Case Study: Little Haiti Cultural Center by mbric026

BENEFITS OF ENGAGEMENT AND EDUCATION IN A COMMUNITY CENTER WITHIN A LOW-INCOME COMMUNITY IN LITTLE HAITI, MIAMI Case Study Research Melissa Briceño Prof. Marcia Lopes De Mello, Ph.D. | IND 6639 Research Methods | Fall 2020 **In collaboration with: Angela Gonzalez, Roxana Lifshitz, Daniel Martinez

Contents 5

Research Problem, Topic, Question and Sub-Questions

Synthesis of Literature Review, Theories Discussed

Conceptual Framework and Definitions

Thesis Rationale. Motivation and Impact of this Research

Case Study: Little Haiti Cultural Center

Operationalization Table

Quantitative Research Strategy: Survey Questionnaire

Qualitative Research Strategy: Interviews

Qualitative Research Strategy: Online Reviews

Qualitative Research Strategy: Trace Observations

Conclusions and Recommendations

List of Abbreviations, References, List of Figures

**This project was a group collaboration. My responsibilities included the execution of this presentation, researching and understanding the presented theory to be applied, acquiring and sorting plans from City of Miami for the case study, arranging the operationalization table to establish a basis for research, refining the online survey questionnaire, conducting two of five interviews, gathering analysis and observations for trace observations, and concluding and summarizing based on the findings of the research. All of my personal contributions are bookmarked with an asterisk (*) by the page number.

Abstract This research investigates how the Contextual Model of Learning (Falk & Dierking, 2000) influences the design of a community center within a lowincome community. The research was based on a case study of Little Haiti Cultural Center in Little Haiti, Miami, Florida. The cultural center and its visitors experiences and perceptions were studied through online survey questionnaires and interviews performed, in addition to trace observations analyzed of the center. From the findings, we are able to understand basic principles and design guidelines that can be applied to the design of cultural and community centers within low-income communities to support learning through engaging activities and spaces.

Fig. 2

People need ‘third spaces’, which are neither home nor work, where people can be together. Tjarve et al., 2016

Fig. 3

Research Topic, Problem, Question and Sub-Questions Socio-economic disparities of marginalized groups living in low-income communities seem to remain a grave concern throughout the United States. These disparities include domestic and social issues, environmental stressors, physical health and mental health. Low-income communities have limited access and resources to social institutions, such as libraries and museums, which are deemed as intimidating, uncollaborative, and unapproachable. These communities lack safe places that promote engagement and education. Community centers offer different levels of information and employ different formats in which to connect the residents with, serving as spaces where engagement and education benefit the community. These include: • Variety of activities and programs • Informal learning • Interactive technology Community centers help positively shift the community, becoming an unrestricted territory and safe place for all. These spaces can: • Supply resources that prioritize the communities’ needs and interests. • Positively impact economic state of the community by providing opportunities and platforms for local residents and businesses. • Provide third spaces - “People need ‘third spaces’, which are neither home nor work, where people can be together” (Tjarve et al., 2016). Design of community centers can impact how the community experiences and uses the space. Factors that contribute to the users experience include: • Flexible spaces that encourage social interaction and afford versatility for different activities. • Wayfinding that provides an accessible and 3

•

legible space for the users to easily navigate. Inclusive practices that acknowledge the needs of all users and how the space can serve them.

The benefits of implementing a community center includes providing a space that offers educational and recreational resources. Prioritizing the communities’ needs and interests, positively impacts the quality of life and economic state of the community by providing opportunities and platforms for local residents and businesses. Those who will ultimately benefit from this study are low-income adults, ages 18 and older, that are residents of Little Haiti, Miami. A sense of belonging is established among residents playing a key role in engaging and motivating them to be active participants in the community. This research aims to explore how the Contextual Model of Learning (Falk and Dierking, 2000) applies engagement and education in the design of community centers within a community in Little Haiti, Miami. Main Question • How can the design of a community center positively impact engagement and education within a low-income community (Little Haiti, Miami) through the Contextual Model of Learning? Sub - Questions • Who mostly benefits from a community center within a low-income community (Little Haiti, Miami)? • How does engagement and education positively impact a low-income community (Little Haiti, Miami)? • How can the design of a community center support engagement? • How can the design of a community center support education?

Synthesis of Literature Review, Theories Discussed The insensitivity to the needs of low-income communities tends to be a common factor among those experiencing exclusion within society. It is crucial to address accessibility and representation to afford individuals the opportunity to feel valuable to their community. Communities that lack in resources and facilities potentially rely on these limited public spaces where socializing, culturalization, and discussions occur. These spaces can incorporate community engagement through art, education and experiences that encourage members of the community to participate in social activity and reduce social exclusion. The endless resources supplied by these spaces, prioritize the communities’ needs and interests by creating an accessible and inclusive environment that serves as an informal educational setting. Programs, exhibitions and experiences within these supportive environments create memorable moments that lead to increased participation, learning and engagement for the community. Following basic principles and design guidelines, a supportive environment dedicated to the development of lowincome communities can enhance informal education, engagement and well-being. Creating opportunities within community centers that afford users a wide variety of unique experiences through technology, active participation and interaction could ensure a mixture between education and recreation, approaching new possibilities of community participation. Adapting educational and engaging activities through these community centers helps reinforce positive notions of social

and cultural inclusiveness, and unlock possibilities that are essential in bringing the community together. The Contextual Model of Learning, put forward by Falk and Dierking (2000), is a framework that draws from constructivist, cognitive and socio-cultural theories of learning. The framework states that learning within a free-choice setting is influenced by an individual’s personal context, sociocultural context and physical context. The focus of these three contexts are: • Personal context includes motivation, choice and control and prior interests and beliefs. • Socio-cultural context includes cultural context and influences, social engagement within an individual’s group and social engagement outside an individual’s immediate group. • Physical context considers free-choice settings and design factors. This theoretical framework provides an understanding of how to implement activities that facilitate the users to learn through engagement.

Fig. 4

Conceptual Framework and Definitions Contextual Model of Learning (Falk and Dierking, 2000): A model based on constructivist learning theory, that investigates learning within a free-choice setting, which includes all out-of-school information sources. The model is based on Personal Context, Socio-Cultural Context, and Physical Context, and it investigates education through social engagement. Design of Community Center: Implementing guidelines that create an approachable and inclusive space for engaging and educational activities within low-income communities. Low-income Communities: Areas in which most suffer from a combination of social, economic, health, and environmental burdens.

CONTEXTUAL MODEL OF LEARNING By Falk & Dierkings

influences +/-

DESIGN OF COMMUNITY CENTER

affects +/-

LOW-INCOME COMMUNITIES (18+ Y/O)

Thesis Rationale, Motivation and Impact of this Research What are the motivations for this research? What is the potential impact of this research? The motivation for this research resulted from a concern for the lack of community centers which focused on enriching lowincome communities in Miami, Florida. There is a crucial need for spaces that provide educational opportunities for those who lack resources, further motivating interest in understanding and applying design principles that positively serve and enhance the community and those who live in it. We regard this research as vital in understanding all the factors that play a role in the successful development of a community center. This research can directly impact the lives of those living in low-income communities where resources are limited. By conducting research on the benefits of community centers in low-income communities, locals can understand and become aware of the importance of these spaces and how they can positively impact their social engagement, educational and economic state, and overall well-being. Designers are given insight into the impact of spaces created to fulfill the needs of a lowincome community and understand the way that residents can effectively interact with each other. The ability for these centers to elevate the quality of life, as well as generate revenue due to the support of local businesses, are incentives for policy makers to support these centers. This can potentially lead to changes, implementation and the consideration of community centers in low-income communities. It is an opportunity to alleviate the struggles and to highlight the brilliance of communities which may be overlooked or regarded as less than.

Case Study: Little Haiti Cultural Center

5925 NE 2nd AVENUE MIAMI, FLORIDA 33137

Why choose this case study? How is it representative for the research? The decision to use the Little Haiti Cultural Center as a case study was based on many relevant factors that aligned with our research. It is located in the vibrant neighborhood of Little Haiti which is rich in art, food, and culture, yet the poverty level and education rate remain one of the lowest in the Miami-Dade County. The accessibility of this cultural center has provided fundamental opportunities for the Little Haiti community. By accommodating spaces that afford enriching activities which support engagement, this gathering place continually elevates the arts, education and culture of the community creating a sense of inclusion. While researching case studies, it was important to find a community center that met these essential qualities needed to positively impact the community. Little Haiti Cultural Center is representative of this research because it can give us an understanding of how the spaces within this community center can offer resources that provide engaging and educational opportunities within a low-income community. Insight is gained into how a community center can be designed to create meaningful and impactful spaces which fulfill the needs of the residents.

Fig. 5

Case Study: Little Haiti History and Background In the 1970s and 1980s, what is now known as Little Haiti was named Lemon City, an economically lowincome neighborhood in Miami, Florida. During that time, many Haitians immigrated to Miami and settled in the area. Haitians started to open businesses, such as restaurants and shops, which helped the economy of the neighborhood. They helped convert the area into a thriving black Caribbean community. Little Haiti neighborhood is approximately 3.5 square miles and it is located within the city of Miami, being the cultural heart of Haitian diaspora. It is easily accessible via I-95 expressway and Julia Tuttle Causeway being less than 5 miles north of Downtown Miami,

Fig. 6

Miami Design District, Wynwood, Midtown, and Upper Eastside neighborhoods. The active community of Little Haiti mimics its homeland through its typical architecture, traditional churches, spices and music. Today, Little Haiti honors all the things that represent the Caribbean, which can be found in family-owned restaurants, museums, galleries, and bookstores. Therefore, Little Haiti has become home to one of Miami’s most animated art scenes.

Case Study: Community, Demographic, and Cultural Makeup Population

Median Age

30 K 37.7 U.S. Census Bureau, 2013

49.46 %

50.54 %

Haitians remain one of the poorest groups in MiamiDade County which are more likely to work low-pay jobs and earn less money; therefore, spend most of their income on necessities.

Gender Percentage, 2013

15-24

15 %

25-44

28 %

45-64

21 %

65+

14%

According to the U.S. Census Bureau, in 2000 there were 95,669 Haitians in Miami-Dade County making up the 41% of all Haitians living in Florida. Little Haiti alone has around 30,000 residents, which the majority are of Afro-Caribbean and Haitian origin. In the northern area of Little Haiti, 35-76% of residents identify as Haitian, while in the southern area of Little Haiti, 17-34% identify as Haitian. Haitians are the second largest immigrant group making up 4.2% of the country’s population.

The target population for this research is composed of adults 18 years and older. This group of people gives us a general and broader understanding of the different needs of the population.

Age Percentage, 2013 Less than High School

38.3 % $

45,000

40,000

35,000

30,000

25,000

18 %

20,000

Associate Degree

15,000

10,000 $

High School Diploma

32.2 %

Some College

5.2 %

Bachelor’s Degree

5,000 $

6.8% < 25

25-44

45-64

65 +

Median Income per Age, 2013

Graduate Degree Education Level by Age, 2013

Case Study: Organizational Chart Sponsors and Partnerships: Little Haiti Cultural Center is owned and managed primarily by the City of Miami. It receives public funding and has contributing sponsors and partnerships who support the cultural center. One of their community rooms, the Heat Room, was donated by the Miami Heat and the NBA Cares program and is geared primarily for the youth. Those who contribute to this cultural center play a large part in pushing forward this resourceful community building.

Fig. 7

Users: The Little Haiti Cultural Complex invites a variety of users to each space, perhaps due to its unique distribution of the buildings. The Caribbean Marketplace, with its vibrant colors and distinctive architecture, attracts tourists and local residents alike, who attend the many cultural events that are hosted there. The Theatre and Art Gallery buildings, located behind the Marketplace, cater mostly to local residents, offering a core location to learn and engage through the educational and recreational activities provided. Over 100,000 people per year participate in programs and visit the Little Haiti Cultural Complex.

Fig. 7

Case Study: Analysis of Functionality The Little Haiti Cultural Complex features an extensive range of opportunities for residents and visitors alike to gain exposure and expand their knowledge of the AfroCaribbean culture. The complex has the capacity to host and cater to an array of visitors with venues, such as the art gallery, Caribbean marketplace, café, theatre, community classrooms, dance studios, arts and crafts rooms, two learn-and-play centers geared for the educational advancement of kids, and a courtyard for exterior activities.

