t� t�e a�t �� Jea��e �emembe��: ��b�� a�e� t� �� it be�a��e it �a� a b�a��em�� e a��

��a�ti�a� ��i��113 Jea��e i� �e�� m�� a�a�e �� t�e �ea��i�� e��e� i� �e� ��e�t�� e�e a�e ��a�e� ��e� t�i�� et i�te��e a�� e�e��b�� ta�t� t� �ea�i�e t�at t�i�� a�e �etti�� e�i�� ea�� a�� t�at it mi��t ��t t� �� at i� a ��e�� e�ti�e �ea��i�� ea��i�� m �t�e�� t� m��e �� i�ti�� i� ��ti�e� �� t�i� ��i�ti�� t�e ��e�t ta�e� ��a�e��11�

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AFRIKAANDERWIJK COÖPERAT A IE AT De kracht van het collectief De Afrikaanderwijk is een gebied wat in veel statistieken slecht scoort en onderaan de sociale en economische index van Rotterdam staat. Te T gelijkertijd is duidelijk geworden dat je er veel ondernemende bedrijven en bewoners vindt. Al weten zij elkaar niet altijd te vinden. De door Freehouse ontwikkelde Afrikaanderwijk Coöperatie verbindt door strategische organisatie en het faciliteren van talent. W rdeontwikkeling Waa Stichting Freehouse is in 2004 opgericht als een nonproffit onderzoeksorganisatie met een basis in de beeldende kunst en stedelijke ontwikkeling. In de loop der jaren hebben de activiteiten (altijd met de beroepspraktijk van de beeldende kunst als achtergrond) met succes een ontwikkeling doorgemaakt op het gebied van emancipatie van ruimte en arbeid, waarbij de originele organisatievorm (een stichting)

ORGANISATI A EATI STRUCTUUR

AFRI KAANDER WIJK CO-OP

tegen beperkingen aanliep met betrekking tot het genereren van eigen inkomsten en regelgeving op het gebied van arbeid en het betalen van vergoeding hiervoor. W rde distributie Waa Bij de oprichting is de organisatiestructuur van de Afrikaanderwijk Coöperatie met experts afgestemd op de actuele situatie en de kansen die Freehouse in de afgelopen jaren in het gebied gecreëerd heeft. De Wijkcoöperatie heeft daarbij als missie om van de Afrikaanderwijk een sterker en kapitaalkrachtiger gebied te maken met betrokken bewoners en ondernemers. Zij zijn dan ook direct betrokken het ontwikkeling van nieuwe diensten en producten voor anderen in het gebied, maar ook voor afnemers van buiten. De coöperatie trekt geld en waarde stromen naar de wijk toe en heeft een organisatiestructuur waarbij de opbrengsten en voordelen direct aan de wijk toe kunnen komen. Het vergroot zelfredzaamheid en versterkt infrastructuren.

OPDRACHTGEVERS

AFRI KAANDE WIJK CO-OP

INKOMSTEN UIT UITVOERING OPDRACHTEN DEKKING KOSTEN VERGOEDING INZET LEDEN (LOON)

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INDIRECTE UITVOERINGSKOSTEN

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50%

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From Freehouse to Neighborhood Co-op: The Birth of a New Organizational Form 6.2

Sue Bell Yank Curator, lecturer California College of the Arts, UCLA, participant Radicalizing The Local symposium (2014)

One year ago I was invited to “Radicalizing the Local,” a gathering in Rotterdam described as the “international closing symposium of the Freehouse art project on co-ops as an organizational form in order to combine value determination, local qualities, organization, art economy, initiative, and co partnership.” This sounded great, if a little confusing, but once I understood that this symposium was connected to the twenty plus years of urban development and artistic research efforts initiated by artist Jeanne van Heeswijk in 1998 in her native Rotterdam, I was intrigued. The event marked the handover of Freehouse to a self organized, residentrun Wijk (Neighborhood) Cooperative, which would continue the economic development and community organizing work of the art project and scale it up. Though often touted as a desired outcome in placebased social practice work, the actual birth of a truly self-run organization that is the outgrowth of artistic thinking around urban development is like a unicorn—a fairy tale creature that may not actually exist. The opportunity to witness the formalized “handover” to such an organization and my curiosity about the Co-op’s development over time was the impetus for my original visit to Rotterdam, and for the research that follows. Freehouse Origins Much of the work of Freehouse predates the concept of “creative place-making” that is so ubiquitous in discussions around urban planning. A notion at once pursued by city planners and touted by the likes of Richard Florida, creative place-making has outcome problems (one such criticism being that neighbourhood vibrancy indicators can rarely be proven to lead to economic growth or crime reduction). Freehouse,

however, was able to work on a small scale with collectives and individuals to achieve demonstrable success. This success related not to the instrumental value of art and artists as a means to catalyze profit or investment, nor to the idea of art as possessing an intrinsic value (art for art’s sake). Rather, it was due to a process that enhanced the opportunities afforded to people in the neighborhood to improve their social well-being. In short, Freehouse was able to provide more choices to people about what lives they would like to lead and how. It is no accident that this effort was called Freehouse—the working process relied on individuals to autonomously determine their own economic priorities, while also aspiring to expand that choice in the long term for the community as a whole. The name of the project derives from the historical free trade zones of the nineteenth-century AustroHungarian Empire, where informal economies flourished and diverse creative networks thrived. Some bars in England are still called “freehouses,” and are so named because they are purveyors of multiple beers (rather than being beholden to a single brewery). This kind of conceptual zone and its layered relationships to art, craft, culture and economy was the genesis of Freehouse, which was founded in 1998 as a Rotterdambased art and research association. At the time of its formation, Rotterdam was well into its transition from a worker’s city tied to its ports and industry, to a so-called “creative city.” Increasingly it has become a city of festivals, of design and creative industry, and this new direction was solidified in the 2007 unveiling of a new Vision for the City 2030 by the City Council of Rotterdam, which recommends that Rotterdam become less economically dependent on the port and invest in knowledge and cultural industries in order to promote a “more attractive residential city.” This trend mirrors similar developments in many post-industrial cities in the global North. Though its intention may not be explicitly regressive, without offering creative skillsbased opportunities and a strong cultural infrastructure

to the current residents of the city, rather than to an influx of new, upper middle class professionals, the notion of a residents of the city, rather than to an influx of new, upper middle class professionals, the notion of a creative city does little to catalyze economic growth for the vast majority of its residents (many of whom will instead face precarity and displacement).

Rotterdam academic Henk Oosterling developed the idea of a Rotterdam Skillcity (Rotterdam Vakmanstad), which directly addresses this class bias and displacement as a result of gentrification by tapping into existing informal economies of craft and production. By legitimizing the informal cultural activities of existing residents, Rotterdam Skillcity hopes to combat displacement by providing opportunities in the new creative economy. Freehouse worked in collaboration with Skillcity for a time, and shared values with this skillbased, capabilities-centered approach to the creative city. Freehouse began its work by studying informal cultural activities and production at the granular level, eventually conducting an exhaustive survey (called the ‘Monsterboek’) of the intercultural exchanges, economies, and networks of resilience on the Rotterdam West streets of Kruiskade/Nieuwe Binnenweg. They found several major challenges to skills development and cultural opportunities within the city. The first was a lack of infrastructure capable of supporting collective rather than individual activity (i.e. community kitchens for home cooks to produce and market together, shared studio spaces that promote the formation of sewing or crafting collectives, even shared zones for trading goods and knowledge). The second challenge involved the presence of regressive governmental policies and regulations that actively quashed creative skills development and small business opportunities. Freehouse Transition With the advent of the 2008 global economic crisis, which exacerbated these already disturbing trends, Freehouse transitioned from research association to a practical lab focused on testing strategies in the Afrikaanderwijk, a low-income, multi-ethnic neighborhood in south Rotterdam bursting at its seams with vibrant cultural products and activities (and even boasting a huge weekly market). Unfortunately, many of these cultural products couldn’t be sold or displayed at the market due to restrictive regulations and onerous permitting rules. Freehouse focused its efforts around

the highly regulated Afrikaanderwijk Markt, in which a single stall owner could not perform two actions (like selling fresh fruit as well as juicing that fruit on site) because of a one-permit per-stall limit imposed by the city government. Over one hundred such conflicting policies limited the creative and economic activities of vendors, so Freehouse organized over three hundred interventions (which artist van Heeswijk described as “acts of civil disobedience”) that actively challenged such restrictions. They also went door-to-door in the neighborhood to research and identify the unrecognized skills and capabilities of its inhabitants—the jam-makers, the weavers, the designers, the painters, the writers, the poets, and the spoken word artists—and facilitated opportunities to both sell goods and showcase talent. Finally, they opened a series of collaborative workplaces that still run today: a collective kitchen, fashion atelier, and a neighborhood store. By creating the conditions for collaborative production that allowed individual makers to pool their resources and legitimize their informal businesses, they were able to catalyze new forms of neighborhood organization that had the capacity to benefit from, and reinvest in, the local economy. The Wijk Co-op In 2014, at a moment marked by the January conference, Freehouse made the decision to hand over the bulk of these activities to a formalized Wijk (Neighborhood) Co-operative, a self-organized and self-run body that would continue the work of creating local, self-produced economic opportunities for the neighborhood, leveraging political power to shift policy and negotiate economic advantages, developing local skills and self-certifications, and strengthening resilient intercultural networks. One of the first neighborhoods in the Netherlands with a majority of immigrant residents, the Afrikaanderwijk sprung up around 1900 following construction of the docks in South Rotterdam. Housing mostly working-class dockworkers, its name derives from the South African-inspired street names in the district. The many residents consist primarily of Turks, Moroccans, Surinamese, and Antilleans, many of whom immigrated in large numbers in the 1970s to work at the dockyard. In the 1970s and ‘80s, the Afrikaanderwijk experienced a series of tensions between native (white) Dutch and so-called “foreign” residents over scarce housing resources; landlords were accused by some white Dutch residents of renting to migrant workers and excluding native Dutch. Residents clashed when native