Relationship Diagram

LEGEND Acoustical privacy Immediate adjacencies Moderate adjacencies Minor adjacencies

One of the main points of access to the complex is through the Caribbean Marketplace, acting as the epicenter with its distinct Haitian gingerbread architectural style and captivating colors. Designed by Charles Pawley, the 9,000 sq. ft. marketplace is the largest venue space that the facility offers, affording artisans and merchants to bring a taste of Haiti to the Cultural Complex. The outdoor plaza is the other entry point to the Cultural Complex, acting as a unique gathering space for diverse exterior activities to take place. Decked with a platform stage, covered terrace, concrete seating and a colorful mural, events such as dance performances, concerts, cookouts, and yoga classes take place here.

Bubble Diagram

LEGEND Circulation Main Access Point

Block Diagram

LEGEND Interior activity areas Exterior activity areas Service areas

* Case Study: Summary and Analysis The location and activities offered in the Little Haiti Cultural Center afford valuable spaces and opportunities where people from the community, as well as outside the community, are able to become involved in this community center. Students pursuing a career in cultural arts, artists that want to showcase their work, business people that want to give back to their community, or visitors that are simply looking for an enjoyable experience, are always welcomed. The Little Haiti Cultural Center aligns with our research because their mission, “preserve the Afro-Caribbean culture, inspire the next generation of leaders, and promote the arts and culture as tools for the community building”, corresponds to the engagement and education benefits of a community center within a lowincome community that our research is focused on. The following are main findings from our literature review that will be further analyzed to explore how they are applied within the Little Haiti Cultural Center.

Education Through informal educational settings provided within the Cultural Center, the community is afforded engaging and educating resources and tools that are strongly valued. The educational programming that is offered creates a diverse learning experience in which all age groups can participate in. The Little Haiti Cultural Center offers a diverse array of performing arts classes, creative writing classes, photography, workshops, as well as summer camp and after school programs that are a critical part of the success of the residents.

Engagement Affording its users with interactive spaces, the center integrates an inclusive program that encourages engaging opportunities to learn about the Haitian culture. The spaces and activities foster relationships between a broad spectrum of diverse users and the community. Among the many events and programs offered are a variety of dance styles and physical training programs ranging from Haitian Folk to Brazilian Capoeira, yoga, tae-kwon-do, and their biggest event of the year, “Sounds of Little Haiti”.

Fig. 8

Operationalization Table In the operationalization phase of our research, concepts were operationalized into variables and indicators, based on our conceptual framework, that will be measured and analyzed. This research aims to explore how the Contextual Model of Learning (Falk and Dierking, 2000) applies engagement and education in the design of community centers within a low-income community (Little Haiti, Miami). Main Question • How can the design of community centers positively impact engagement and education within a low-income community (Little Haiti, Miami) through the Contextual Model of Learning? Sub - Questions • Who mostly benefits from a community center within a low-income community (Little Haiti, Miami)? • How does engagement and education positively impact a low-income community (Little Haiti, Miami)? • How can the design of a community center support engagement? • How can the design of a community center support education?

Contextual Model of Learning (Falk and Dierking, 2000): A model based on constructivist learning theory, that investigates learning within a free-choice setting, which are all out-of-school information sources. The model is based on personal context, socio-cultural context and physical context and it investigates education through social engagement. Design of Community Center: Implementing guidelines that create an approachable and inclusive space for engaging and educational activities within low-income communities. Low-income Communities: Areas in which most suffer from a combination of social, economic, health, and environmental burdens. Conceptual Framework CONTEXTUAL MODEL OF LEARNING By Falk & Dierkings

influences +/-

DESIGN OF COMMUNITY CENTER

Contextual Model of Learning (Falk and Dierking, 2000)

affects +/-

LOW-INCOME COMMUNITIES (18+ Y/O)

Design of Community Center

Low-Income Communities

Fig. 9

* 23

Quantitative Research Strategy: Survey Questionnaire As a quantitative research strategy, we performed a survey to gather primary quantitative data to investigate the factors that make a community center successful or unsuccessful in a low-income community. We performed the survey questionnaire with close-ended questions, allowing us to collect information that could then be analyzed and triangulated with primary data collected through observation and interviews. Random sampling was chosen for our survey as we are researching Little Haiti residents and non-residents who are involved in the Little Haiti Cultural Center. These participants are adults, 18 years and older, who frequently visit or have at least visited once within the last year. Out of the 35 responses, 57% of the participants are residents of Little Haiti. Due to the COVID-19 pandemic, the center was closed; therefore, the questionnaire was distributed in an electronic format. The goal sample size for the pilot questionnaire was 10 and the goal sample size for the final questionnaire was 40. Though the amount of responses was lower than anticipated for both surveys due to the circumstances of the pandemic and inability to access the center, the survey sampling sizes achieved are:

Pilot Survey

N=9

Final Survey

N=35

From the pilot survey questionnaire, we concluded that some of the vocabulary used in the survey questionnaire should be adjusted to be written in a more relatable and clearer manner for the respondents’ understanding. Based on this, we reformatted response options and some questions were written to be more specific. These changes were made to receive a more accurate response on what we are measuring. Lastly, we adjusted the survey questionnaire description to ensure that it is more personal and creates a better understanding of our intentions.

* Data Analysis: Survey Questionnaire

1. What is your age? 18-24 25-34

22.9%

25.7%

35-49 50 and above

31.4%

20%

2. Do you currently live in Little Haiti, Miami, Florida? Yes No

42.9%

Question 1 Participants’ ages were close in range, with the highest number of participants being between the ages of 35-49 (31.4%), and the lowest amount being between the ages of 25-34 (20%). This provides us with insight from a broad range of visitors allowing us to analyze which age group mostly benefits from the cultural center. Question 2 The majority of participants were residents of Little Haiti, Miami. This percentage is a good indicator of how residents are more likely to frequent the center due to its location within the neighborhood. Of the residents of Little Haiti, Miami, the survey results indicate that 60% of the respondents are ages 35 and over, suggesting that the community center is mostly impacting adults within that age group in the local community. This information guides us to investigate and understand the programs that can best suit this age group. Question 3 The majority of the participants are likely to visit the LHCC. This leads us to conclude that they have possibly had a positive experience and benefited from what the facility provides for them. Through interviews we can further our knowledge into what those benefits are and what led to those positive experiences, as well as understanding the reasons for those who were not very likely to visit.

57.1%

3. H ow likely are you to visit the Little Haiti Cultural Complex? 15

15 (42.9%) 12 (34.3%)

5 4 (11.4%) 0

2 (5.7%)

Not Likely At All

3 Neutral

5 Extremely Likely

* 25 4. How often do you visit the Little Haiti Cultural Complex? More than once a week

5.7% 8.6%

Once a week

11.4%

Once a month Once every 6 months

17.1%

Once a year Less than once a year

25.7%

Question 4 The higher percentage of participants are frequent users. This data correlates with the significant number of participants that reside in Little Haiti and provides us with relevant data due to the frequent visitors’ familiarity with the cultural center. Participants who stated that they visit once every 6 months or less may relate with the visitors that are not very likely to visit in question #3. There may be specific reasons that the center is not attracting them to visit often, which will be further investigated in this research.

31.4%

5. Do you feel like you learn more or less when you have the freedom to choose what you want to learn? I feel like I learn more. I feel like I learn less.

100%

6. Do your personal interests affect your choice of activity in the Little Haiti Cultural Complex? They DO affect my choice of activity. They DO NOT affect my choice of activity.

54.3%

45.7%

Question 5 All participants agreed that they feel that they learn more when they are given the freedom to choose what they learn, which allows us to understand the types of programming that should be considered for a community center. This response also validates the Contextual Model of Learning (Falk & Dierkings, 2000), which states that when a visitor is provided with a free-choice learning setting, they are able to learn more. Question 6 Though the difference is minimal in these responses, the 8.6% difference leads us to understand that visitors mostly feel that their personal interests do not affect their choice of activity. Since 45.7% of the participants feel affected by their personal interests, we conclude that including the community in the decision-making process of the activities and spaces offered within the center would be important. As stated in the Personal Context within the Contextual Model of Learning (Falk & Dierkings, 2000), past knowledge, interests and beliefs that users bring with them to a setting (i.e. LHCC) may impact their learning experience. In regards to the Personal Context, we found that, while prior interests and beliefs do affect their learning experience, it does not necessarily impact a user’s choice of activity in the community center.

7. Which activities are you most likely to attend? Not likely at all

Somewhat likely

Not Sure

Likely

Very likely

20 15 10 5 0

Performing Arts: Dance, Theatre

Fine Arts: Arts & Crafts, Art gallery

Culinary Arts: Food events, Caribbean Market

Educational: Training programs, Lectures

8. How likely are you to engage when your culture is represented when you visit the Little Haiti Cultural Complex? 20 17 (50%)

15 10 9 (26.5%)

8 (23.5%)

5 0

Not Likely At All

Neutral

Extremely Likely

9. How likely are you to engage when you are accompanied by family and friends when you visit the Little Haiti Cultural Complex? 20 19 (55.9%) 15 10 9 (26.5%) 6 (17.6%)

5 0

Not Likely At All

Question 7 Participants are mostly attracted to the Fine Arts and Culinary activities and are least attracted to Educational and Performing Arts activities. This question can be interpreted in different ways, as the reason for the visitors’ choice of activity is unknown to us. In the qualitative research, we will be able to analyze the reasons for users’ preferences for certain activities.

Neutral

Extremely Likely

Questions 8 & 9 Questions #8 and #9 validate the socio-cultural context of the Contextual Model of Learning (Falk & Dierkings, 2000), which states that social engagement within a visitor’s immediate group, as well as the cultural context provided by the center, affect the visitor’s engagement and learning experience within the center. From the results of these two questions, we conclude that it is relatively important for a visitor to feel accompanied by people they know, as well as see their culture represented within the center; therefore, these factors should be taken into consideration when designing a community center.

* 27 10. How likely are you to engage with other visitors and staff members? 15 13 (37.1%) 11 (31.4%)

6 (17.1%)

5 4 (11.4%)

1 (2.9%) 0

Not Likely At All

Neutral

11. Do you consider the Little Haiti Cultural Complex to be a learning place?

Agree Disagree

Extremely Likely

Question 10 This question allows us to measure how comfortable visitors feel in engaging with people outside of their immediate group, in order to program and design a community center that promotes engagement between people that are outside of visitors’ immediate group of family and friends. We can infer that visitors who use the cultural center more often are more comfortable with engaging as they have established relationships with the staff and their neighbors and are familiar with the environment.

100%

Question 11 All participants agree that the cultural center is a learning place, regardless of having a wide range of activities. This question validates the Contextual Model of Learning theory (Falk & Dierkings, 2000), which states that a free-choice setting, or any out-of-school learning setting, is an effective learning place. This proves that activities provided by the center, which are all non-traditional learning activities, can be educational while also engaging the visitors. 12. I believe the design of the following spaces in the Little Haiti Cultural Complex encourages people to engage with each other: Strongly Disagree

Disagree

Not Sure

Agree

Strongly Agree

0 Caribbean Marketplace

Theatre / Stage

Dance and Drama Studio

Courtyard

Art Gallery

Arts and Crafts Rooms

Community Rooms

Question 12 Participants mostly agree that the Community Rooms and Arts and Crafts Rooms successfully encourage engagement, perhaps due to the set up of the classrooms which lends to more collaborative and hands-on interactions. The Caribbean Marketplace and the Courtyard are also spaces that host the majority of events, and therefore this can be a contributing factor to why many visitors strongly agree that these spaces encourage people to engage. Seeing as we received a high amount of neutral responses (“Not Sure”) across all options, we should take this question further on the interviews to clarify what is meant by “encouraging engagement”. These neutral responses may also mean that not all visitors have visited all the spaces, and therefore may have no input on what certain spaces offer.

* Question 13

13. I believe that Little Haiti Cultural Complex offers enough spaces that accommodate for different activities.

The results from this question tell us that most participants do agree that the cultural center affords spaces that are flexible in accommodating for different activities (63.6%). The participants who were unsure may not be familiar with the different spaces or activities. They may also visit for one specific activity only or at specific times and are unaware of the changes that the spaces undergo. This will be further explored in the qualitative data collection.

Agree Disagree Not sure

21.2%

15.2%

63.6%

Question 14 The results of this question indicate that the Caribbean Marketplace calls attention the most because of its unique and vibrant architecture. The hierarchy in terms of visibility in comparison to the other buildings may be a factor in the results of this question. From these results we consider how to assess hierarchy in our own community center. If we wanted to call more attention to one space than the rest, we would utilize specific attributes and colors in a similar way the LHCC does. In addition, if we wanted all spaces to have an equal importance, uniform proportions and equal significance in design should be considered.

14. Which space(s) calls your attention the most in the Little Haiti Cultural Complex? Check all that apply

Caribbean Marketplace Theatre Stage

Question 15 The majority of participants agree that the Little Haiti Cultural Complex is welcoming; therefore, this question confirms that our choice of this community center as a case study is a good example to further understand how we would design an approachable center in a low-income community. Users may feel that this is an approachable center because of the engaging programming, intriguing architecture, and the inclusive promotion of the center. Through interviews, we can further analyze the reasons that make this community center welcoming.

Dance and Drama Studio Courtyard

Art Gallery Arts and Crafts Rooms Community Rooms 0

15. In your opinion, how welcoming is Little Haiti Cultural Complex from a scale of 1-5? 15 14 (42.4%) 12 (36.4%)

7 (21.2%)

Not very welcoming

Neutral

5 Very Welcoming

* 29 16. How effective do you believe the Little Haiti Cultural Complex is in providing the following: Not effective at all

Somewhat effective

Not Sure

Effective

Very effective

20 15 10 5 0

Spaces that are easy to navigate

Spaces that can be changed to be used for different purposes

Accessible spaces for people with disabilities, pregnant women, children, elderly...

17. How effective do you believe that the Little Haiti Cultural Complex is in providing comfort overall (e.g. furniture, temperature, lighting, colors, materials...) Not effective at all

Somewhat effective

Not Sure

Effective

Very effective

0 Caribbean Marketplace

Theatre / Stage

Dance & Drama Studio

Courtyard

Art Gallery

Arts & Crafts Rooms

Community Rooms

Question 16

Question 17

This feedback is relevant to the design of a community center, and how the visitors perceive its effectiveness or lack thereof. Some participants find it difficult to easily navigate from space to space, perhaps due to the disconnection between the three buildings. The responses regarding flexibility of the spaces were mostly neutral, indicating that participants who were unsure may not be familiar with the different spaces or activities offered. Another reason may be that they may visit for one specific activity and are unaware of the changes that the spaces undergo. The accessibility provided by the center is mostly effective. Participants may not be aware of the accessible spaces and amenities because of unnecessity, which may have contributed to the large portion of participants who were unsure. To better understand the overall results, we will further collect primary data from interviews.

The results reveal that the Theatre/Stage, Dance and Drama Studios and Community Rooms were rated highly in comfort. We believe that the Theatre/Stage is the most successful because it requires a specific interior temperature and affords more comfortable seating arrangements as opposed to other spaces. The natural lighting, floor to ceiling mirrors, and spacious layout within the Dance and Drama Studio may contribute to the highly perceived comfort level. Overall, none of the spaces were perceived as “Very Effective”, which suggests inconsistencies when providing comfort equally throughout the spaces. We will determine more detailed responses on why comfort is perceived as higher in these spaces through the qualitative research.

18. How well do you think the Little Haiti Cultural Complex represents the following: Not represented at all

Somewhat represented

Not Sure

Well represented

Very well represented

0 Age

Gender

Sexual Orientation

Race / Ethnicity

Afro-Caribbean Culture

19. How important is it to have computers for personal use at the Little Haiti Cultural Complex? 20 15

16 (45.7%)

10 9 (25.7%)

8 (22.9%)

5 0

2 (5.7%)

Not very important

Neutral

Very Important

Question 18

Question 19

The results of this question lead us to infer that if a visitor does not necessarily identify or relate to any one of these categories, they would be more likely to answer with “Not Sure”. Race/Ethnicity and Afro-Caribbean Culture are a central core mission of the Cultural Complex; therefore, most people agree that these categories are well represented. This question will be clarified in the interviews, providing examples or ideas of how a space can represent these categories.

In general, visitors agree on the importance of the center providing computers for personal use. Overall, the neutral responses lead us to believe that participants do not see this as an essential need. When comparing those resident’s preference to non-residents, we noticed that residents feel less inclined to prefer computers for personal use, perhaps because the large portion of the participating residents are ages 50 and above and they are more geared to engaging in social activities.

20. Do you think more technology-based activities should be implemented in the Little Haiti Cultural Complex?

Question 20

Yes No Not sure

31.4%

48.6%

20%

There are mixed responses on how visitors perceive the need for technology-based activities in the center. Half of the participants view technology-based activities as something that should be implemented, whereas the other half view it as something that is not necessary. This is perhaps related to the age group of each respondent, as the younger generation might feel an increase of technology-based activities as imperative.

* 31 21. How satisfied are you with the variety of educational activities (e.g. after school programs, marketing classes, language classes, business training...) provided by the Little Haiti Cultural Complex? 20 15

16 (47.1%)

10 9 (26.5%)

9 (26.5%)

5 0

Not satisfied at all

Neutral

Very satisfied

22. H ow satisfied are you with the variety of recreational activities (e.g. dance classes, martial arts, yoga, theatre/drama...) provided by the Little Haiti Cultural Complex? 20 19 (54.3%) 15 10

10 (28.6%)

6 (17.1%)

Not satisfied at all

Neutral

Very satisfied

Questions 21 & 22 For questions #21 and #22, participants are overall satisfied with the variety of educational and recreational activities provided within the center. However, we identified that there is a slight preference over recreational activities than educational activities. This is perhaps due to the quantity of recreational activities offered within buildings that are larger and more prominent in comparison to educational activities. 23. H ow do you access the Little Haiti Cultural Complex? Public Transportation Personal Vehicle

11.8%

Ride Sharing (Uber, Lyft)

23.5%

Bicycling Walking

17.6%

5.9% 41.2%

Question 23 This question has a direct correlation with the number of participants that are residents and non-residents. Those that are residents are more likely to depend on public transportation, as well as walking and bicycling, whereas non-residents mostly access the center with a personal vehicle.

24. How likely is your income to affect your decision to visit the Little Haiti Cultural Complex? 10.0 9 (27.3%) 8 (24.2%)

7.5 5.0

6 (18.2%) 5 (15.2%)

5 (15.2%)

2.5 0.0

Not likely at all

Neutral

Very likely

25. How likely is your home life to affect your decision to visit the Little Haiti Cultural Complex? 10.0 9 (27.3%) 7.5 7 (21.2%) 5.0

6 (18.2%)

6 (18.2%) 5 (15.2%)

2.5 0.0

Not likely at all

Neutral

Very likely

26. How likely is your family life to affect your decision to visit the Little Haiti Cultural Complex? 15

11 (31.4%)

7 (20%)

6 (17.1%)

7 (20%)

4 (11.4%) 0

Not likely at all

Neutral

Very likely

Questions 24, 25 & 26 For questions #24 and #25, participants’ decision to visit the center seems to be either neutral or affected by their income or home life. For question #26, participants are more likely to be affected by their family life. This provides insight into how these community centers can be a benefit for the residents of the community, as well as how we can provide resources that are accessible to the community. This could potentially alleviate the stressors that prevent them from using the LHCC.

* 33 27. How successful do you think the Little Haiti Cultural Complex is in including the community and engaging the residents? 30 27 (77.1%) 20 7 (20%)

10 4 (11.4%) 0

Not successful at all

2 (5.7%)

6 (17.1%)

Neutral

Very successful

28. How successful do you think the Little Haiti Cultural Complex is in making a difference in the life of the community? 30 28 (80%) 20 7 (20%)

10 4 (11.4%) 0

Not successful at all

3 (8.6%)

4 (11.4%)

Neutral

Very successful

Questions 27 & 28 The majority of participants agree that the cultural center is successful in including the community, engaging the residents and making a difference in the life of the community. This highlights the importance of a community center in a low-income community and confirms the positive impact that this center has on local residents and visitors. This also validates our decision to have the Little Haiti Cultural Complex as our case study.

* Survey Analysis Conclusions

The survey offered valuable information in relation to how the Little Haiti Cultural Center (LHCC) is perceived and experienced by visitors. This information assisted with the break down and understanding of data needed to develop a program that successfully provides engaging and educational opportunities for low-income communities. Though the questions posed in the survey served as good indicators for our research, personal interviews will be conducted to gain a deeper and more knowledgeable understanding of their experience in the cultural center. Due to the Covid-19 pandemic our limited ability to visit the cultural center posed a great difficulty in acquiring participants for our survey. Though we found this to be a struggle we were able to reach out to past visitors and organizations who work closely with the Little Haiti community via emails and social media. Despite the inability to visit the cultural center, we were able to acquire a greater number of participants who live in Little Haiti. Through this survey we were able to note several findings that are considered relevant and major to our research. An overwhelming amount of respondents perceive the LHCC to be a place of learning and agree that they learn more when they are afforded the opportunity and freedom to choose what they want to learn. Based on the Contextual Model of Learning (Falk & Dierkings, 2000), recreational and educational activities offered within the Cultural Center are all considered to be informal learning activities in and out-of-school learning environment. From these activities offered within the LHCC, educational activities include business workshops, after-school programs, creative writing classes, and Creole language classes, etc. Recreational activities include those such as dance and fitness classes, theatre classes, food events, art gallery events, etc. From the survey we gathered that the recreational activities received a higher percentage in preference over the educational activities. This may be due to the fact that the recreational activities are more representative of the AfroCaribbean culture, hence, a majority of participants agree that they engage more when their culture is represented. In order for their interest and preference to increase for educational activities, the culture of the community and its residents should be incorporated. This information validates the importance of including members of the community in the decision-making process regarding the activities that would be provided when designing a community center.

The Haitian culture is proudly displayed in the architecture of the Caribbean Market place. The vibrancy of colors and unique design call the most attention when compared to other areas within the center. It is also important to consider a more balanced and integrated design approach throughout all the spaces within the cultural center so that no one area is considered less favorable. A major unexpected result was found in the technologyrelated questions. We assumed the resident participants would show interest in having more access to computers for personal use, as well as technology-based activities; however results demonstrated that there was an 8% higher interest from the non-resident participants. Neutral responses indicate that residents may be hesitant on how technology can be implemented in the cultural center. We achieved validity in our survey questionnaire through the random sampling of participants to ensure that there was no bias performed between the population groups chosen. We were able to attain responses from both residents and non-residents who have visited the LHCC. This provides us with the perception of a population that is directly affected by a community center and its resources, in contrast to a population that visits the center with different expectations. Despite these factors improving our internal validity, we were unable to further explain certain questions in person, which may have increased the likelihood of participants’ misinterpretation. The outcomes of our findings can be translated into the design of other community centers within low-income communities. By applying what we determined as successful or unsuccessful in our case study, we will be able to address key design factors for an effective community center. Based on the data collected on the frequency and likelihood of visiting the LHCC, we conclude that a significant number of users have had a positive experience and are likely to return to the cultural center. The majority believe that the center successfully offers inclusive and engaging activities for the community which validates our decision in having LHCC as our case study. Through this survey we have gathered information that highlights the importance of a community center in a low-income community and the positive impact that it has on the local residents and visitors.

Fig. 10

Interviews Introduction The purpose of conducting interviews for our research is to gather information to design a community center that supports the community. These interviews help us further analyze indicators from our Operationalization Table that were not clear from the surveys conducted. This portion of the research focuses on collecting qualitative data which uses broad questions that focus on the participants opinions and experiences. This provides a perspective from participants who have personally experienced the center and will be triangulated with the survey. General questions will also be implemented to understand our participants and the demographics of our interviewees. By performing a semi-structured interview, open-ended questions are implemented using a guideline created based on the Operationalization Table. Through open-ended questions, participants are able to respond candidly and in more detail. We are then able to follow-up with probe questions that clarify and reaffirm the participants responses should they be unclear. The participants remain anonymous to protect their identity, in compliance of research ethics.