Dutch residents came into immigrant boarding houses and evicted them and their belongings forcibly. The city responded to these disturbances by instituting a shortlived policy that limited the number of “foreign” residents within neighborhood limits (it was later overturned by the national government), but many of the underlying tensions remain. The Afrikaanderwijk retains its international character today, displayed through the many Turkish restaurants, kabab places, and African goods and cultural items on sale at the weekly market, but many secondgeneration immigrants struggle with low education levels and the disappearance of workingclass jobs. The needs of the Afrikaanderwijk and its cultural capacities necessitated a new organizational form (as well as new economic forms) on the scale of a neighborhood rather than that of an interest group. It is no accident that the foci of the symposium were “organizational” and “economic”. As conference participants experienced a plethora of presentations by international academics, artists, and cultural innovators on organizational and economic forms as distinct as Bitcoin, the history of European co-operatives, transnational citizenship, and institutions of collective action, we smelled wafts of delicious Turkish and Moroccan cuisine prepared by women at the collective kitchen. By focusing on such generalized ideas about cooperative culture in a conference dedicated to the context-specific nature of the project, the organizers intended to situate Freehouse within a history of collective action without overtly telegraphing that connection. Conference participants were forced to apply this overarching framework to what they saw happening on the ground in the Afrikaanderwijk. Local residents, students, and academics had ample opportunities for exchange throughout the conference, and their interactions supplied grist for the mill of critical conversation. We witnessed the formal inductions of neighborhood residents into the Wijk Co-op and its sub-organizations (the Workers’ Co-op and the Service Co-op). We toasted their good fortune, and danced to the music of local musicians. As such gatherings are intended to do, we left with a rush of good feeling, full of heady optimism for the future success and sustainability of the co-produced neighborhood. But in the year since the formal handover, how has the Wijk Co-op fared? What is the continuing role of Freehouse in its organization? Has this robust arts institute been able to

take a backseat in a collective decision-making process that involves many class levels, cultures, economic agendas, skills and access points? And what success has the Co-op achieved in the past year to demonstrate the viability of a self-run collective on the scale of a neighborhood? This article attempts to analyze these questions through both quantitative and qualitative indicators gleaned from a series of interviews from fall of 2014 and related documents. First, though a caveat: although I am a long-time follower of both Freehouse and Jeanne van Heeswijk’s other work, my only personal on-site experience of Freehouse was at the closing symposium for three days last year, when I interviewed several newly inducted Co-op members and Freehouse staff. I spoke with Heeswijk several times since then about the project, and more recently to Annet van Otterloo, Radjesh Roepnarain, and Ramon Mosterd, who all work in varying capacities with both Freehouse and the Wijk Coop. I am exceedingly aware of the gaps in my knowledge due to my inability to experience the day-to-day relationships and processes that form these organizations. This is one of the key challenges in investigating long-term, neighborhood level efforts like this. They are defined by so many constantly shifting, interlocking variables that a more complete accounting might even elude writers with unlimited resources and infinite social capital, neither of which I possess. So, rather than a strict evaluation of the project, this will be a sketch at best. What I do hope to uncover, however, are the most appropriate criteria through which to evaluate such an organization, as well as the kinds of methodologies that would be most effective or appropriate for such an evaluation. A Capabilities Approach More and more artist-initiated urban development and community advocacy projects in the public sphere live beyond the artist’s day-to-day involvement (like Tania Bruguera’s Immigrant Movement International and Rick Lowe’s Project Row Houses) or don’t (Thomas Hirschhorn’s dismantled Gramsci Monument, and the now-defunct Watts House Project). As these projects become more ambitious, it is more important than ever to understand what metrics of organizational success can lead to a self-sustaining, self-determining, collectively-run social good organization. We often get stuck in questions of whether something is or is not art, we argue about its aesthetic value, we interview its temporary participants about how it affected them, but

we rarely analyze how these projects are handed over to other groups and made sustainable in the long-term. Is it practical for all the decision-making, fiscal responsibility, and goals of these projects to be taken over by the communities they engage without the direction and oversight of the initiating artist(s) or institution? Is it even possible? In order to begin this analysis, however, we must consider each organization on its own terms. Not as “art” writ large, nor as revolutionary or activist bodies per se. Freehouse (and subsequently, the Wijk Co-op) is a specific product of Rotterdam, though its activities resonate more broadly, and it is not opposed to official desires for a “creative city.” It is not overtly seeking to be a political adversary of the city government. Rather, the Wijk Co-op addresses gaps in governmental thinking about the well-being of the residents of the Afrikaanderwijk, and adheres to a wider-ranging set of values. These values primarily concern quantifying the capabilities of its residents rather than the tiresome logic of using economic indicators to measure social well-being. The indicators typically used by government include income, employment levels, home ownership, and dependency on social welfare. By inventorying the marketable skills of its residents and providing the organizational infrastructure to monetize those skills locally, the Wijk Coop portrays the residents as productive cultural actors rather than parasites on the state. This infrastructure also offers an alternative to externally imposed forms of economic development, ensuring that the local economy reinvests in its own organic growth based on its inherent capabilities. In his sociological studies, Amartya Sen equates educational and experiential skills development with feedom—he defines “capability” as a person’s ability to translate the types of choices open to them into the kinds of lives they would ultimately like to lead. Martha Nussbaum, a philosopher, came to similar conclusions in her description of a “capabilities approach,” defined in collaboration with Sen. She makes a distinction between functionings, which are the real “beings” and “doings” of human well-being. For example, a person can “be healthy” or “be warm,” and they can do certain things like “go to the doctor” and “consume energy.” Capabilities are a person’s “substantive,” or real freedoms to achieve functionings, such as the freedom to live a long life, or participate in politics. These capabilities are opportunities that people have reason to value, and that

allow them to live the lives they would like to lead, rather than those defined by utility or access to resources. Capability differs from capacity in that it is not inherent, but rather a combination of societal opportunity, and the ability to make choices around that opportunity in order to a combination of societal opportunity, and the ability to make choices around that opportunity in order to achieve desired outcomes of personal value. Philosopher Ingrid Robeyns (who teaches, interestingly enough, at Erasmus University in Rotterdam) argues for a more general approach, renaming the “capabilities approach” to “capabilitarianism,” as she describes it. She wishes to expand the capabilities approach to a framework that applies broadly to society as a guiding political and moral philosophy, in contrast to utilitarianism she describes such a framework as entailing “two core normative claims: first, the claim that the freedom to achieve well-being is of primary moral importance, and second, that freedom to achieve well-being is to be understood in terms of people’s capabilities, that is, their real opportunities to do and be what they have reason to value. Though this humanist view may seem overly broad and unquantifiable, I argue that Freehouse interprets neighbourhood well-being (including but not limited to the provision of an economic infrastructure necessary to achieve these opportunities) in a very similar framework, and that quantifiable metrics can be derived from its elements. Nussbaum’s published series of elements that make up the capabilities-centered approach are described by Robeyns as: (1) To treat each person as an end, rather than looking at averages; (2) to focus on choice or freedom rather than achievements; (3) to be pluralist about value, which implies that different capabilities are incommensurable; (4) to be deeply concerned with entrenched social injustice and inequality; and (5) to give a clear task to government and public policy. These elements provide a helpful starting point in generating a set of criteria through which to evaluate the evolution from Freehouse to Wijk Coop, but any more developed evaluation must also include some analysis of the physical and political context for the Co-op’s activities. In some ways the Wijk Coop is a reactive body—it has had to step in to compensate for the failures of the distributive, regulatory, and political systems of accountability that have not proven effective in enhancing the well-being of its members. So if the

social well-being of the neighborhood’s residents is the ultimate goal of the Wijk (as I am claiming it is and should be), and if well-being is defined in terms of people’s capabilities, or “their real opportunities to do and be what they have reason to value,” then the steps the Wijk Co-op has taken towards achieving this goal and the processes through which they operate are key sites of evaluation. I believe Nussbaum’s five elements suggest four evaluative categories as they apply to the Co-op: (1) “to treat each person as an end, rather than looking at averages” and (3) “to focus on choice or freedom rather than achievements” both concern the self-organized nature of the co-op and its organizational form. Can this kind of neighborhood-scale organization become flexible and pluralistic enough in both its values and processes to stay relevant to each of its members and their individual needs? The third point, “to be pluralist about value, which implies that different capabilities are incommensurate” concerns the elasticity of what the Co-op considers “value” to its members. What is of value and appropriate for different members of the Co-op, when each might be coming to the organization with different levels of access to resources, both economic and cultural? Nussbaum has argued that different capabilities are incommensurable, meaning that each is an absolute entitlement and cannot be traded off against one another or overridden by other normative considerations. This makes it difficult for an organizational body like the Co-op to weigh one capability as more valuable than another. In addition, the “capabilities approach” is meant to be holistic, so that opportunities are taken as a set rather than piecemeal. In its entry on the “Capability Approach,” the Stanford Encyclopedia of Philosophy offers an example: …suppose I am a low-skilled poor single parent who lives in a society without decent social provisions. Take the following functionings: (1) to hold a job, which will require me to spend many hours on working and commuting, but will generate the income needed to properly feed myself and my family; (2) to care for my children at home and give them all the attention, care and supervision they need. In a piecemeal analysis, both (1) and (2) are opportunities open to me, but they are not both together open to me. The point about the capability approach is precisely that we must take a comprehensive or holistic approach, and ask which sets of capabilities are open to me, that is: can I simultaneously provide for my family and properly