Coding Color

Variables Personal Context Socio-Cultural Context Inclusive Practices

Indicators Motivation, Choice and Control, Prior interests and Culture, Social Engagement with group, Social Engagement outside immediate group Comfort, Flexibility, Representation, Spaces with Accessibility

Programming

Mixed Use Spaces, Non-hierarchical Approach

Approachable

Inviting, Legibility of layout within the environment

Resources

Fig. 7

beliefs

Technology, Education and Recreation, Public transportation

Stressors

Economic, Domestic, Environmental

Inclusion

Community involvement, Civic engagement

Fig. 11

Interview Analysis Interviewee 01 Word Cloud

Word Frequency Word

Count

People

Center

See

Come

Different

Feel

Time

Space

Going

Community

80 70 60 50 40 30 20 10 0

* 39 Methodology This interview was conducted via video conference call scheduled with the owner of a local community tour company, who guides locals, visitors and tourists around the neighborhood of Little Haiti, as well as the LHCC. The interviewee provided insight from different perspectives, having an educational background in architecture, as well as being a male 27-year-old Haitian resident of Little Haiti. He provided us with important information in regards to the spaces and their relationships with each other, but also emphasized on the importance of the activities that are offered. Since the participant is very involved in the community and visits the cultural center almost daily, he was detailed in his responses and enthusiastic about being able to assist with our research that could potentially benefit the community.

Findings A recurring theme in the interview was the interviewee’s perception of how people generally experience the spaces and activities. He pointed out that if the programming is not engaging, the users would not be interested in attending the center. This ties into the importance that the users of the Cultural Center feel about being able to choose what they want to learn. “Traditional learning is not meant for everybody... When you’re not pressured to do things, you tend to retain things more. I think having the option to choose what you want to learn [and] how you can learn it [is] definitely a plus for the community to have.” Another viewpoint he provided was that many activities, such as the Caribbean Market Day, offered only on Saturdays, are limiting, making it inaccessible to many who cannot visit the center within those hours. This does not only affect the residents of Little Haiti, but also the vendors who are then limited from economically benefiting from these activities. The interviewee also emphasized the lack of access that some users have to the center due to the limited operational hours. He mentioned that the center is open from 9 AM to 5PM, and that many working residents of Little Haiti do not have the time after work or during the day to visit. Providing flexible hours of operation would offer users different time schedules that they can choose from for different activities. This response relates to the "Resources" variable within our OP Table.

“I think if [the center] were to just be open [more hours], it will make a whole lot of difference in the programming that they can actually [provide].” Speaking from his architectural background, he indicated that the spaces feel visually and physically disconnected due to the arrangement and the difference in architecture of each building. “...it’s not a continuous flow [and does not have] a visual connection that actually keeps you engaged to see what’s going on.” Although the spaces may be open, if the main building located at the front, the Caribbean Marketplace, is closed, it may give off the perception that all the buildings are closed as well. This disconnection and lack of wayfinding result in the Art Gallery/Community Rooms building feeling uninviting to the users. Unless there is a private event that is promoted, users will not necessarily know that it is open for public use. This provides us insight into the "Approachable" variable within our OP Table. To clarify the "Technology" variable from our OP Table, based on the survey responses, the interviewee confirmed that the current population consists mostly of an older generation that does not have an interest in technology; therefore, they primarily visit the center for social and recreational purposes.

Interview Analysis Interviewee 02 Word Cloud

Word Frequency

40 35

Word

Count

People

Space

Community

Food

Caribbean

Market

Theatre

Architecture

Cultural

Haiti

* 41 Methodology This interview was conducted via video conference call scheduled with a fellow FIU School of Architecture graduate. This participant is not a resident of Little Haiti, but lives at a walkable distance from the LHCC. She is a 27-year-old Black African-American with Caribbean descent, who visits the center about every other week for recreational purposes. She provided us with insightful information as an architect and an advocate for affordable housing who has worked with the City of Miami on the cultural and historic preservation of the Little Haiti community. The participant was intrigued by our research and interested in cooperating with the interview.

Findings Addressing the "Socio-Cultural Context" and "Representation" variables within our OP Table, the interviewee expressed how the LHCC provides a space for people in the community to feel that their culture is represented. She explained that in addition to exposing all users to the Caribbean culture and enjoying the cultural events, she appreciates the access to products and food that are specific to her culture. “It can be hard to find places that showcase or celebrate the black diaspora in Miami, and having that sort of reference point [LHCC], made me feel like okay, well, there’s a place for me.” Another sentiment from the interviewee was that even though she is not of Haitian descent, she still feels that the center and the people are very inviting. For this reason, she expressed that the cultural center plays a role in creating a sense of belonging and safety for the community. Referring to the Personal Context within our theory, the interviewee agrees that giving the community choice of what they are exposed to and what they want to learn helps to improve their quality of life. “Having the choice in what you want to learn, I think helps people understand what they’re passionate about and encourages them to learn something new.” In addition, she felt the location and the architecture of the building also invites people to approach the LHCC. “...when people see the food, they see bright colors, and there’s this architecture that sort of blends the sidewalk scape into the building. That’s what made me feel like I could just walk right in, and people do just walk right in.”

The interviewee recalled how the LHCC successfully applies mixed-use within its spaces. Particularly in spaces like the Caribbean marketplace and open courtyard, where she has attended different events that the center has provided, such as galas, concerts, etc. However, she was unfamiliar with how the rest of the spaces accommodate for different activities to happen within them. This validates our inference about how some users may not experience all the spaces or know how they are modified for other functions. The interviewee felt that the Caribbean Marketplace and the Courtyard were the spaces that mostly encouraged people to interact with each other. This is because it is an open space where vendors are set up closely, allowing for more opportunities to engage with other vendors and users. However, she pointed out that there is a lack of seating in these spaces, affecting the overall comfort for the users. “It’s not always comfortable in terms of places to sit and rest. And I think that’s probably more due to the fact that the program isn’t about sitting and resting. It’s like people engaging and moving around. But, this is Miami, it’s hot, we always want a place to sit in the shade and I do think there could be more seating.”

Interview Analysis Interviewee 03 Word Cloud

Word Frequency Word

Count

Community

Courtyard

Space

Far

Center

Marketplace

16 14 12 10 8 6 4 2 0

Methodology This interview was conducted in person with a Miami-Dade County employee who is not a resident of Little Haiti, but has visited the cultural center. The participant is a 46-year-old, Black, African-American who provided us with information as a person who appreciates exploring different neighborhoods of Miami. His perspectives and responses are drawn from the different cultural spaces and events he has experienced. The participant was eager to engage in the interview and showed interest in returning to the LHCC when it reopens post-COVID.

Findings The interviewee provided his perception on the Caribbean Marketplace and the Courtyard, being the two spaces that he experienced. He felt that the layout of these spaces encouraged interaction between the users and the organizers. Although he feels that the spaces encourage engagement, he mentioned that there is a lack of signage, making it difficult to walk from the Caribbean Marketplace to the Courtyard. This addresses the legibility variable of our OP Table. “Once you’re inside of the main marketplace, it’s not intuitive as far as getting out to the other side to the courtyard.” In the interviewee’s experience, the courtyard is most inviting because it lends itself most to pedestrian traffic, compared to the Caribbean Marketplace which has vendors on the sidewalk that block the entrance and force you to walk through them to get to the interior. Similarly, this interviewee shares the same point of view as Interviewee 1, in terms of the lack of visual connection. He stated that you must walk through the spaces in order to experience what is beyond. The interviewee also felt that incorporating technology into the Cultural Center would be beneficial to the users, since in these current times, “it has gone beyond a luxury” to have the latest standard technology. However, he also recognizes that the LHCC is more of a hands-on focused place; therefore, technology is not a priority, but an ancillary

asset. He believes that the LHCC provides the basic equipment necessary, such as proper lighting, the PA system, and the projector system, which facilitates the activities offered. This also provides the opportunity for residents to have a platform to showcase their talent and speak on important issues, making it a plus to the community. “I think anytime that you can have a safe, clean, modern, inviting community space, it’s definitely an asset to the community.” As a person who enjoys exploring different neighborhoods and their culture, he values the importance of being accompanied by someone you can share your experience with. This validates the "Socio-Cultural Context" within our theory and OP Table, demonstrating that you are more inclined to engage and learn new things when you are accompanied by someone you know. “It’s always great to have a known entity or friend, or just someone to share with someone to use as a sounding board. Just someone to actively share the experience as it’s happening.”

Interview Analysis Interviewee 04 Word Cloud

Word Frequency 14

Word

Count

Cultural

Activities

Community

Space

Inclusive

Important

Accommodate

Benefit

6 4 2 0

Methodology This interview was conducted in person with a 30-year-old Hispanic female who frequents the Little Haiti neighborhood, and has visited the LHCC for a magazine event. The interviewee provided insight from a cultural and entertainment perspective, as a big supporter of local establishments in Little Haiti. The interviewee was very positive in regards to her visit to the LHCC and the different cultural events and food options she experienced and indulged in.

Findings This interviewee, having only visited the Caribbean Marketplace for a magazine event, believes that the set up of the vendors throughout the Marketplace makes it inviting to ask questions, interact and to meet different people. This substantiates the "Socio-Cultural Context" of our theory and OP Table, which states that when users engage outside of their immediate group, this can enhance their experience. She referred to the cultural center as a communal place that one can visit to develop new relationships. ”[The Caribbean Marketplace] does encourage people to engage with each other because it’s an open layout.” Although the interviewee perceives the space as being flexible and accommodating for different activities, her comfort level was affected by the lack of air conditioning and seating in the space which would have allowed her to rest. Depending on the type of activity and turn out, the lack of proper ventilation in the Caribbean Marketplace can become more noticeable. This is supported by her overall experience when she attended the Zine Fair. This information addresses the comfort and flexibility variables in our OP Table.

From her knowledge and experience in the area, she understands that the demographic is mostly made up of an older generation, leading her to believe that technology is not as important to include for them. Yet, she believes that anyone who is more willing to learn about technology, would essentially benefit. “I feel like this particular community is comprised of like an older demographic and so I’m not sure how well they would adapt, incorporating technology and stuff like that.”

Interview Analysis Interviewee 05 Word Cloud

Word Frequency Word

Count

Different

People

Courtyard

Events

Area

Art

Gallery

6 5 4 3 2 1 0

Methodology This interview was conducted in person with a 32-year-old Hispanic female who has lived in Little Haiti for about a year and a half. She is familiar with the neighborhood and has attended the LHCC multiple times. She imparted her knowledge and insight as an active attendee of cultural and recreational events, not only of the LHCC, but of other events in the neighborhood as well.

Findings As a resident of Little Haiti, this interviewee has noticed that the most known nearby resource to technology is the Lemon City library and that the computers there are usually being used; therefore, the community would benefit from having an additional resource to technology. She expressed that since the community is located within a low-income neighborhood, the residents may have limited access to resources in schools or at home, and the community center would aid in providing these resources. She also mentions that community centers can be beneficial to the residents of the community by providing a safe place for them. These responses correlate with the "Resources" and "Stressors" concept factors in our OP Table. “A lot of people do benefit from [community centers] because they get an escape from what their reality is and they get to learn more in case their schools don’t have that.” Like previously noted by other interviewees, the largest group demographic of the area is elders, and the interviewee believes that by making technology more accessible and offering classes that teach

the elderly people how to use computers, would encourage them to use them more in the future. She was aware of the surroundings based on her experience in attending similar events in the past, which has given her an idea of what to expect within the spaces. She has experienced how the Art Gallery, Courtyard and Caribbean Marketplace have been reassembled when hosting different types of events. She noted that everytime she goes to the LHCC she has a different experience. In regards to comfort from our Operationalization Table, the interviewee mentioned that there is not much comfort in the art gallery, but that it is not expected as she is there to look at the art. She also mentioned that the lack of signage can cause confusion when getting from one space to the next, since there are so many different connections that result in her being distracted or redirected.

Data Analysis Online Reviews Word Cloud

Word Frequency Word

Count

Haitian

Community

Events

Area

Classes

Live

Time

Vendors

Dance

Gallery

Methodology As there was limited access to the Cultural Center due to Covid-19, we resorted to other methods of gathering knowledge on users’ experiences in the center. The reviews gathered from vendors, locals and visitors were from online sources such as TripAdvisor, Yelp and Google. A majority of the reviews date back to 2018, with the most recent review being from August 2020. As mentioned, Covid-19 has interfered with people’s ability to attend the center. The reviews briefly explain the users’ reason for visiting and provide a more direct insight into their perception of the spaces they visited. Negative reviews were also considered to understand what the LHCC lacks in, as far as design, activities and representation.