care for and supervise my children? Or am I rather forced to make some hard, perhaps even tragic choices between two functionings which both reflect basic needs and basic moral duties? Political philosopher Achin Chakraborty advocates using a “democratic or social choice” system to aggregate or weigh capabilities against one another in order to determine priorities for action, meaning that the relevant group of people would be encouraged to make these decisions The Co-op is clearly set up to accomplish just that, provided it can agree on a just working process for determining the value of the different capabilities to its members. The Co-op can play a role in Nussbaum’s fourth element, “to be deeply concerned with entrenched social injustice and inequality,” by redistributing resources based on a notion of equity. In imagining a “just city,” Justus Uitermark describes urban planning scholar Susan Fainstein’s notion of equity as distinct from equality, in that it takes into account pre-existing circumstances and does not “favor those who are already better off at the beginning.” In Fainstein’s estimation, equity can be understood in terms of a contextual appropriateness, and what might be appropriate for one individual’s well-being is less appropriate for another. Uitermark extrapolates from this position by arguing that a pre-condition of a just city is a fair distribution of scarcity (like housing in urban environments, for instance), and that scarce resources must be divorced from income distribution. The Wijk Co-op is arguably a body designed to redistribute scarcity (in jobs, housing, and economic opportunity) through collective advocacy and organization. Nussbaum’s fifth point, that government and public policy be given a clear task, is another metric with which to evaluate the Co-op’s effectiveness. Freehouse has been both engaged with and subversive of existing systems of public policy and governmental regulatory agencies, and has proposed clear and specific improvements to policy. Finally, all of Nussbaum’s elements hint at an additional factor, that of resiliency. The efforts of the Co-op hinge on the emergence of trusting relationships within the neighborhood, and these networks produce sustainable mutual support structures in the form of physical spaces, services, and economic funds that residents can turn to during periods of duress. Therefore, an overarching measure of the neighborhood’s resiliency serves to provide evidence

for its effective self-organization, promotion of equity and distribution of scarcity, and leverage in the realm of policy. Self-Organization Freehouse and the Wijk Co-op are in a period of transition during which one is setting up the infrastructure for the other to eventually become a self-sustaining organization with its own decisionmaking process, separate from Freehouse. Although the Co-op has the benefit of building on a five year foundation of relationships and activities developed by Freehouse, it currently faces the problem of getting more people to sign on to this new organizational form. The Co-op operates at the scale of a neighborhood, including all of its various demographics, businesses, and geographies, whereas Freehouse intervened at a smaller scale, in specific activities like the Market, and attracted a sub-strata of residents involved in those activities. A seeming shift in both name and purpose can be confusing to people in several ways. One distinction is that though Co-op, like Freehouse, is deployed strategically around specific issues, it is territorial by nature, and thus people must be motivated to join not simply because of a single issue, but because they are invested in the larger potential of the Co-op as a community organization. Issues of trust are also crucial: trust that this new organizing force will benefit them in the long-term, trust that individual needs will be met and voices will be heard, trust that the untested Co-op will actually be able to accomplish its goals of economic and cultural reinvestment in the community. According to Jeanne van Heeswijk, part of this trust-building involves encouraging new members to buy into the idea that the Co-op requires “durational, repetitive collaboration” —the building of a group in which individual members understand one another and act together. These collaborations are not always project-based and do not always lead to direct gain for all the members, but are necessary to create the infrastructure for a flexible, pluralistic organization. This generalized capacity can lead to compounding opportunities resulting from productive interactions between neighborhood stakeholders that will benefit members in unanticipated ways. Annet van Otterloo, part of Freehouse since 2008, says that integrating new people into the culture set up by Freehouse can be difficult—potential new Co-op members look for established models of neighborhood organizations that they are familiar with,

and the Wijk Co-op is a new model that can seem overly complex, as an umbrella organization encompassing and coordinating the efforts and interrelationships of many smaller stakeholder co-ops. But, she argues, the Co-op must be complex so that its infrastructure can facilitate all the possibilities that might arise in the future. Whereas businesses are typically focused on short-term profits, the Co-op is thinking forward fifty years and building itself elastically to accommodate unknown futures. The organization’s desire for such a sweeping, multivalent reach combined with its need for many new members are interlinked; more members lead to more demonstrable benefit for each but likewise requires the Co-op to venture into many more areas of activity and growth. Combined, these aspects create a formidable barrier that discourages people from joining. Freehouse has responded to this challenge by solidifying the formal structure of the Co-op—they are slowly hiring more local people to run the Co-op as part of its operational team, doubling their numbers in the last year and recently hiring an interim Director. They have board and team meetings once a week, and have hired operations members who literally go door-to-door to connect with the membership base. Jeanne van Heeswijk, a trustee of the Co-op, laments that she is more involved than she would like to be at this stage, but that going from a loose, informal group to a more structured organization is a “constant and necessary struggle.” The expansion of the operational base has led to a process that Annet van Otterloo calls “doubling”—Freehouse representatives will shadow the Co-op leadership in business meetings and negotiations, but are slowly trying to extract themselves from the processes necessary to run the organization. She notes that strategic and savvy communication is key; many people still see Freehouse as an art project, and that is not always desirable. Having new team members who can speak as representatives of the Co-op rather than Freehouse is increasingly useful. Who do you bring to the front to deliver the message? “We know exactly what we are doing,” she says, and part of that is “infusing the heritage of Freehouse into the Co-op,” but she cautions, “It is important not to over-communicate.” The Co-op’s mission is not a secret, but effective communication can be a delicate balance. Because of its attempts to appeal to so many constituencies, it must carefully calibrate its language to different groups in order to remain legible. This careful outreach has started to yield some rewards.

Radjesh Roepnarain, one of the new operations team members and “business experts” that recently came on board, has been liaising directly with the shopkeepers and the Shopkeepers’ Association, which is a member of the Wijk Co-op. As of October, 28 of 70 total retail storeowners in the community signed up for the Wijk Co-op, but his goal is to sign up all of them. “If one shopkeeper goes along,” he say, “they influence others that will eventually follow.” Johan is a shopkeeper who helped found the Shopkeepers’ Association, and I spoke with him at the January 2014 conference (he was one of the residents who participated in the formal handover). “The Wijk Co-op can address larger interests in the neighborhood,” he said. “We all have to decide how the neighborhood as a whole can profit from the structure.” Communicating the sense of ownership and the holistic view that Johan expressed to more new members, as well as securing a series of small victories (like competitive collective purchase agreements for utilities, for example) to establish its effectiveness, is necessary for the Co-op to cohere organizationally into a truly self-run body. Distribution and Value One of the Wijk Co-ops’ main goals is to re-invest money that is earned by local merchants into the local Afrikaanderwijk economy so that it is accessible to an increasing proportion of its membership. Currently, businesses use major banks and contract with nonlocal services and vendors, in part due to the lack of local supportive service infrastructure (like cleaning services, payroll systems, and community banks). Becoming a member for the Co-op involves signing an exchange agreement that encourages this; for example, storekeepers must agree to preferentially buy their products from other local shops (when possible) or to hire local contract workers. There is also a stipulation in the membership contract that states they must contribute one product or service to the Wijk Co-op. Any profit made by the Cooperative is divided among the members: 25% goes towards education (such as certification programs); 25% goes towards social and cultural programs; and 50% is divided amongst the members in the ratio they contributed. To be selfsustaining and to provide valuable opportunities to its members, the Co-op must generate its own income and provide educational and social programs of sufficient importance to compensate for potential losses. The non-profit Freehouse has been funded over the years from a mix of research grants and income (from the

Neighborhood Kitchen or Workshop), which allowed it to stay politically independent. As a for-profit institution, the Co-op must now shift completely towards making its own money (it can no longer apply for grants nor receive charitable donations), but still manage to create opportunities and enhance the capabilities of its members. Ramon Mosterd, a financial and budget manager for both Freehouse and the Co-op, expects that within a few years the Co-op’s main source of income will be commissions and fees from its products and services, but in the start up phase they need to secure investment monies to enable the development of the organization’s operational base. This brings up the same chicken and the egg problem that impedes the recruitment of new members. As Mosterd describes: Although there is the Freehouse history and network, the Co-op is a new organization. Therefore, the Co-op does not have its own track record yet. This makes it more difficult to convince new financiers, because we cannot show them figures and generated results yet. We need more time to prove ourselves, but in order to prove ourselves we do need budget and commissions first.

Recently, the Co-op has implemented a few initial services that they hope will serve as models for future activities as well as core businesses. The first is a Cleaning Cooperative that hires and trains local workers, paid through the Co-op’s own payroll system, to clean the porches of 281 local houses. This is in contrast to the previous cleaning company, which brought in workers from outside of the neighborhood and spent locally apportioned city money on payroll and organizational overhead located outside of the Afrikaanderwijk. Successful Freehouse initiatives are also being sustained through the new Co-op structure; the Neighborhood Kitchen and Sewing Workshop are both self-sustaining collective businesses started by Freehouse that have transitioned into Co-op members, part of the so-called “ground floor” services of the organization. A new opportunity involving a housing complex for the elderly in the Afrikaanderwijk demonstrates the potential for the Co-op and Freehouse to work side-by-side. The two were invited to re-envision the structure of the home in order to implement an array of services, but also to encourage community-building between the elderly and different neighborhood groups (like students and business owners.) In this scenario, Freehouse would act as a research institute, designing and rethinking the layout