Findings A recurring theme throughout the reviews was how people perceived indicators within our "Inclusive Practices" variable. Many reviewers believed that the Haitian culture is very well represented within the center through the activities, events, food and live music provided. Although the center is mainly geared to the Haitian culture, there are expansive activities and events that also explore the Caribbean and African roots. The space is also welcoming to people of other descent, allowing emerging artists and local entrepreneurs to have a platform to showcase their work. “The lively mix of art, the smell of warm spices and the sounds of live drumming made me feel at the doorstep of Haiti.” Most of the reviewers mentioned the cleanliness of the center, taking note of how organized the spaces were, and the maintenance of areas such as the restrooms and foyers. There were mixed reviews regarding the parking, but a majority of the comments mentioned that parking was easy to find and there were convenient lots available. In terms of comfort, the theatre was perceived as one of the more pleasant spaces with comfortable seating and spaciousness compared to a mid-sized movie theatre. However, the foyer in the theatre was negatively reviewed for its lack of seating accomodations, resulting in people having to sit uncomfortably on concrete benches in the Courtyard as they waited. The Art Gallery has received positive

reviews on its variety of exhibitions, as well as range of artists, whether they are established or local artists. On the other hand, some showed disappointment with how scarce and plain the space felt. Another topic of relevance that we found throughout the reviews was the availability of the different types of programming, events and activities offered in the LHCC. Many reviewers commented on the wide variety offered within the center. Some of the activities offered are also free and accessible to everyone. “Art gallery is well-curated, presenting exhibitions themed with timely and relevant topics. It provides great support and exposure to emerging as well as established artists. The theater is also a good space for performances and often features films by rising film makers. The dance studios on the opposite side of the plaza from the gallery are used to offer classes in a variety of genres from Haitian folklore, to African, to hip-hop. There is also yoga, language, art classes/camps, and percussion training on different kinds of drums offered throughout the year. The marketplace next door also gives makers a chance to exhibit their crafts and small businesses to a broad audience.”

Interview & Data Analysis General Conclusions General Word Cloud

w e

t s

n f n

General Word Frequency Word

Count

People

115

Community

Space

Center

Different

Feel

Time

Going

Come

Area

Haiti

140 120 100

40 20 0

* 51 General Findings and Conclusion The qualitative data collected through the interviews and reviews provided insightful information of unclear quantitative data. By triangulating the data from our survey responses, we were able to reaffirm inferences that were made and further analyze variables and indicators from our Operationalization table. Gathering information from interviews and reviews provided us with different perspectives from Little Haiti residents, Miami locals and visitors.

behind and intercepts in the flow of circulation. The difference in architectural styles between the buildings makes the users assume that they are completely different entities and are not part of the same complex. Most participants on the qualitative and quantitative data collection agreed that the Caribbean Marketplace is the space that calls their attention the most because of the contrasting architectural elements.

An aspect of our Contextual Model of Learning (Falk and Dierking, 2000) theory that was largely mentioned was the "Personal Context", which states that people are able to learn more when they have a choice in what and when they want to learn. All of our interviewees agreed and emphasized the importance of the community having a choice in what they want to learn in order to improve their motivation to engage with the community. Providing a variety of educational and recreational programming through non-traditional learning environments can afford people with different levels of learning with an inclusive opportunity and space to grow.

Overall, the interviewees all agreed that the center as a whole is capable of accommodating for different activities and events. The Marketplace and Courtyard lend themselves to be more flexible in that regard because of how open and spacious the layout is, affording for easy arrangement. According to the interviewees, some of the different activities that these spaces accommodate for are magazine events, film festivals, art events, galas and town hall meetings, demonstrating the wide range of events that the LHCC hosts.

In regards to the Socio-Cultural Context of our theory, it was commonly mentioned that the Caribbean Marketplace was a place where they enjoyed gathering in, due to the Caribbean and Haitian culture being celebrated. They felt that the Marketplace specifically supports the closely-knit social and cultural ties by being one of the few spaces in the neighborhood that accommodates the people of the Haitian and Afro-Caribbean community. In addition to feeling welcomed, the interviewees felt comfortable and at ease with approaching others in the Marketplace. The majority also mentioned the positive experience of interacting and engaging with vendors, which led to them understanding and learning more about the culture and having access to cultural commodities that are not commonly available elsewhere. Additionally, we gained insight to better understand how the LHCC is designed. This clarifies the concept of Design of Community Center from our Operationalization table. There was an overwhelming, unfavorable response regarding the confusing wayfinding in the Cultural Center. This, in part, has to do with how the buildings lack a visual and physical connection, which was a concurrence among several of the interviewees’ responses. The lack of signage contributed to the unclear circulation paths between spaces. The visual disconnection is also emphasized through the opposing architectural language of the Caribbean Marketplace which blocks the buildings

Despite the positive advantage of the spaces being flexible for mixed-use, the reviewers, as well as the interviewees agreed that the Courtyard was least favorable in regards to comfort. These spaces at the LHCC are not equipped with fixed seating for large crowds, and depending on the event, this leads them to resorting to last-minute accommodations which may not be practical or pleasant. This information was also validated from the survey responses regarding the overall comfort of the spaces, which listed the Courtyard in being the least effective and the Theatre as being the most effective in achieving comfort. As mentioned by several interviewees, the Theatre was a decent-sized space that had the capabilities of catering for different functions. The lighting, temperature, seating and clean maintenance were all factors that contributed to the positive perception of comfort within this space. Representation of the Afro-Caribbean and Haitian culture at the LHCC is most noticeable because of their diverse programming, architecture, and the people and community. That representation is a means for individuals and the community who identify as Haitian or Afro-Caribbean to connect with their culture and their roots. The LHCC also makes space to highlight and embrace other minority communities by giving them the platform to showcase their culture to others who may not be as familiar. Interviewees referred to several events they had attended where they saw the LGBTQ and Hispanic community represented through events such as film festivals and fairs.

A community that was noted as lacking representation is the older generation, which makes up a large portion of the population in Little Haiti. From the survey responses, we discovered that the interest in technology was not essential to incorporate in the programming for this generation. To further analyze this, we looked at the interviewees responses where a majority believed that this age group seeks more social interaction and hands-on activities as opposed to technology. They also mentioned that there were insufficient programs and activities that were specifically geared to the older generation. Considering all age groups into the programming will create a successful community center that includes and engages everyone in the community.

The LHCC provides a platform that promotes community involvement and aids in building close-knit relationships that can, in turn, contribute positively to the community. A few of the interviewees shared this sentiment where they have expressed that they perceive the people who visit the LHCC to be like a big family, where there is a cultural bond that ties the community together. Some of the interviewees mentioned being involved in charitable events and advocating for cultural preservation of the community. This proves that community centers can bring people of the community together to raise awareness on some of the political and municipal issues that can make a difference in their community. Ultimately, having a space where the community feels represented contributes to a sense of belonging and security for the members of the community.

Design Guidelines •

Consider the residents’ schedules and lifestyles to create a program that is flexible and allows for choice and control.

•

Provide a balance in the way that technology is incorporated within the program, considering all age groups and their needs and wishes.

•

Create a balance in the recreational and educational activities offered to cater to diverse interests within the community.

•

Create a cohesive architectural language that unifies all the spaces and provides visual connection.

•

Avoid creating spaces that feel intimidating to the users by providing visibility and clarity.

•

Consider design solutions that take into account the local climate when designing exterior spaces to ensure users’ comfort.

•

Develop a legible layout that incorporates visible signage to support the ease of flow, considering the different cultures and languages found in Miami.

•

Ensure that the spaces within the complex are accessible for users of all needs by providing clear and unobstructed circulation as well as meeting the standards for the Americans with Disabilities Act.

•

Provide comfort, relative to the activities within each space, by ensuring the environment’s lighting, temperature and seating options are suitable to support the user’s needs.

•

Ensure the inclusion of older generation users by including programming options geared towards them and dedicated spaces designed for their specific needs.

•

Provide technological resources for users who wish to utilize them by incorporating computers and allocating a specific space for this activity to function within the program.

Fig. 12

Trace Observation Introduction Through the information gathered from our surveys and interviews, we analyzed users’ behaviors in each of the spaces in the LHCC. From the environment-behavior attribute checklist, we identified attributes that were present or lacking in these spaces. Once these attributes were selected, we triangulated with our interviews and surveys and referred to indicators from the Operationalization Table. This process provided us with a better understanding of how the users and the space affect each other. Environment-Behavior Attributes identified: • • • • • • • • • • • • • • • •

Sociality Crowding Focal Point Prospect and Refuge Complexity Monotony Delight Wow Factor Restoration Comfort Autonomy Control Performance Adaptability Identity Wayfinding

Fig. 13

* Trace Observation Annotated Map

Sociality Adaptability

Comfort

Identity Focal Point

Restoration

Art Gallery & Community Rooms

Courtyard

Theatre / Dance

Caribbean Marketplace

Adaptability Prospect and Refuge

Sociality Crowding

Control

Crowding Complexity

* 57

Autonomy

Monotony Adaptability

Adaptability Sociality

Art Gallery & Community Rooms

Courtyard

Delight Wow Factor

Theatre / Dance

Performance

Caribbean Marketplace

Focal Point Wayfinding

Sociality What is sociality? Social nature or tendencies in the assembling of individuals in communities (Dictionary.com, n.d.). In relation to our research, this attribute relates to the "Socio-Cultural Context" of the Contextual Model of Learning Theory (Falk and Dierking, 2000).

How is it applied? The LHCC is a space for social engaging activities where users are able to interact and socialize. The Caribbean Marketplace allows for different social events and activities to take place within its open and ample plan. Based on the information gathered from the interviews, movable tables and chairs may be laid out depending on the event, to accommodate the users and vendors to showcase their AfroCaribbean products, art, and food. With a stage equipped for live performances, a café and resting area, and a flexible layout, the Caribbean Marketplace encourages people to interact with each other. Within the community rooms, the desks and chairs allow for different arrangements within the space, providing adaptability within the LHCC. Offering a variety of programs ranging from lecture classes, arts and crafts, or civic events, the furniture can be arranged to promote sociality and encourage engagement for a large amount of users. The courtyard is the transitional exterior space between the theatre/ dance studios and the community rooms that encourages users to gather and socialize. At any given moment, there may be tents set up or live music performances. This open space becomes a public domain that attracts pedestrians to join in on events that are occurring and visible from the street. The "Socio-Cultural Context" explains that individuals feel more comfortable interacting when their interests, culture and beliefs are represented. The activities and programs afforded play a role in the interest of the users. These spaces afford social engagement among individuals and groups who use the space by providing an environment where users feel eager to participate and engage.

* 59

Fig. 15

Fig. 14

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Crowding What is crowding? Interior density based on perceptions of spatial restriction due to too little space or too many people present in a space (Rollings, n.d.). In relation to our research, this attribute relates to the "Socio-Cultural Context" of the Contextual Model of Learning Theory (Falk and Dierking, 2000), as well as Inclusion.

How is it applied? Crowding is seen mostly in the open spaces where there is fewer fixed furniture, such as the Caribbean Marketplace and courtyard. The spaciousness and flexibility of these spaces contribute to the capability of hosting events that provide a gathering space for larger crowds. Many of these well-known events create a major turnout resulting in the spaces feeling dense. The openness of these spaces tend to allow the crowds to extend, without limit, beyond the property’s boundaries. On Marketplace Saturdays, the Caribbean Marketplace is filled with vendors showcasing food, art and other products that are representative of the Afro-Caribbean culture. This references the cultural aspect within the "Socio-Cultural Context" because it gives users the opportunity to learn about new cultures, as well as facilitates their access to cultural products that may not be available elsewhere. The social aspect of the "Socio-Cultural Context" is reflected in areas such as the courtyard and Caribbean Marketplace. This observation is pulled from the interviews and the perception that several participants share regarding the crowding conditions within these areas. This is due to the layout of these spaces accommodating activities that involve more participants. "...it's not a huge space, so when the vendors have had their stations set up, it would be pretty hard to walk around and not speak to people, or to just say hello. So there's a sense of intimacy truthfully, ... and then the fact that it is kind of a tighter knit space." - Interviewee 02

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The crowding that occurs within the Caribbean Marketplace and courtyard are indicators of the community involvement that the LHCC promotes. Events, such as town halls, conferences or fundraisers that the cultural center hosts are geared towards improving the community.

Focal Point What is focal point? A defining feature that draws attention within an area (Dictionary. com, n.d.). This attribute relates to the inviting variable within the Operationalization table of our research.