and activities of the home, whereas the Co-op could take on services such as the restaurant: teaching cooking, visual arts and sewing classes, and cleaning. This kind of core service can support the broader mission of the Co-op itself as well as a sliver of its membership, but it provides little direct benefit for members like the shopkeepers. In this context, the value proposition of the Co-op mirrors Uitermark’s call for the equitable distribution of scarce resources through collective purchase models. By aiming to equitably provide resources (like insurance, energy, internet access, workspace and mobile phone service) that enhance business development but can be scarce and expensive, the Co-op attempts to divorce access to these resources from capital gain. This, in turn, increases the diversity of valuable opportunities available to individuals in the community. Though the organization is a long way from being able to provide these resources in a manner that is entirely independent of the wealth of specific Co-op members, their collective purchasing power mitigates the inequality of access. A recent example is the formation of an energy collective, which negotiated a much cheaper rate for the businesses within the Wijk. Depending on their usage, shops will see a savings of between $100 and $1700 Euros per year. However, Radjesh Roepnarain, who has been a key player in these negotiations, feels that these benefits are not coming fast enough for some members. Since they do not see the direct personal gain yet, they do not understand the greater potential. He would like to have five or six additional collective purchase agreements in place to undergird more broad-based activities. This may help shopkeepers realize that the profit of joint activities and services under the Co-op will not compete with their businesses, but rather reinvest in the Wijk infrastructurally or educationally. Exchanging joint services and products is a key factor in the overall profit loop, because simply socializing resources may do little more than help build more efficient capitalist businesses, increasing the amount of wealth in the hands of the few. The Co-op has also attempted to spur reinvestment in the community via membership fees, but the profit-sharing formula seems too feeble in these early days. The socialist exchange system used with collective purchase agreements, where businesses increase their capital only to reinvest that capital in the community rather than keeping it for themselves, makes it difficult to sign new members up—no small business

owner wants to give up even the tiniest slice of often razor-thin margins. This is a key sticking point for the businesses and the Co-op moving forward. The question remains, will shopkeepers reinvest their savings locally to hire and expand their businesses, thus facilitating the emergence of new possibilities and talents inherent in the neighborhood? A major tension arises when a resistant cultural form like Freehouse attempts to attract new active members in the formulation of the Wijk Co-op. Among the Co-op leadership, there seems to be an underlying acceptance that people will only support the Co-op insofar as it serves their self-interest, rather than because they have some commitment to a broader collective vision for the neighborhood. This puts the Co-op in the challenging position of having to compete with the private market, while convincing new members to invest in socialized forms of support available to the entire Co-op membership. The Co-op seems to be leveraging the long relationships built between neighborhood residents and Freehouse over the years to get people to sign on to a collective vision, as those residents are more willing to trust in the as-yet unseen benefits of such an organization. It is when new people who are unfamiliar with Freehouse become involved that the leadership is hitting a wall. They are attempting to satisfy some measure of members’ individual self-interest while simultaneously convincing them of a broader vision: in other words, they are trying to radicalize their membership. This is a risky prospect that could backfire if the Co-op cannot entice enough of its members to articulate an actionable and compelling collective vision that induces members to sacrifice for a larger social good. Political Power Though the Co-op’s primary focus in this initial phase has been setting up its internal infrastructure, it has already been plunged into politics, albeit somewhat reluctantly. The pushback it has begun to receive from other neighborhood organizations in South Rotterdam indicates the group’s growing political leverage. As one friendly governmental administrator warned Jeanne van Heeswijk in a recent phone call, “Apparently you are doing your job really well, because you are already considered a threat.” Some NGOs and other social organizations in the area see the Co-op as coming in strong because of its influence with neighborhood residents, and have expressed skepticism about the Co-

FREEHOUSE

op’s agendas. According to van Heeswijk, one of these organizations began telling people in the neighborhood not to become involved because the Co-op endeavor was “not to be trusted”. She believes that this might arise from the rightwing tendencies of the local government as they see the incubation of socialism as one of the Co-op’s intentions. In these situations, the Co-op is forced to be politically savvy while striving to maintain its separation from any particular party ideology. This dilemma goes back to Annet van Otterloo’s cautious note about message: to select the right messenger to deliver the right message to the right people at the appropriate time. Freehouse was founded with a very clear goal, which was to lobby policy makers regarding changes in governmental policies around permits in the Afrikaanderwijk Market. The political goals of the Co-op are less evident. As a point of contrast, the main housing corporation in the Afrikaanderwijk district (with which Freehouse works as well) started a redevelopment campaign for part of the main shopping district. Led by a classical “creative city” campaign using similar rhetoric to the Wijk Co-op, this group sought to set up collaborative pop-up work spaces in empty storefronts, like slow food labs and craft shops. This would involve, in van Heeswijk’s estimation, inviting outside “creatives” to catalyze industry in the neighborhood, leading at worst to imbalanced precarious work, an outflow of money from the neighborhood, and potential displacement down the line; and at best, to goods and services that current residents don’t really need or can’t participate in. Whereas the Co-op seeks to facilitate the entry of the immigrant working-class into the market system, focusing on the skills already present in the neighborhood, this campaign seemed happy to focus on benefitting a predominantly white creative class largely external to the neighborhood. They did not initially collaborate with the Wijk Co-op because they considered the Co-op “difficult to work with” and protective of its membership. It is true that the Co-op protects the interests of its members, but that is its mission and purpose, rather than one of only creative or economic catalysis. The question remains how well it will be able to leverage its growing political power to positively affect policy changes that benefit residents (for example, routing public money towards low-income housing), and if it will be able to do so in the current political climate, public

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money towards low-income housing), and if it will be able to do so in the current political climate, defined by a rising right wing. Though the Wijk Co-op is already in the process of separating from Freehouse in its political leadership, it will become more necessary as it develops its own policy agendas moving forward to not be seen as the same kind of subversive institution. Resilience Creating resilient networks of people and their skills is the intangible benefit that undergirds all the activities of the Co-op, and to my mind, distinguishes it dramatically from problem-based social organizations and more akin to new urbanism projects. Jeanne van Heeswijk describes the difference between the Co-op’s method of durational insertion and a project-based social good operation: We are not a group that just drops out of the sky to do a project because there is a pot of money. We were here before, we will be here again, we are still here, and we will work with you again. It is the building of a group that understands that we do this together, but that we do not always sit together. It is just that we are there, that we share a common ground in having interest in creating forms of resilience that don’t always have to do with direct gain, but our main argument is ‘we are still there.’ We don’t have target groups; we have a durational collaboration on a repetitive basis. It never stops. Though the true measure of resilience is difficult to quantify at this point, many of the Co-op’s activities over time serve to strengthen intergenerational and intercultural relationships between immigrants and native working-class Dutch, provide collective gathering and workspaces, and enhance the collective power of social networks. For example, the Shopkeepers’ Association organized a gift exchange for all the kids in the neighborhood over the holidays, and Co-op members and storeowners like Johan have begun to take on two or three teenagers each as interns (usually the children of Turkish immigrants, whereas Johan is white Dutch), thinking about the employment potential of future generations and creating crosscultural relationships. Every person I talked to cited the dramatic importance of building relationships, but how and when these relationships play out in a network of resilience must still be investigated. Do they result in a reduction in crime, recidivism rates, and youth dropout rates? Do they mitigate unemployment because

FREEHOUSE

strong social networks are better able to provide jobs? Do they result in increased economic investment in the neighborhood on the strength of the relations residents have with their local businesses and with each other? These are the questions that will be most relevant to the future development and survival of the Co-op. Freehouse’s Continuing Role The dowry that Freehouse brings to this marriage of art project and Co-op is knowledge and heritage. The heritage of Freehouse’s prior activities and relationships helped to launch the Co-op, and its knowledge helps to form the organization’s values of exchange, reinvestment, and solidarity. Right now, Freehouse is more involved than it would like to be, overlapping the activities of the Co-op’s management team and involved in hundreds of on-going conversations with new members. Several of the Co-op’s board members are key Freehouse organizers, including Jeanne van Heeswijk. “I initially didn’t want to play that role,” she said, “but people felt it was necessary for me to be actively involved in giving advice.” Ideally, Freehouse will be able to extract itself from this central role, and simply function as the cultural and research arm of the Co-op. It still sees itself as a laboratory for experiments, an institute that can create a selfsustaining Neighborhood Kitchen, and then move on to some new problem, some new capability. Its successes with seeding projects that are then taken over by local participants on a small scale (for example, the neighborhood’s collaborative work spaces) have provided a model for a similar exit at the Wijk Co-op scale, but the question remains: how can the experimental activities of Freehouse continue to be supported within the future structure of the Co-op? Marcel van der Meijs, an urban planner involved with Freehouse as a board member since 2008, describes this issue eloquently: Freehouse is fragile, yet flexible. [We] are afraid that the Co-op will become paralyzed and fixed, without the possibility of adaptation. When you try to create resistance and real economic change, you risk fixity of the institution. Freehouse is a necessary ingredient in the pliability and pluralism of the Co-op, so its exit strategy must be carefully considered. It continues to play an important role in experimenting with new projects and strategies

PAGE 155

to accomplish the goals set forth by the Co-op. Though it must part slowly from the Co-op to allow it to flourish and self-organize, it cannot go too far. It is a critical piece of the ecosystem, impossible to do away with and remain whole. to do away with and remain whole. Some Concluding Thoughts The question of how the Co-op can create a structure that is flexible enough to allow for disruptive experimentation is crucial, especially in light of its current difficulty in convincing potential constituents of its worth. Driving so intensely and with such focus towards demonstrable economic success (so as to convince more members to join, so as to leverage more power, so as to gain funding, so as to have more success) risks marginalizing the experimental, interventionist power of Freehouse and its capabilities approach. Where do the values that Freehouse espouses stop and the embedded values of the Co-op begin? Right now they appear to be quite similar, one the outgrowth of the other, but it is unclear if this will always be the case. The Co-op must be exceedingly aware of how it changes and why. It must always be questioning what agendas are driving it forward and whether it is living up to its values. And because it is self-produced, the vast diversity of cultures, education levels, economic classes, and individual agendas it encompasses must also be self-critical and reflective. This kind of culture, the culture of a neighbourhood that is organized through cooperative methods, can only be built through millions of conversations, millions of interactions, crossing paths and working together millions of times. It is an intricate dance with no end, the prospect of a self-run organization that can be focused and reliable, flexible and expansive. This is a uniquely ambitious project, and the Coop has an enormous amount of work ahead of it. But it also has the potential for a unique kind of success.

Freehouse, Radicalizing Local Production 6.3

What’s the Use? A Reader on Art, Use, Knowledge and History

Preview of Jeanne van Heeswijks contribution to the Valiz publictation ‘What’s the Use?’.