How is it applied? The unique and vibrant architecture of the Caribbean Marketplace makes it a distinctive landmark in Little Haiti, Miami. The contrast seen between the surrounding architecture and the Marketplace contributes to its urban hierarchy. As noted by an interviewee: “...they see bright colors, and there’s this architecture that sort of blends the sidewalk scape into the building. That’s what made me feel like I could just walk right in, and people do just walk right in.” - Interviewee 02 The mural in the courtyard is a contrasting element that stands apart from the surrounding buildings of the LHCC. The vegetation becomes a backdrop to this central point, creating a visual impact that empasizes the colors and culture of a traditional market in Haiti. Haitian residents within the community are reminded of their homeland by the picturesque murals that are found throughout Little Haiti and within the cultural center. Interviewees referred to these murals within the courtyard, as well as the Caribbean Marketplace, as the spaces that draw the most attention, tying into the cultural representation that the center effectively achieves. "I think the fact that the plaza itself, it's very appealing to the eye, due to the fact that there's murals around it. There's some coconut trees or palm trees around, very Miami, very typical Florida vegetation, you know, the shade that they have there." - Interviewee 01 These focal points of the LHCC are representative of the identity of the Haitian culture. The architecture of the façade of the Caribbean Marketplace are conveyed in the interior, carrying similar elements and colors that are reminiscent of the Gingerbread architecture.

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Prospect and Refuge What is prospect and refuge? Environmental conditions with areas of concealment and retreat that provide the ability to see without being seen. (Lidwell, Holden, Butler, 2010) This attribute relates to the comfort variable within the Operationalization table of our research.

How is it applied? Users in the dance and theatre studios may seek a sense of privacy through the refuge component of this attribute. In this space, which is mostly used for performance rehearsing and physical activities, such as dance or yoga, privacy can become an important factor in people’s sense of security. In terms of the art gallery, the metal screens seen along the façade of the building add a layer of security for the art work on display. These screens, while still allowing users to have access to natural daylight and a view to the outdoors, also offer the ability to retreat within the space without feeling exposed. From the exterior, having a glimpse of what is inside the gallery space, sparks a curiosity of what is behind, enticing the user to enter and explore. As noted by several interviewees, the large openings throughout these spaces allow for filtered natural daylight to penetrate the building, creating a level of comfort that is pleasant. Not being seen from the interior also allows users to feel comfortable in participating and experiencing the space. "...the art gallery I think in terms of comfort, it does provide [it] because you have the natural lighting coming from the east and the roof that's providing lighting and so that visibly is very comforting." - Interviewee 01

Complexity What is complexity? The amount and intricacy of elements found in an environmental setting (Stewart-Pollack and Menconi, 2005). This attribute relates to the legibility variable within the Operationalization table of our research.

How is it applied? With constant events happening, the complexity increases depending on the size of the crowd that is present. The affordance provided by the size of the marketplace allows for many different events to take place, leading to varying arrangements. This variation of the space can feel overwhelming to the users, neglecting an established order within the layout, in turn affecting the legibility. The complex layout created by tables, seating and kiosks results in unclear and haphazard circulation that is difficult to follow. On certain days that there are events going on, the complexity may increase with the addition of supplemental furniture to accommodate for the event. The visual complexity of the diverse elements on the walls and ceilings contributes to the levels of complexity within the Marketplace. This complexity, as mentioned by an interviewee, was described as being representative of the culture and typical Caribbean market places. "I would say that there could be more signage, to direct people in terms of, from a designer's perspective, like a clear circulation path. And that's kind of a weird thing to say, because, you know, being Caribbean myself, it's like, there is a sort of charm to things being haphazard, you know, you're kind of finding your way. ...So, I think it might be nice for, as part of the design, to have larger signage and something colorful, but it is kind of hard when you get there to know where to go." - Interviewee 02

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Monotony What is monotony? The quality of lacking variety (Oxford Languages, n.d.). This attribute relates to the legibility variable within the Operationalization table of our research.

How is it applied? Monotony effectively supports the function of the art gallery within the LHCC. With it’s open layout and bare walls, the space serves as a blank canvas that does not compete with the artwork, but instead showcases it as the main attraction. This contributes to a highly legible space with minimal complexity for the user to experience the gallery. The downside to that monotony is that once the artwork is removed, the intent of the space is lost. When the art gallery is not being utilized, the space can feel cold and lack interest that would otherwise engage the users. The monotony seen here is broken up by the revolving artists and art works that are continuously being featured. Other events that may take place here, such as receptions, private dinners and social mixers, can also break up that monotony, allowing the space to be diverse in its use.

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Delight What is delight? A space that provokes a pleasant emotion. This attribute relates to the inviting variable within the Operationalization table of our research.

How is it applied? The courtyard in LHCC evokes a sense of pleasure that many interviewees expressed. The open-air space, lined with palm trees, colorful wall treatments and sculptures, as well as the mural serving as a focal point, attract passers-by and users alike to enjoy and experience the exterior area. Its flexible and ample space allows for many outdoor events to be hosted in the courtyard, adding to its appeal and functionality. Being a central space within the center, that is also accessible from the sidewalk, the courtyard is considered to be the Wow factor within the LHCC. Although this was mentioned to be a space that called the most attention, it was also noted by several online reviewers and interviewees to be lacking in comfortable seating. In addition, the absence of shade and shelter from local weather conditions was also a common concern. "As far as the courtyard goes, I think there's seating but there's basically there's limited seating, when you look at how the courtyard is being used at it's peak..." - Interviewee 03 "...the open plaza [has] benches, but I would say that from a designer's perspective... it's not always comfortable in terms of, places to sit and rest." - Interviewee 02 Despite these observations made by the interviewees, it remains a space where users find the opportunity to interact and engage as they encounter events that are constantly taking place here.

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Restoration What is restoration? Settings that give pleasure and are satisfying by supporting human functioning, providing a context in which sensory info and complexity can be managed effectively, permit people to move about and explore with comfort and confidence, and provide for recovery from mental fatigue. (Kaplan, 1989) This attribute relates to the comfort variable within the Operationalization table of our research.

How is it applied? Of all the spaces that do provide restorative opportunities within the LHCC, such as the courtyard, the café (Tigeorges Kafé) is located on the corner inside the Caribbean Marketplace is truly a unique and restorative space. The Tigeorges Kafé amplifies the opportunity for users and people who walk by the cultural center to collectively or individually join to find restorative moments. Users are welcomed here to have a conversation with the owner, or with others, adding a human element to a restorative space. It is also used daily by locals to congregate. The convenience of having a moment to step away from the activities taking place in the cultural center provides the user the comfort to disconnect and reenergize with a snack or beverage.

Comfort What is comfort? Elements of the physical environment that contribute to physical ease and well-being. This attribute relates to the comfort variable within the Operationalization table of our research.

How is it applied? In contrast to other spaces that lack comfort, the theatre was noted and recognized by 23 out of 35 survey respondents as being the most successful space to achieve comfort. In addition to being successful in providing comfort, it also addresses the needs of the users and the purpose of the space. Despite the comfort that the theatre provides, several reviews mentioned that the theatre lobby was lacking in comfort and accommodations for the users waiting on events to begin. Regardless of these drawbacks to the lobby space, the theatre was regarded positively in terms of comfort. "...There is an outdoor area with concrete seats that served as a waiting area [to the theatre] while a cocktail party was set up in an area [theatre lobby] with a bar and tables. Unfortunately, there were no chairs initially and some had to be located for the 100+ people in attendance who were served food and drinks." - Reviewer 7 Several of the interviewees and online reviewers noted that the stage lighting, as well as the ambience and mood lighting are successful in the theatre for the performances and conferences that take place here. It was surprising to an interviewee that a cultural center would boast a mid-sized state-of-the-art theatre such as this. Considering that users will be sitting for a prolonged amount of time, the cushioned stadium-style seating provides comfort and clear views to the stage for users to appreciate the performances taking place. The theatre space has sufficient seating for more than 300 users. In addition, it provides six wheelchair accessible spaces, making it inclusive for all. As opposed to the adjacent courtyard and Caribbean Marketplace which are naturally ventilated, the theatre is maintained at a comfortable air conditioned temperature, adding to its success in achieving comfort.

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Autonomy What is autonomy? Our sense of individuality and integrity to explore our capacities and limitations, to strive for independence, to think and act without coercion (Gifford, 2014). This attribute relates to the Personal Context and Physical Context of the Contextual Model of Learning Theory (Falk and Dierking, 2000), as well as the education and recreation variable within the Operationalization table of our research.

How is it applied? The LHCC allows the users to feel in control over what activities they prefer to take part in. The spaces that afford the most individuality for the users include the Heat rooms, as well as the Caribbean Marketplace. The autonomy experienced in these spaces validates the theory discussed in our research, giving the user freedom to choose what they want to participate in, engage with and learn within a space. The Heat rooms, also known as the Learn-and-Play Center, provide the younger users a space that is more geared to their generation and provides a sense of independence from the rest of the center. They are able to make use of the resources offered to them for recreational and educational purposes. The variety of technology and games allows them the flexibility to engage, entertain and disconnect in a laid-back environment. The Caribbean Marketplace, being the largest space in the center, allows for various activities to happen simultaneously, making autonomy very present within the space. Users have the option to browse between kiosks and vendors, enjoy the music, lounge by the café, all while indulging in the Haitian culture. The freedom and variety of choice provided by the Caribbean Marketplace play a large role in them feeling drawn to the space.

Control What is control? The perceived control in physical settings that favor the alteration of the environment to suit human needs and desires (Gifford, 2014). This attribute relates to the flexibility variable within the Operationalization table of our research.

How is it applied? The pivoting metal panels surround the perimeter of the Theatre/ Dance and Art Gallery/Community Rooms buildings. Physical control of these pivoting panels can potentially facilitate proper circulation during events with larger crowds. The panels also provide an additional layer of privacy from external distractions due to the close proximity of pedestrians and the adjoining street. In addition to privacy, these panels also serve as shading devices to the rooms located on the perimeter, which all have floor-to-ceiling windows. The flexibility provided by these pivoting metal panels proves to be a functional aspect that is unique to the building.

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Performance What is performance? An environment that appears to have the qualities that support our performance of a necessary, required, or desired task (StewartPollack and Menconi, 2005). This attribute relates to the comfort variable within the Operationalization table of our research.

How is it applied? The dance and rehearsal studios in the LHCC provide an environment that supports the energetic activities that take place in the space. The natural daylight that penetrates the floor-to-ceiling windows and the skylights in the room promote well-being for the users while rehearsing and performing physical activities.

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The spacious open layout of the rooms afford the opportunity for different uses and activities to take place, such as performance rehearsals, dance classes and band practice. These types of activities typically require special design elements to facilitate the function of the space. The vinyl flooring makes it comfortable to use for rigorous physical activity, as well as provides a highly resistant finish for durability. The full wall mirrors that line the walls help users see their movements, allowing them to practice their routines and increase their performance. The barres help dancers by providing a means of stability and balance while practicing. To add onto the functionality of the space, there are convenient storage closets within each studio, and there is a surround sound system that facilitates the use of the space. All of these features combined allow for maximum functionality and comfort for the users to effectivly utilize the space.

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Adaptability What is adaptability? Changes in how occupants use, navigate and experience the space. This attribute relates to the flexibility and mixed-use variables within the Operationalization table of our research.

How is it applied? Overall, the spaces within the LHCC allow for adaptibility, fitting their expansive programming and activities in their range of spaces. Within all of the spaces, the more ample areas better accommodate for events, having access to amenities needed for music, vendors, and supplemental seating. The online reviewers and interviewees provided several examples of how these spaces have been adapted from their original function to appease for other events. Of the several events mentioned in the Caribbean Marketplace, the LHCC hosts a Caribbean Marketday every Saturday, the Zine Fair, as well as dance and yoga classes. The courtyard transforms into a concert venue, with events such as Sounds of Little Haiti, traditional dance performances, and festivals, providing additional flexibility and space for events that require larger accommodations. "I feel like they all accommodate correctly so you can have so many different types of events there. Personally, for me, every single time I go, it's a different experience." - Interviewee 05 Among these spaces that offer considerable adaptability, the art gallery also hosts receptions, private dinners and yoga classes. The 2000 sq. ft. theatre lobby can be adapted to a reception hall for preshow and film premiere events. The community rooms host seminars, conferences, civic events, in addition to their extensive class lecture options. When these events take place, the spaces have the capacity to be rearranged and modified to serve a new use and purpose.