Editors: Nick Aikens, Thomas Lange, Jorinde Seijdel, Steven ten Thije. ‘What’s the Use? A Critical Reader’ is a strand of thinking within the five year programme ‘The Uses of Art - The Legacy of 1848 and 1989’ by the museum Confederation L’Internationale, drawing on three exhibitions (at the Van Abbe and Museo Reina Sofia) and one conference (Hildesheim University) held between 2012-2014. www.internationaleonline.org Published in cooperation with van Abbemuseum, Eindhoven, www.vanabbemuseum.nl & University Hildesheim, www.uni-hildesheim.de

Date of publicity: April 2016

Freehouse – Radicalizing the Local Jeanne van Heeswijk

What’s the Use?

Art, Use & Knowledge

radicalizing the local

AFRIKAANDERWIJK Afrikaanderwijk is a neighbourhood in the south of Rotterdam, the Netherlands. It is in the Feijenoord district of the city, and is traditionally working class. It was one of the first neighbourhoods in the Netherlands to have a majority of residents with an international background, primarily consisting of Turks, Moroccans, Surinamese, and Antilleans. Since the Netherlands’s first race riots took place in the Afrikaanderwijk in 1972, it has received special municipal and national attention. The Afrikaanderwijk will go through a vast transformation in the coming years. Two adjoining new neighbourhoods with mainly middle class housing will change the demographics of the community: Parkstad, with 1,200 new dwellings, two new schools, facilities, parks; and Katendrecht, a mix of self-built housing and apartments for sale.

Jeanne van Heeswijk

NEIGHBOURHOOD

FACTS 2008

FACTS 2014

9,400

8,300

inhabitants

79%

non-dutch origin

29%

below poverty index (11% in NL)

48%

social security unemployed pension

inhabitants

85%

non-dutch origin

29%

below poverty index (11% in nl)

55%

social security unemployed pension

84%

THE QUESTION IS: HOW TO REVITALIZE THE AFRIKAANDERWIJK IN SUCH A WAY THAT LOCAL INHABITANTS WILL NOT BE DISPLACED?

85%

rent, social housing

33%

37%

is younger than 23 years

Freehouse

urban unions

FREEHOUSE RADICALIZING LOCAL PRODUCTION

Since its inception in 1998, Freehouse has created space for encounter, both literally as well as metaphorically. It stimulates local inhabitants and shopkeepers, youngsters, artists, and designers to exchange knowledge, experience, and ideas. The connection of cultural with economic capital results in coproductions that mutually benefit participants socially, and economically. The resulting products also make the underlying cultural process visible. Inspired skill can powerfully lead people’s development. Unfortunately, Rotterdam does not always take the creative potential of its inhabitants seriously, especially in the south of the city. From 2008 onward, Freehouse has applied its approach to the Afrikaanderwijk. Economic growth is aimed at through cooperative cultural production. And inclusive urban development is achieved through community participation and self-organization. As the neighbourhoods surrounding the Afrikaanderwijk are being redeveloped with the addition of middle class dwellings, Freehouse worked toward making the existing inhabitants share in the economic benefits of the redevelopment. Despite diminishing public funds for the Afrikaanderwijk, Freehouse has been able to intensify its activities and to grow its organization. It tested new plans for the market and the area through 450 small-scale interventions and successfully set up 5 communal workshops. As a result, the neighbourhood and its market are becoming a vibrant community again and the area was put on the map as a lively spot for cultural production, both nationally and internationally. In order to secure the accumulated capital and qualities for its inhabitants, Freehouse developed a skill-based neighbourhood co-op that continued its work in 2014.

NEIGHBOURHOOD AS URBAN LABORATORY The micro scale of the neighbourhood offers us the urban laboratory of our time. The micro urbanisms that are emerging within small communities across the city, in the form of nonconforming spatial and entrepreneurial practices, are defining a different idea of density and land use. By putting forth counter forms of urban and economic developments that thrive on social encounter, collaboration, and exchange, new economics and social institutions will emerge within communities.

450

market & shop interventions

communal workspaces

skill-based jobs

page 21

page 24

DIMINISHING PUBLIC FUNDS In the last two years, public investment in the Afrikaanderwijk has significantly diminished, partially as a result of administrative and political crises. 2006 – 2011 was a joint investment programme of the local and national governments, housing corporations, and educational and medical institutions. It aimed at increasing the attractiveness of Rotterdam South, striving to improve the social, economic, and physical characteristics of the area. In a massive allocation of funds, the intention was to invest € 1 billion over 10 years. The programme lasted for 5 years.

PACT OP ZUID

January 2012 ‘replaces’ Pact op Zuid after criticism that it focused too much on physical issues at the expense of social issues. Without its own budget, it requests relevant stakeholders to collaborate and put forward funds. NATIONAAL PROGRAMMA ROTTERDAM ZUID

January 2012 Housing corporation VESTIA loses about € 2.6 billion in financial speculations, one of the biggest speculation losses ever worldwide. Being the largest property owner in the area, many planned investments in the neighbourhood were halted or cancelled altogether.

page 25 July 2012 Urban stage DE NIEUWE OOGST ROTTERDAM closes its doors after the Rotterdam Council for Art & Culture recommends the municipality discontinue its funding. This platform for music, culture, and exchange opened less than a year before. January 2013 KOSMOPOLIS ROTTERDAM,

an Afrikaanderwijk-based foundation that produces cultural events, closes its doors due to the cancelation of municipal funds. It focused on contemporary diversity, transculturalism, and polyphony in the public debate and the heritage of the future. Their closing brought to an end significant investments and employment in the neighbourhood.

page 28 February 2013 Parliament decides that MUNICIPAL DISTRICTS will be abolished, as part of centralization and economization of local governments. In March 2014, the Feijenoord district council closed down and was replaced by a district manager. October 2013 an organization of neighbourhood counsellors, closes its branch in the Afrikaanderwijk.

SONOR,

June 2013 The fall of the FEIJENOORD DISTRICT COUNCIL, of which Afrikaanderwijk is part. Administrators are forced to step down. A subsequent investigation blames the ‘diseased administrative culture’.

communal workspaces

Art, Use & Knowledge

NEIGHBOURHOOD KITCHEN The goal of the Neighbourhood Kitchen is to highlight the Afrikaanderwijk as an area where home cooks make the best dishes and unique cooperations are possible between inhabitants and shopkeepers. In keeping production local, the social and economic independence of the inhabitants and shopkeepers is actively stimulated. As such, the Neighbourhood Kitchen forms an important link in shaping the area’s image.

Jeanne van Heeswijk

2011

2012

commissions

FLOW CHART NEIGHBOURHOOD WORKSHOP Superuse Studios mapped in a Material Flow Analysis (MFA), all actors and processes involved in the development of the product Dukkah dip of the Neighbourhood Kitchen. Lines and arrows indicate streams of material, knowledge, and money. MFAs of regular products are more linear and result in less local value.

SUZY SEASON CAKE Freehouse helps locals set up their own skill-based business. Suzy Season Cake was selling home-baked Antillean pastry and where possible collaborated with the Neighbourhood Kitchen. Suzy closed her shop in 2012, due to personal reasons.

Neighbourhood Kitchen products

Organization Freehouse

price Neighbourhood Kitchen products & catering

NEIGHBOURHOOD KITCHEN

Neighbourhood Kitchen products price products product info

feedback & new contacts

afrikaanderwijk

Acquaintances

gift

know-how

(social) assistance

meeting local talent

know-how

info wijkprojecten

garment

Organisation Freehouse foundation

assignment

product feedback

Cutters

household money

(Turkish, Moroccan, Antillean, Surinames)

info & questions assignment reimbursement

commission

Feedback & new contacts

Local store / supermarket

NEIGHBOURHOOD WORKSHOP

garment

Design studio

info neighbourhood projects & products

products

price textile

Acquaintances

feedback on market

Clothing store / shop

garment

product info & feedback

Cooperative Store of Goods and Values

Income clothes

process & product info

Customers

subsidies

income

product info

(Pakistan, Moroccan, Peruvian, Syrian, Turkish, Indonesian)

guidance reimbursement income subsidies process & product info

textile

Neighbourhood Kitchen products product info

Customers

Customer

price Neighbourhood Kitchen products & catering

rotterdam

garment

product info income

process & product info

Events (cultural) organizations & companies

textile

info garment

Tomorrow’s Market

info neighbourhood projects & products

price products

Neighbourhood Kitchen products

Cooks & hosts

price products

Close family cutters

FREEHOUSE

textile

Wholesale

various products product info

cotton

price cotton price textile

Customers

FREEHOUSE Afrikaandermarket

product info

various products product info price products

Regular supermarket

price products

recipe & cooking skils

meeting local talent

gift

(social) assistance

Textile industry

(spinning/weaving/painting) (India)

Close family cooks & hosts

textile

info neighbourhood projects

Rotterdam municipality

income

various products price products

various products

Rotterdam municipal

(India)

various products product info price products

Local entrepreneur

subsidies

Plantation

subsidies

recipe & cooking skils

various products price products

subsidies

recipe & cooking skills

Wholesale

price Neighbourhood Kitchen products & catering catering service & product info

various ingredients price ingredients

Neighbourhood Kitchen products

Source ingredients

EU / NL Subsidies funds

subsidies

EU / NL subsidies funds

100

commissioners

Family / ancestry Cutter

Close family local entrepreneur

co-workers

market and shop interventions

Freehouse

STYLING Freehouse assisted market stallholders with alternative forms of presentation of products and styling of stalls.

EXPERIMENTS WITH LOCAL PRODUCTS The production of freshly prepared food and products, produced by local people is a valuable contribution to what the market currently has to offer.

commissioners commissioners commissioners

Family / ancestry cooks & hosts

recipe & cooking skills income

co-workers

NEIGHBOURHOOD KITCHEN & CATERING SERVICE

Family / ancestry local entrepreneur

2014

co-workers

price garment

What’s the Use?

national

NEIGHBOURHOOD KITCHEN

afrikaanderwijk

international

rotterdam

BRANCH SELECTION AND CLUSTERING The arrangement of stalls determines the attractiveness of a market to a large degree. An attractive entrance, clear routing, and clustering of products are important. Between stalls with edibles, food can be prepared and eaten in a collective food court. Between stalls for textiles and clothes, new designs can be displayed on a catwalk.