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Wayfinding What is wayfinding? Identifiable or familiar elements that help to guide the user, and function more effectively in an environment (Stewart-Pollack and Menconi, 2005). This attribute relates to the inviting and legiblity variables within the Operationalization table of our research.

How is it applied? An urban and architectural hierarchy, the Caribbean Marketplace acts as an element of wayfinding to the cultural center. The entity is a landmark itself, with its colors and signage functioning as sentimental tools that helps users identify the LHCC. Although it is a recognizable building from the exterior, once the user enters the cultural center, it is noted by several interviewees that there are no indicators or visible signage that aid in navigating the space. An additional observation that was made is that the spatial organization of the cultural center lacks visibility, interrupting the flow of traffic and dismissing a clear transition between the buildings. "... [the cultural center] had a lack of signage, once you're inside of the main marketplace, it's not intuitive as far as getting out to the other side to the courtyard, or to the arts and crafts training area." - Interviewee 03 "When you are in the center, there's no sign of any kinds... Wayfinding is another missed opportunity like that, to kind of really combine both the indoor spaces and the outdoor spaces." - Interviewee 01

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* 87 Trace Observation Conclusion Evaluating the trace observations allowed us to analyze and decode information regarding the relationship between LHCC design and visitors’ behavior relative to the attributes of spaces. Among the studied environment-behavior attributes, adaptability, sociality and focal point are the most notable within the LHCC. The vast majority of the spaces in the cultural center are easily modified to serve as mixeduse space. This adaptability allows for different activities and programs to be offered within the spaces, which become resources that the community has access to. Because these spaces host a variety of events for diverse groups of people, the cultural center promotes engagement in which sociality is experienced making it a unique and welcoming environment. This interaction positively affects the community, creating and developing interconnected community relationships. The LHCC represents the Haitian culture through elements that are displayed as focal points and which proudly identify the Haitian roots. The architectural features in the Caribbean Marketplace are a glimpse into traditional Haitian architecture, capturing attention from the street. The mural seen in the courtyard depicts a typical Caribbean market which portrays a sense of belonging for the people in the community. In contrast to the previous attributes that were analyzed, crowding, complexity and wayfinding were amid the attributes that were unfavorable. The lack of wayfinding due to the absence of signage and the inconsistent visual language, creates a disruption in the relationship of the buildings. There is an illusion of complexity that is created by the seperation of the buildings, avoiding users from accessing the different spaces because of the lack of awareness of these spaces. By analyzing the physical traces of the LHCC, we understand how the users respond and

treat the space, giving us insight into how they sense the importance and value of each space. The design in which the users walk into, affects their behavior and dictates the traces that they may leave behind. The Caribbean Marketplace displays signs of erosion from the heavy foot traffic and exposure to the natural elements. There are also traces of left over objects and remnants, as a result of the amount of users in the marketplace. This may be unintentional because users can easily be distracted, therefore leaving traces of left overs behind. Though, it may also be intentional because the user has the perception of the space being transient and informal, where their left over will not affect the space. The personalization of the vendors and kiosks in the Caribbean Marketplace creates ownership of the space, and provides a platform for the vendors to feel recognized in the cultural center. The unofficial public messages displayed support the constant events that are happening in the Marketplace. In order to accommodate for the events within the Courtyard, Caribbean Marketplace, Community Rooms and the Art Gallery, the cultural center provides supplemental props to facilitate the requirements of the activities that take place here. The seasoned users that make use of the classes and lectures provided in the community rooms and studios take part in group membership within the spaces. The level of familiarity that these users have by frequenting the spaces, forms a routine of their choices made. Identifying how the design affects the way people utilize the space and how people treat the space helps to understand the relationship between the space and the user. This interrelationship can be used to anticipate and further analyze how design affects human behavior, and vice-versa.

Conclusion: Purpose of the Research Purpose of the Study & Background Information Through investigating the LHCC, we found that community centers present many opportunities for learning through social engagement for residents within a low-income community. The informal learning settings afforded by the center provide users the opportunity to explore the environment based on their own interests, goals and knowledge. Our research analyzed how the individual’s Personal Context, Socio-cultural Context and Physical Context within the Contextual Model of Learning (Falk and Dierking, 2000) influenced the users social interaction and learning experience. Our findings helped gather the basic principles and design guidelines that will be used to create an environment that supports the engagement, informal education and well-being of residents within a low-income community. The goal of this research was to understand people’s perception of the design and their experience in a community center. By analyzing this case study, we understand how the relationship between people and spaces can affect their experience, and what the space can reciprocate to the user. We are able to recognize ways in which we can design a community center that responds to the needs of a low-income community. Methodology

Haiti, Florida. Data was collected through online survey questionnaires based off of the variables in our Operationalization Table. Through oneon-one interviews, we were able to further our understanding of the reasoning behind the survey responses. We were then able to determine a set of environmental behaviors using photographs of users utilizing the center, and triangulating this information with interview and survey responses. Validity & Reliability of Research Methods Questions were formatted in a general manner to ensure the ability of application towards other informal learning settings. This method allowed us to achieve internal validity. External validity was accomplished through the generalization of the sampling population assuring that the results would be relevant to other community centers within low-income communities. We were consistent in our method of obtaining quantitative and qualitative data. The consistency of terminology and relevance to the concept factors ensured that there would be no irregularities or vagueness in the research. The quantitative and qualitative data gathered was triangulated to ensure a strong correlation to the variables being measured. This stable approach ensured the reliability of our research.

Upon developing the research questions and objective, a theoretical framework was developed to introduce the theory of Contextual Model of Learning (Falk and Dierking, 2000). The concept factors developed from the research objective and theory, are then operationalized into variables that can be observed and measured in our case study facility of the Little Haiti Cultural Center in Little

"The community center plays a role in creating safety and a sense of belonging. " -Interviewee 02

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Conclusion: Results and Discussion Main Question • How can the design of community centers positively impact engagement and education within a low-income community (Little Haiti, Miami) through the Contextual Model of Learning? Sub - Questions • Who mostly benefits from a community center within a low-income community (Little Haiti, Miami)? Based on our research findings from the survey questionnaire, 22.9% of the participants who visited most frequently were ages 50 and older. This age group largely benefitted from the Caribbean Marketplace since they felt that it was the space that mostly encouraged people to engage with each other. Programs and activities such as French-Creole classes and small business seminars are educational opportunities that can lead the younger generation to potentially impact the future growth and development of the community, These engaging and educational activities geared towards them are the reason as to why this generation mostly benefits from the community center. As noted by Interviewee 01, "A Creole class is something extra that I can use for the rest of my life." This opportunity is an example of how they are able to use a new skill set to bring back to the community and reinforce the identity and importance of maintaining their culture. •

How does engagement and education positively impact a low-income community (Little Haiti, Miami)?

Through our research findings, we found that community engagement, participation and sense of community stand out as interconnected key factors

that can promote community development. This can actualize the capability of communities to stimulate their local resources, solve issues and encourage social empowerment. From the surveys, we gathered that 54% of participants prefer the recreational activities offered by the center. These activities, such as Haitian Folk dance classes, Djembe drum classes, and other cultural activities advocate for social engagement which positively impact the community by cultivating a sense of pride for the people. Engaging events can positively impact a low-income community in that it provides opportunities for the community to gather and support one another. A yearly event is hosted at the LHCC to remember the victims of the earthquake that devastated Haiti in 2010. This is an example of a recreational activity that ultimately becomes an educational moment for the community. "...when you think about Haiti, they had the earthquake in 2010 and many of their historical buildings that had those really precious architectural elements were affected. So I could see an advantage to an exhibition... having a [Virtual Reality] experience where people who've left their home country to come here to be able to look at maybe what all the buildings used to look like, ...but tying it to the culture... bringing a sense of historic preservation." -Interviewee 02 The educational classes cover activities that involve technical skills that can be useful and serve as a means of income for residents of the community. The LHCC offers a variety of classes and workshops such as a free minority-owned business training workshop that helps entrepreneurs learn the basics to create and balance a successful business. There are also classes, like computer literacy, photography, arts and crafts

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and screen-printing that give the participants a chance to hone in on new skills, generating potential future careers. •

How can the design of a community center support engagement?

One way a community center can support engagement is by the way it is designed. An integration of open space and vibrant architecture of a building can impact whether it calls the attention of the users and increases their interest in wanting to experience the space. Out of the 35 survey participants, 24 respondents agreed that the Caribbean Marketplace was the space that was best designed to encourage people to engage with each other. As mentioned by an interviewee, users feel welcomed to walk in to the Caribbean Marketplace, and socialize because of its openness, bright colors and the architecture. Designing flexible gathering spaces that can be used for multiple activities and events contribute to its success in providing an inviting and inclusive cultural center for the community to engage in. The flexible design of the cultural center allows for opportunities of engagement and participation in

discussions and decision making which impacts the community. This design approach also affords civic engagement and community involvement. •

ow can the design of a community center support H education?

By providing a flexible space, community centers are able to cater to many different ages and learning styles. Designing ample spaces which incoporate white boards, computers and technology, support the educational efforts of community centers. Community rooms such as the Heat room in the LHCC is an example of how the cultural center incorporates those elements into the design. In addition to flexibility, comfort also plays a role in supporting education. Through our findings, the majority of the respondents noted that the community rooms and the theatre were among the most effective in providing comfort overall. Within our trace observation findings, we were able to confirm the use of equipment, appropriate materials and proper lighting within the LHCC. Designing with minimal distractions and a heightened comfort level also plays a large role in gaining the attention of the users, allowing them to focus on the learning activity.

Main Question • How can the design of community centers positively impact engagement and education within a low-income community (Little Haiti, Miami) through the Contextual Model of Learning? The Contextual Model of Learning (Falk and Dierking, 2000) was used as a theoretical framework for exploring how learning and engagement within an informal learning setting is beneficial. This theory describes three different contexts that should be considered when designing a community center. •

A community center that affords mixed-use spaces supports the Personal Context which states that when people choose what they want to learn, they are given the opportunity to control their learning experience, ultimately enriching their potential to learn.

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Designing an environment with open spaces that represents the culture allows for intimate moments of engagement and connection. This supports the Socio-Cultural Context in that engagement and cultural representation impacts the social connections and shared learning process that the users can experience.

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A well thought-out layout, intriguing architecture, and comfortable lighting are elements that increase the positive perception of the space. This ties into the Physical Context, in which a positive experience based on the physical design of the space contributes to a sense of pride in the cultural center and community.

Through our findings, we explored the Contextual Model of Learning theory (Falk and Dierking, 2000) and how it influences design aspects of a community center which positively impact engagement and education within a low-income community. These design aspects include overall comfort, cultural representation, flexibility, and functional spaces which all encourage engagement and education. This leads to a positive perception and experience which instills a sense of pride, purpose, and identity of the community.

Conclusion The success of engagement and education within the LHCC was measured through the design of the community center in order to comprehend its benefits on a low-income community. By utilizing the Contextual Model of Learning theory (Falk and Dierking, 2000) as a framework and conducting interviews as well as surveys, our findings led us to recognize the positive and negative aspects of the design. The openness and flexibility of a space is a design feature that affords high levels of engagement. As measured in our surveys, the Caribbean Marketplace stood out as the most successful place that promoted engagement. This confirms that in order to achieve heightened levels of engagement, the layout of the space must be ample and flexible. Flexibility can also be found in the design of the community center which can be adapted to afford the variety of programs offered. An example of this can be found in the Community Rooms, where the configurable elements within the space allow for accommodation of a variety of educational programs, providing choice and control for the user. Cultural representation is essential when designing for a low-income community in helping develop a sense of identity, belonging and pride. This was implemented at the LHCC through the vibrant murals depicting Haitian culture which can be seen in the Courtyard. The architecture of the Caribbean Marketplace is a direct representation of the classical Caribbean style that was once prevalent in their homeland. The disconnect in architectural style resulted in the challenge of understanding the legibility and users orientation within the cultural center. As noted by Interviewee 03, wayfinding is not intuitive and can be unclear when transitioning from space to space. The findings from our research contributes to our existing body of work in that it provides an additional method of obtaining data, as well as adding personal accounts of users' perceptions and experiences. This additional research contributes to our literature review and validates our theory of how engagement and education positively benefits a low-income community.