SPEAKERS’ CORNER Historically, a market was not only a place for commerce but also had a social and political function. Speakers’ corner is a spot to meet and to exchange thoughts.

national Family / ancestry

Family / ancestry cooks & hosts

international local entrepreneur

organic material

knowledge, information & culture

inorganic material

money

cultural exchange

purchase catering

recipe & product info

knowledge, information & culture

Rotterdam municipality

Direct family local entrepreneur

money

meeting local talent

cde

Wholesale

product info

Customers & visitors

Direct family cooks & hosts

skills & know-how

abc

Local enterprise cde attract customers

development partnership strengthening network product presentation

abc

knowledge exchange neighbourhood projects & products

culinary habits & customs

network

cde

bbe e

cde product info

NETWORK RELATIONS This network map shows the interactions between individuals or groups that are involved with the Neighbourhood Kitchen. A significant amount of knowledge and skills is shared between employees of diverse cultural backgrounds. This is typical of Freehouse’s approach and enriches those involved both personally as well as professionally.

In 2006, the ‘Special Measures Law on Metropolitan Problems’ came into effect. Drafted on the explicit request of Rotterdam in order to prevent underprivileged non-Western minorities from moving into designated problem areas, it is nationally known as the ‘ROTTERDAM LAW’. It formally allows the municipality to deny

Afrikaandermarkt

knowledge exchange local projects & products

abcde

Tomorrow’s Market

cde

knowledge exchange neighbourhood projects & products

knowledge exchange local projects & products

ccd d

Cooperation & steering employees

Customers & visitors Value determination neighbourhood projects

c e ce

info on neighbourhood projects & products

cd cd

displaying value cooperative platform & shared qualities of the neighbourhood

Cooperative Store of Good and Value

offering local qualities

cde

abcde critical reflection inclusive neighbourhood development

cc feedback & new contacts

Customers & visitors

afrikaanderwijk

Acquaintances

rotterdam

STACKING OF RULES, SHRINKING MARKET

national EU / NL subsidies

international

co-producing

participation

information and knowledge exchange

consuming

visiting

housing permits to newcomers in ‘fragile’ neighbourhoods based on an income requirement or on previous ‘unwanted’ or criminal behaviour. The law has only been implemented in five neighbourhoods nationally, all in Rotterdam South. The Afrikaanderwijk is one of them.

rotterdam law

Events (cultural) organizations & companies

ccd d

abcde

tests of theory of cooperative neighbourhood development

Freehouse organization

purchase catering & products

Cooks & hosts a bcd abcd

abc

testing products & feedback

cde cde

watching & informal help

In a time of massive, global financial deregulation, an invisible net of (frequently conflicting) rules and regulations has been set down in the Afrikaanderwijk. Effective rezoning left a lot of empty shops in the area and surveilance increased. The market used to be growing, but now it is shrinking, mainly as a result of these (primarily) municipal interventions. DISTRICT AND ,MUNICIPAL outdated market LEVEL On a regulations, a poorly functioning branch list (subdividing all products in groups with quota per group), impractical stall dimensions, and an unattractive market layout have resulted in an impoverished quality and range of products. Moreover, regulations differ per permit holder: original rights pertain-

ing to the permit on the day of issue are inalienable, even if the market regulations change afterward. Furthermore, the Local General Ordinance allows the municipality to police the area in ways that would be unconstitutional elsewhere. On a NATIONAL LEVEL, the ‘Rotterdam Law’ allows the municipality to ban underprivileged newcomers from moving to this stigmatized neighbourhood. On a EUROPEAN UNION LEVEL, an upcoming prohibition to preserve products with ice, conflicts with local restrictions on the use of cooling trucks, which is a threat for the continuity of the sale of meat and fish on the Afrikaandermarkt.

What’s the Use?

market and shop interventions

Art, Use & Knowledge

SHOP WINDOW PAINTINGS In cooperation with local shop owners visual artist Bruce TMC painted custom-made messages, highlighting the importance of motherhood on their windows.

Jeanne van Heeswijk

292

NEW PRODUCTS The existing product range on the market was expanded with quality goods, biological products, and crops from farms in the vicinity of the city.

total amount of stalls STALL TYPE WEDNESDAY SATURDAY

157 127 kramerij*

63 124 consumption

flowers and plants

VENDING CARTS Tomorrow’s Market welcomes the most beautiful and wellequipped vending carts. Small and big.

Bakingbaking

PRESENTATION PLATFORM The Afrikaandermarkt misses a central gathering point around which the market can be oriented and where the market and neighbourhood can present itself.

fish

10 9

street vendors

Freehouse

market and communal workspace

AFRIKAANDERMARKT Since 1964 the Afrikaandermarkt has been held on the Afrikaanderplein, the centre of the Afrikaanderwijk. Wednesday and Saturday are market days and they attract about 15,000 visitors a day. It now has 292 stalls. PROBLEMS

The Afrikaandermarkt originally had a regional function but it has lost its attraction. It now only serves the surrounding neighbourhoods, whose inhabitants have a small budget for shopping. Meanwhile, markets lost the price war to cheap supermarkets. Since people with higher incomes hardly go to markets anymore, it may be tempting to focus on attracting wealthier customers for the survival of the market. The question is: How can the market create a more diverse product range and strengthen its vendors’ livelihoods while embracing its new clientele? OPPORTUNITY

The market and neighbourhood cannot do without each other. On market days turnover is great according to the shopkeepers. When the market was temporarily moved to neighbouring Katendrecht, one third of shop owners were forced to close their businesses. With the influx of migrants to the Afrikaanderwijk, many new products were introduced, including exotic spices, colourful textiles, olives, nuts, and fish from Asia and Africa. And in order to survive and provide a livelihood, there is an urgent need to continue to diversify the range of products on the market and present them in a more attractive way. Nevertheless, the authorities tend to adhere to a more nostalgic vision of a traditional Dutch market, instead of accommodating the potential of this diverse mixture.

FAST FLEX FEIJENOORD The FFF is a cooperative project that provides a cheap, local, electric transport service during market days. This environmentally friendly and service-oriented transportation was developed in cooperation with Bemobi and foundation FLEX. The Tuk Tuks offer an alternative to parking problems, walking around with heavy groceries, and noisy delivery mopeds. The project is now functioning as a fully independent offspring in Feijenoord.

4,000 rides 2012

MAASHAVEN

AMBIGUOUS AND RIGID ENFORCEMENT STIFLE INNOVATION

AFRIKAANDERWIJK IS DISPROPORTIONALLY REPRESSED IN IN A PERMANENT LEGAL STATE OF EXCEPTION Rotterdam is a national leader in policing its inhabitants and the Afrikaanderwijk is one of its main focus areas. Since 2001, efforts have steadily increased. Hundreds of SURVEILLANCE CAMERAS now tape the city non-stop, including the Afrikaandermarkt. First, the municipal

NEIGHBOURHOOD SECURITY INDEX officially established the Afrikaanderwijk as a ‘problem area’. It became one of the so-called NEIGHBOURHOOD SECURITY AREAS, where special security measures are allowed, such as PREVENTIVE BODY SEARCHING (stop and search).

stop and search policy

The municipal approach to the market is characterized by control and enforcement. Once the Market Master used to be a market vendor selected from amongst peers, now he or she is a civil servant with a background in control and enforcement. Five different agencies currently enforce laws, rules, and regulations. Their differing interpretations make enforcement ambiguous. As a result, vendors limit their experiments in fear of losing their precious vending permit after three fines.

(enforces market regulations, branch list, market layout) 2. NEIGHBOURHOOD POLICE (law enforcement) 3. MUNICIPAL POLICE (law enforcement) 4. REGIONAL POLICE (law enforcement) 5. TAX POLICE (financial control) Enforcement can also be excessively rigid. A permit holder needs to be present in the stall at all times. Fines have occasionally been given when people were away for a lunch break. The city surveillance has also removed musicians and public speakers. CITY SURVEILLANCE

What’s the Use?

Art, Use & Knowledge

Jeanne van Heeswijk

Freehouse

communal workspaces

2011

NEIGHBOURHOOD WORKSHOP In the Neighbourhood Workshop fashion production is combined with design and education. Amateurs and professionals collaborate and exchange skills. Local inhabitants have knowledge of materials and master techniques that are important and interesting for contemporary designers. By actively using this knowledge, these techniques will be passed on and preserved for the future. Participants are involved in the whole production process, from design to end product.

2012

co-workers

commissions

commissioners commissioners

LOCAL ADDED VALUE The value chain of the T-shirt of the Neighbourhood Workshop shows how this product accumulates value through its production process. Step by step, from raw material to end product, every party involved adds value. A sizable amount of value is actually gained from within the neighbourhood (see gray). NEIGHBOURHOOD WORKSHOP

market and shop interventions

LIVING STOREFRONT The owner of Joka Sport approached Freehouse to help promote his store. Joka Sport is the first martial arts store in the Netherlands. Its product range contains locally designed and produced items. A living storefront was designed with a boxing tournament, which was reported live on the Internet. RESTYLING OF MEVIO SCHOENEN Mevio Schoenen specializes in cheap mass-produced shoes. Eva van Aalst, known for her rather eccentric shoes, redesigned their storefront.

NEIGHBOURHOOD STORE The Neighbourhood Store is a cooperative shop where products of local designers and craftsmen are presented. This approach is based on the store-in-store concept, using temporarily empty locations. It’s attractive for local makers to offer their products to a wide range of people and to test the response to their product.

FOOD COURT WITH TERRACE One of the benefits of branchthemed areas is the possibility of creating a food court: an area in the market where people can take a seat and eat food from one of the surrounding food stalls.

WASSALON MARKTPLEIN With local laundromat Wassalon Marktplein, designer Marjan van Aubel developed a hybrid meeting space. While doing your laundry, you can also work online, watch presentations, read a book, or follow a course.

MAASHAVEN

local makers 2012

AFRIKAANDERWIJK INTERNATIONAL

PRODUCTION Plantation

Textile & T-shirt production

€0.60

+ € 0.60

ROTTERDAM

SALES

+ € 0.25

Whole sales

€0.85

+ €0.15

Afrikaandermarket salesman

€1 0.6%

+ €4

Marga Weimans design studio

€5

16%

+ €6

NATIONAL

24%

INTERNATIONAL cotton

T-shirt

NEIGHBOURHOOD WORKSHOP MARGA WIJMANS

REGULAR STORE

t-shirt

This price allocation is based on estimation. Source: NRC, SOMO, and Clean Clothes Campaign NATIONAL

PRODUCTION

16%

SALE

REGIONAL

Screen printer (Ede)

€11

+ €10

€21 40%

Freehouse Neighbourhood Workshop + €10 40%

Tomorrow’s Market / Neighbourhood Store

€20,25

- €10,75 - 43%

+ €0

€20,25

VAT 2008

+ €4,75

€25 19%

DUKKAH DIP NEIGHBOURHOOD KITCHEN

21%

VALUE LOCAL ADDED

LOCAL ADDED VALUE

T-shirt with print new model

T-shirt with print

T-shirt

Freehouse organization

€31

AFRIKAANDERWIJK

IN SPITE OF MANY VACANT STALLS, MARKET ACCESS IS SEVERELY RESTRICTED Toko Yari

+ €0,03 Plantation

+ €0,15

10%

ROTTERDAM

INTERNATIONAL

In spite of an estimated 30% of vacant stalls during autumn and winter months, there has been a waiting list of 300 to 400 market vendors who want a place on the market, a serious mismatch of supply and demand. This inhibits a more diversified product range needed for a healthy, prosperous market. €0,15

Whole sales

Food processing

+ €0,11

€0,26

+ €0,06

Nieuw Fes bakery

€0,32

+ €0,06

€0,44

nuts herbs spices

nuts herb plants spices plants

This price allocation is based on estimation.

Freehouse Neighbourhood Kitchen + €0,69 46%

€1,13

Dukkah

Cooperative Store of Goods and Values Events Caterings Exhibitions Markets

Freehouse organisation

+€0

€1,13

Dukkah

+ €0,28 20%* *fixed charges

VAT 2013

€1,41

Dukkah

+ €0,09

€1,50

vendors have married into families of vendors LAR deliberately to get this secured position. HERBREGU / NUTS MIX 50 GRAM DUKKAH €3,30 It usually takes 6 — 15 years toHERB get a MIX fixed spot / NUTS 50 GRAM and market vendors tend to be vendors for life. Since many newcomers are migrants, they0% are 58% kept from the market disproportionately. NATIONAL

INTERNATIONAL

The easiest way to get a guaranteed position in the market was by inheritance. Some prospective

outside of regular stalls. Without their often lively product demonstrations, the market is a far less lively and exciting attraction.

MANY STALLS ARE VACANT

PUBLIC PERFORMANCES VIRTUALLY PROHIBITED

Many market vendors only show up with relatively good weather, especially those of weather and season bound products, such as ice cream. Vacant stalls are very unattractive and disliked by visitors and vendors alike.

Public speaking and musical and theatrical performances: any kind of demonstration that may attract a crowd is restricted to places allocated to vendors, in fear of unsafe congestion. Permits for street musicians have not been granted for years, as there is no application form for such a permit anymore. See ‘ban on public assembly’ as well.

NATIONAL 5% REGIONAL

VALUE LOCAL ADDED

LOCAL ADDED VALUE

Dukkah

IT IS VERY DIFFICULT TO GET A GUARANTEED PLACE IN THE MARKET

category. Entirely new products may be denied a stall because their category is already fully represented.

IT IS HARD TO BE ASSIGNED A MARKET STALL FOR A VENDOR

The municipal branch list has over-determined product categories into subcategories and only allows for a limited amount of stalls per

PLACES FOR STREET VENDORS ARE VERY LIMITED

There are very limited (and diminishing) places for street vendors who sell their products

What’s the Use?

market and shop interventions

Art, Use & Knowledge

B L E M F O N T E IN S T R A T

SER SE RVIC VICE ES

AFRIKAANDERPLEIN

VEG VE GETAB ABL LES FRUIT MEAT MEA

JOUBERTSTRAAT NEW NE W MARKET STALL DRE WAPENA AR AND BIOLO LOG GICAL MARKET

A G

SCHALK BURGERSTRAAT

AFRIKAANDERPARK

SPEAKE EAKER RS’ COR CO RNE NER R

LUCKY MI FORT FO RTUNE RT UNE COOK COO KIN ING G

PAUL KRUGERSTRAAT

TOMORROW’S MARKET Tomorrow’s Market is a detailed live sketch of a po possible fut future for the market, devoting more attention to the quality of goods, introducing new local products and services, and styling and forms of presentation in stalls including cultural expressions and public speaking. Tomorrow’s Market has designed prototypes of improved market stalls, a renewed market organization as well as a considerable rearrangement of the available space while negotiating the altering of legislation. Daily smallscale interventions continue to test and advocate a more inclusive market. From 2008 to present, over 400 tests were done. Also 5 future market scenarios on a 1:1 scale where shown.

SMALL INDIVIDUAL TERRACES Possibility to have a quick bite next to a market stall that sells food.

market and shop interventions

Freehouse

MOVING INTERVENTION Freehouse organized catwalk fashion pr pres ese entations in the market. This was extremely difficult due to the regulations. In order to bypass the ‘ban on public assembly’ a playful presentation was made. For the presentation of MO* Magazine a group of models paraded through the market. A straight line of beautifully dressed boys and girls, accompanied with a megaphone shouting: ‘Don’t stop, keep moving!’

SERVICES Services in combination with products were added to the market. For example, in a stall selling scarves, the latest styles of wearing the hijab were demons demonstrated. And a repair service was added to a stall selling secondhand clothing.

Jeanne van Heeswijk

FASHIO SHION N AND T TE EXT XTIILE

J H

PRETORIALAAN

ENTR EN TRANC ANCE E MARK RKE ET S ST TALL AND INFOR NFORM MATIO ION N CENT CEN TER

Petty rules do not fit the market.

CONGR CONG RESSCENTER / CENT RES EST TAU AURA RANT NT / FOOD COU COUR RT

NEW NEW MARK RKE ET S ST TALL JEROEN KOOIIJMANS KOO AND HU HUG GO TIMME MER RMANS

PRETORIALAAN CAT CA TWALK

MISCE SCEL LLAN LANE EOU OUS S

KITING

MARKET COUNCIL In 2009 Freehouse set up a Market Council by gathering all stakeholders involved in the market for the first time: the municipal district of Feijenoord, Rotterdam’s municipal surveillance, market vendor association CVAH, and market vendor association VETRA. The council meets regularly and proposes and negotiates improvements in order to settle conflicting regulations and push for creative breakthroughs.

BIKES, SCOOT SCOO TERS

MARKET COUNCIL

IN SPITE OF RICH CULTURAL DIVERSITY, Y PRODUCT RANGE IS RESTRICTED Y, The municipal branch list restricts the product diversification that is needed in order to provide for one’s livelihood and create a vibrant and flourishing market. The neighbourhood’s rich variety of cultures, particularly in food and textiles, is seriously under-represented.

– Many product demonstrations are also not allowed, since for demonstrating products you need a ‘street vendor permit’: a vendor of household products is not allowed to give a demonstration of cleaning pans with sponges. FIXED NUMBER OF STALL T TALL S PER PRODUCT CAT A EGORY AT

In problem areas, the Local General Ordinance [Algemene Plaatselijke Verordening] allows municipalities to proclaim a BAN ON PUBLIC ASSEMBLY L . Originating from the 2000 UEFA European LY

Football Championships held in Rotterdam, it continues to be in effect on the Afrikaandermarkt. Although previously legitimated by anti-hooliganism, it is now enforced due to anti-terrorist concerns.

ban on public assembly

ONLY L ONE PRODUCT PERMIT PER STAL LY T L TAL

Vendors are not allowed to have more than one permit per stall. Selling fruit or vegetables falls into a different product branch from preparing them. As a result, vendors of oranges are not permitted to prepare a fruit salad or sell freshly pressed orange juice. Yet this would be efficient and yield higher margins. Likewise: – A vendor of women’s clothes cannot sell bras as well because they fall into a different product category.

The municipal product branch list limits the number of stalls per product category. This effectively blocks new products and services within existing branch categories. For example, vintage clothing, biological fruits and vegetables, or locally produced products are not independent product categories. Even though they would attract different customers, new vendors cannot enter the market with these products, as the maximum amount of stalls for clothing and vegetables has already been reached.

What’s the Use?

Art, Use & Knowledge

communal workspaces

THE NEIGHBOURHOOD AS A COOPERATIVE DEPARTMENT STORE An approach to conceptualize the neighbourhood with all its shops and services as one single ‘department store’ on the scale of a neighbourhood. Stakeholders and interested parties connect as co-producers to create a larger understanding of public space in the area. Together, rr, they make the Afrikaanderwijk a thriving community.

Jeanne van Heeswijk

THE WORLD AROUND THE SQUARE Social designer Pablo Calderón developed a movable stage, transforming the Afrikaanderplein into a big open-air cafe. Initiated by Bar ‘t Tapperijtj T e, different bars hosted a musical performance ranging from Dutch to Caribbean. During the day the audiences blended into one mixed group that followed the music. The local government normally has a very strict policy on bars and cafes. Surprised by this positive initiative of the bar owners, it authorized the event.

WIJKWARENHUIS.NET Wijkwarenhuis.net is an online platform that for the first time represents all shops in the Afrikaanderwijk. The site is designed as a digital warehouse where visitors can find shops by product category or location. Shopkeepers have their own storefront to promote special products and services and there is also a possibility to add a webshop.

market and shop interventions

REDESIGN OF MARKET STALLS Four new prototypes of market stalls were designed and tested to influence the future market layout and retail opportunities. In collaboration with market vendors, Jeroen Kooijmans and Hugo Timmermans designed a foldable stall made from polyester, rr, that is highly suited as a kiosk as well. Dré Wapenaar designed a series of stalls that can collectively span the entire market.

A PLACE TO SIT By rearranging the position of the stalls, seats were created on the existing concrete guards that protect the trees.

RIJNHAV A EN AV

COOPERATIVE STORE OF GOODS AND VA V LUES From 2013/14 the Cooperative Store of Goods and Values was a meeting place for production, presentation, sale, services, and knowledge exchange. The starting point was the quality already present in the area. It became the heart and brain of alternative economical, social, and cultural development in the south of Rotterdam. Located in a vacant monumental building, in the centre of the community, it formed a network of cultural producers, production spaces, shops, and active inhabitants. This cooperative organization combined a market space, a knowledge centre, and a shopping mall. It was a neighbourhood service centre and information point at once and marked the start of the Afrikaanderwijk Cooperative.

Although the effect of the ‘Rotterdam Law’ on neighbourhoods has not been properly researched, an amendment is currently being drafted in parliament. It will extend the current maximum application in an area from 8 to 20

Freehouse

RIGID USE OF SPACE THREATENS SALE OF FISH AND MEAT RESTRICITVE STALL T TALL S

TAT TA ATE OF years, a severely prolonged legal ‘STA EXCEPTION’. The municipal ambition to be on the frontier of enforcement is exemplified in slogans such as ROTTERDAM PERSEVERES and CLEAN, WHOLE AND SAFE.

state of exception

Stalls can only be 5 metres long. Almost a century ago, the municipality awarded a lifelong contract to the family supplying the stalls on the Afrikaandermarkt. Vendors are only allowed to distinguish their stalls from others on the inside. Covering the stall with another material is not permitted. Ambulatory trade thrives with spontaneity, but vendors are not allowed activity outside of their stalls. On a sunny day, they cannot place products, mannequins, or chairs along their stall. LIMITS ON TRUCKS RESTRICT PRODUCT RANGE

Some branches, such as the food branches, are underrepresented on the Afrikaandermarkt. Apart from the designated plots for baking products, no food production vans are

allowed. A standard corner plot can house a van of maximum 6 metres, banning the vast majority of market vans from the market. Small trucks are simply inefficient. BARRED FISH AND MEAT A AT

EU regulations will increase the number of products that have to be sold from vans and trucks. For example, selling fish and meat on ice will not be permitted from 2015 onward. This r r, means they will have to be sold from cooling trucks. However, a stall is only 5 metres long and a vendor may only occupy one adjoining stall if it has been left vacant, creating a temporary vending space of 10 metres. Recently a very limited number of plots of 10 metres have been allocated, however, r r, an efficient cooling truck is about 11.5 metres or longer. rr. As a result the continued sale of fish and meat is under threat.

What’s the Use?

Art, Use & Knowledge

radicalizing the local

Jeanne van Heeswijk

FREEHOUSE IN THE

Freehouse

urban unions

AFRIKAANDERWIJK COOPERATIVE

Those who look at neighbourhoods in large cities solely through a financial lens (with economic indicators) might only see backwardness, poverty, crime, and other threats. The Afrikaanderwijk Cooperative, however, sees the advantages of a diversity of cultures, inhabitants, and shopkeepers, each with their own talents, knowledge, and skills. Based on a long-term Freehouse presence in the area the Afrikaanderwijk Cooperative knows the power of local communities and small organizations in which open learning and work go together. In 2014 Freehouse decided to hand over the task of collective production to to a custom-made organizational form: a cooperative on the scale of a neighbourhood. An umbrella organization that brings together workspaces with shopkeepers, local makers, social foundations, and the market organization.

Freehouse renegotiated various urgencies in the area and created urban unions. New forms of commonality came into being through setting up chains of collective production. A process of social, economical, and cultural activities that moved on several scales and made the different informal practices of the everyday emergent, while re-rooting them into stronger networks. It was called Radicalizing the Local. By creating conditions for collaborative production, it allowed individual makers to pool resources and legitimize their informal businesses. The work on knitting stronger networks into urban unions and its cultural capabilities necessitated a new organizational (and economical) form on the scale of a neighborhood rather than that of interest groups.

The cooperative creates opportunities through the provision of skill-based labour, training, services, and products to enhance the self-organizing ability while trying not to waste talent and human capital. It stimulates sustainable local production, cultural development, knowledge exchange, and entrepreneurship, combined with shared responsibility and participation. The result is a self-organized and self-run body that continues to create local, self-produced economic opportunities, leverage political power to shift policy, and negotiate economic advantages. It also develops local skills and self-certifications, strengthens resilient intercultural networks, and tries to create a radical form for self-governance of an area and reinvest profits directly into the local community.

DRAWING FINANCIAL FLOWS INWARD

AFRI KAANDER WIJK CO-OP

members

ORGANIZATIONAL DIAGRAM AFRI KAANDER WIJK CO-OP

WORK COOP

CERTIFICATION COOP (education, training etc.)

ADVISORY BOARD

BOARD DAILY ORGANISATION

SERVICE COOP

YOUTH COOP

(energy, neighbourhood services etc.)

MEMBERS

(inhabitants)

(shops, organisations, foundations etc.)

MEMBERS (youngsters)

FINANCIAL FLOW

The extraction of financial capital for social, intellectual, affective values. Top: normal situation, outward spiral. Bottom: desired state, inward spiral. Aetzel Griffioen | demeent.org

AFRI KAANDER WIJK CO-OP

50%

25%

culture, craftmanship, action, enterpreneurial, profit, conflict, work, collective, demonstration, information

DEVELOPED SPACE, SERVICES, AND COLLABORATIONS The Afrikaanderwijk Cooperative applies a self-organized approach in order to make use of all the currently untapped talents and resources that are present in the neighbourhood. Since the start in 2014 it set up several services and activities to generate work, space, and stipulate cost-effective deals for its members. The various activities can be categorized in space, services, and collaborations. ENERGY COLLECTIVE

- SERVICE

In cooperation with Essent the Afrikaanderwijk Cooperative launched an energy collective that realizes substantial savings for businesses in the neighbourhood. At present the first businesses have signed a collective energy contract in

order to save operating costs. Simultaneously the cooperative also examines how to supply individual households so more people take advantage of collective buying power. SCHOON

- SERVICE

Cleaning service SCHOON ensures that cleaning work that normally is outsourced to companies elsewhere is ‘insourced’ and carried out by members of the WORKERS CO-OP. The Afrikaanderwijk Cooperative facilitates new jobs and guides starters entering the job market. Currently SCHOON is commissioned by Vestia Feijenoord to clean housing block vestibules in the neighbourhood.

SAMEN

& ANDERS - COLLABORATION

In the upcoming years Laurens living and care centre Simeon and Anna transforms from a building solely for the elderly, to a place where different groups live together on a reciprocal basis. Called Samen & Anders, it will also house small-scale shopkeepers that serve both inhouse residents, neighbours, and passersby. The cooperative develops the details and tests partnerships for this new care concept. HOME COOKS FEIJENOORD

- COLLABORATION

Co-op member the Neighbourhood Kitchen and DOCK Feijenoord set up a meal service for elderly, sick, and disabled people. In Home Cooks Feijenoord professionals and volun-

teers prepare meals in people’s homes. Healthy food, talent development, and combating loneliness go hand in hand. As project partner the cooperative provides management assistance and Het Gemaal as location for communal dinners. A NEIGHBOURHOOD COMMON

- SPACE

Het Gemaal (an old pumping station transformed into a restaurant) is now turned into a public place for the neighbourhood. A place for meetings, where presentations and production come together. With committed users, as the Neighbourhood Kitchen and several partners that pay rent, it is ensured that this significant building is free as a central location for local

FREEHOUSE RESEARCH READER R Credits T kstuele bijdragen: Thuur Caris, Teddy Te T Cruz, Jeanne van Heeswijk,Levien Nordeman & Eva Visser, Sumita Sinha, SuperUse Studios, Mustafa Ta T zeoglu, Sue Bell Yank Y Interviews: Eva Visscher F Foto ’s: Johannes van Assem, Bob b Goedewaagen, Brian Inostroza, JanssenAdriaans en Freehouse Design: Janneke Absil, Minke Themans, Roger Teeu T wen (ontwikkeling Freehouse huisstijl) Redactie: Jeanne van Heeswijk, Chris Luth, Ramón Mosterd, Ashraf Osman, Annet van Otterloo Met medewerking van: Afrikaanderwijk Coöperatie, Maartje Berendsen, Cindy van den Bremen, Flex Rotterdam, Dennis Kaspori, Liane van der Linden, Alexandre van der Moezel, Frida Moultmar, Harmen Sliep, Debra Solomon, Eveline Visser, Marga Weimans 3.1, 3.2, 3.3, 3.4 in 2011 mede mogelijk gemaakt als onderdeel van Capita Selecta, Academie van Bouwkunst Amsterdam 3.5 in juni 2012 gepresenteerd tijdens de CAT ATaC AT TaC ’12 conferentie, Aarhus, Denemarken 6.1 PhD onderzoek Thuur Caris, Hanze University of Applied Sciences 6.2 verscheen in april 2015 bij FIELD, online Journal of Socially-Engaged Art Criticism 6.3 verscheen cheen in april 2016 in ‘What’s the Use?’, Valiz Met dank aan De Freehouse - Research Reader is mogelijk gemaakt met steun van Fonds BKVB en het Stimuleringsfonds voor Creatieve Industrie.