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Conclusion: Recommendations Design Recommendations

Research Recommendations

After researching the design of Little Haiti Cultural Center, we have determined a set of principles and recommendations that would provide a positive userexperience. These recommendations are given based on our indicators from the Operationalization Table, and the quantitative and qualitative research we have developed.

This research has the capacity to be further probed to facilitate for a more thorough study. We recommend combining information from similar studies as well as furthering the data collected in this research in order to yield a more reﬁned understanding of how the Contextual Model of Learning can be applied.

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Provide open, flexible spaces that afford for different events to be arranged. In doing so, these mixeduse spaces can maximize the efficiency of the community center and keep the users engaged.

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Develop a legible layout which contributes to clear wayfinding, allowing users to move freely through the space. This legibility will afford users an environment in which they feel comfortable exploring all of the spaces without feeling restricted.

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Create a space that is inclusive for all visitors in order for them to feel a sense of belonging. By incorporating ramps, sensor-operated doors, and other accessibility requirements, this ensures that all spaces are accessible to people of all needs.

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Design an inviting space where users can feel welcomed. This can be accomplished by incorporating pleasant colors, an open space that makes it approachable, and avoiding complex arrangements of layouts can encourage users to visit frequently.

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Provide comfort and safety to all users, by ensuring that the space is clear of obstructions, has proper lighting, considers appropriate temperature levels, and offers a variety of seating arrangements for the user to choose from.

In order to further expand on the theory used in our research it is recommended that participants provide additional data about their experience specifically in relation to the theory's Contexts at the cultural center. This data should be collected in written format via openended questionnaires. This would allow researchers to understand how the theory relates directly to that user and how it affects their experience and utilization of the space. Further developing demographic and psychographic variables, increasing the sample size, collecting more speciﬁc data from a subset of users, and having personal interaction with more users will improve the results and expand on certain gaps found within our research. It is also recommended to visit the site to experience the users behaviors first-hand and to further understand the space. This study has demonstrated that social and learning experiences within informal learning settings can be subjective. This suggests that by expanding and dissecting a larger sample size, we can uncover a variety of responses that can produce a more conducive and thorough research. We recommend to further investigate the user’s needs to help make better-informed decisions on how to create a more meaningful program.

96 List of Abbreviations LHCC - Little Haiti Cultural Center OP - Operationalization

References (n.d.). Retrieved September 10, 2020, from http://ci.miami.fl.us/LHCulturalcenter/Pages/AboutUs (n.d.). Retrieved September 12, 2020, from https://web.archive.org/web/20080517201540/http://www.miamigov.com/Planning/pages/services/Census.asp All About Little Haiti. (n.d.). Retrieved September 11, 2020, from https://www.miamiandbeaches.com/neighborhoods/little-haiti Case Studies. (n.d.). Retrieved September 11, 2020, from https://ecodistricts.org/case-studies-stories-from-the-neighborhood/ Dictionary.com. (n.d.) Sociality. Retrieved December 02, 2020, from https://www.dictionary.com/browse/sociality EcoDistricts [Brochure]. (2018). Retrieved September 12, 2020, from http://ecodistricts.org/wp-content/uploads/2018/03/ed-case-study-little-haiti-FINAL-march-9-2018.pdf Fighting for the Soul of Little Haiti in Miami. (n.d.). Retrieved September 11, 2020, from https://caseygrants.org/evn/fighting-for-the-soul-of-little-haiti-in-miami/ Gifford, R. (2014). Environmental psychology: Principles and practices (5th ed.). Canada: Optimal books. (G) Holden, K., Butler, J., Lidwell, W. (2010). Universal Principles of Design, Revised and Updated: 125 Ways to Enhance Usability, Influence Perception, Increase Appeal, Make Better Design Decisions,. United States: Rockport Publishers. Jeanne Batalova Kira Olsen-Medina and Jeanne Batalova. (2020, August 27). Haitian Immigrants in the United States. Retrieved from https://www.migrationpolicy.org/article/haitian-immigrantsunited-states-2018?gclid=EAIaIQobChMIhbmD59XP6wIVUb7ACh12fAGuEAAYASAAEgJsrfD_BwE#Age_Education Kaplan, R.; Kaplan, S. (1989). The Experience of Nature: A Psychological Perspective. Cambridge University Press. ISBN 978-0-521-34139-4. Kimberly A. Rollings, G. (n.d.). Design Moderators of Perceived Residential Crowding and Chronic Physiological Stress Among Children - Kimberly A. Rollings, Gary W. Evans, 2019. Retrieved December 02, 2020, from https://journals.sagepub.com/doi/10.1177/0013916518824631 Little Haiti Demographics. (n.d.). Retrieved September 14, 2020, from https://www.point2homes.com/US/Neighborhood/FL/Little-Haiti-Demographics.html Little Haiti history. (2017, February 05). Retrieved September 11, 2020, from https://thenewtropic.com/little-haiti-history/ Oxford Languages and Google - English. Monotony. (n.d.). Retrieved December 02, 2020, from https://languages.oup.com/google-dictionary-en/ Stewart-Pollack, J., & Menconi, R. (2005). Designing for privacy and related needs. New York: Fairchild. United States. (2005). The Haitian Community in Miami-Dade: A Growing the Middle Class Supplement (pp. 1-11). Miami, FL: Brookings Institution Metropolitan Policy Program.

List of Figures Fig. 1. Little Haiti Marketplace with Lapasyans Bus. Retreived September 12,2020 from https://fi.pinterest.com/pin/224335625176745251/ Fig. 2. Girls at Little Haiti Cultural Center. Retrieved September 12, 2020 from https://repeatingislands.com/2019/10/03/little-haiti-is-up-for-grabs-will-gentrification-trample-its-people-andculture/ Fig. 3. Girls Dancing. Retrieved September 12, 2020 from https://www.timeout.com/miami/news/the-little-haiti-book-festival-returns-this-month-060320 Fig. 4. Little Haiti Colorful Neighborhood. Retrieved September 12, 2020 from https://www.vogue.com/article/art-basel-miami-little-haiti-travel-guide Fig. 5. Little Haiti Cultural Complex. Retrieved September 10, 2020 from https://www.miamiandbeaches.com/things-to-do/arts-culture/explore-art-culture-in-little-haiti Fig. 6. Little Haiti Banner. Retrieved September 10, 2020 from https://www.piedspoudres.com/little-haiti-miami-florida Fig. 7. Dance Class. Retrieved September 10, 2020 from https://www.yelp.com/biz/little-haiti-cultural-complex-miami Fig. 8. Dance Performance. Retrieved September 10, 2020 from https://www.miamiandbeaches.com/neighborhoods/little-haiti Fig. 9. Dance Performance. Retrieved October 11, 2020 from https://www.miamiandbeaches.com/things-to-do/arts-culture/explore-art-culture-in-little-haiti Fig. 10. Woman being photographed. Retrieved October 11, 2020 from https://www.visitflorida.com/en-us/cities/miami/visit-little-haiti-in-miami.html Fig. 11. People playing drums. Retrieved November 7, 2020 from http://www.jenshonore.com/miami-little-haiti Fig. 12. Wall Mural. Retrieved November 7, 2020 from https://ik.imagekit.io/grgdihc3l/Miami/media/Locations/Little%20Haiti/Little_Haiti_wall_mural_women_1440x900.jpg?ext=.jpg Fig. 13. Women Dancing. Retrieved November 20, 2020 from https://www.facebook.com/LHCCMiami Fig. 14. Art Teacher Giving Classes. Retrieved November 20, 2020 from https://www.facebook.com/LHCCMiami Fig. 15. Children Playing Drums. Retrieved November 20, 2020 from https://www.facebook.com/LHCCMiami

97 List of Figures continued Fig. 16. People Dancing. Retrieved November 20, 2020 from https://www.yelp.com/biz/little-haiti-cultural-complex-miami Fig. 17. Zine Fair. Retrieved November 20, 2020 from https://www.miaminewtimes.com/arts/things-to-do-miami-activist-zine-fair-at-exile-books-november-3-10839449 Fig. 18. Concert. Retrieved November 20, 2020 from https://miamionthecheap.com/sonds-of-little-haiti/big-night-in-little-haiti-rhythm-foundation/ Fig. 19. City of Miami Conference. Retrieved November 20, 2020 from http://www.sfltimes.com/news/local/caribbean-marketplace-opens-in-little-haiti-2 Fig. 20. Courtyard Mural and Stage. Retrieved November 20, 2020 from http://www.zyscovich.com/project/5-39-little-haiti-cultural-center Fig. 21. Caribbean Marketplace Facade and Entrance. Retrieved November 20, 2020 from https://www.miamiinfocus.com/miami/haitian-cultural-ctr.html Fig. 22. Visitor at Caribbean Marketplace. Retrieved November 20, 2020 from https://www.seattletimes.com/nation-world/nation/a-giant-little-haiti-project-is-met-with-cautious-approval/ Fig. 23. Children Playing the Trumpet. Retrieved November 20, 2020 from https://www.visitflorida.com/en-us/cities/miami/visit-little-haiti-in-miami.html Fig. 24. Art Gallery Facade. Retrieved November 20, 2020 from http://www.zyscovich.com/project/5-39-little-haiti-cultural-center Fig. 25 Art Gallery Interior Window. Retrieved November 20, 2020 from http://duval-carrie.com/the-visual-life-of-social-affliction/ Fig. 26 Caribbean Marketplace. Retrieved November 20, 2020 from https://www.google.com/maps Fig. 27. Art Gallery Interior Window. Retrieved November 20, 2020 from https://www.google.com/maps Fig. 28 Art Gallery Interior Window. Retrieved November 20, 2020 from https://www.facebook.com/LHCCMiami Fig. 29 Art Gallery Interior. Retrieved November 20, 2020 from https://www.blackartinamerica.com/index.php/2017/12/12/visionary-aponte-art-black-freedom-at-the-little-haiti-cultural-centerthis-art-basel/ Fig. 30 Art Gallery InterioR. Retrieved November 20, 2020 from https://www.facebook.com/LHCCMiami Fig. 31 Art Gallery Visitors. Retrieved November 20, 2020 from jenshonore.com/miami-little-haiti Fig. 32. Courtyard. Retrieved November 20, 2020 from http://littlehaiticulturalcenter.com/?venue=courtyard Fig. 33 Cafe Visitors. Retrieved November 20, 2020 from https://www.yelp.com/biz/little-haiti-cultural-complex-miami Fig. 34 Cafe Owner. Retrieved November 20, 2020 from https://www.yelp.com/biz/little-haiti-cultural-complex-miami Fig. 35. Cafe Owner. Retrieved November 20, 2020 from https://www.miaminewtimes.com/restaurants/tigeorges-kafe-in-little-haiti-celebrates-the-islands-coffee-culture-11206824 Fig. 36. Theatre. Retrieved November 20, 2020 from http://littlehaiticulturalcenter.com/?venue=theatre Fig. 37 Theatre Conference. Retrieved November 20, 2020 from https://m-dcc.org/photo-gallery Fig. 38 Theatre Conference. Retrieved November 20, 2020 from https://images.squarespace-cdn.com/content/v1/5d14bffaa87ff2000105e973/1576687288106-ZH1R96OB015HEZXXY3LH/ ke17ZwdGBToddI8pDm48kFB-GlVNqyrgoiO2sY8NR-R7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_ fV7S1UScXLelIq7wpbTzeD1VbTs9ZsPZ-WH5wTprgk3Iu51QRirjcSQbdINryqaTbdKsomw/Photo%2BJun%2B15%252C%2B10%2B14%2B43%2BAM.jpg Fig. 39 Caribbean Marketplace Retrieved November 20, 2020 from https://www.facebook.com/LHCCMiami Fig. 40 Heat Rooms. Retrieved November 20, 2020 from http://littlehaiticulturalcenter.com Fig. 41 Kids Painting. Retrieved November 20, 2020 from http://littlehaiticulturalcenter.com Fig. 42 Metal Pivoting Screens. Retrieved November 20, 2020 from http://littlehaiticulturalcenter.com Fig. 43 Metal Pivoting Screens. Retrieved November 20, 2020 from https://www.google.com/maps Fig. 44. Metal Pivoting Screens. Retrieved November 20, 2020 from http://www.zyscovich.com/project/5-39-little-haiti-cultural-center Fig. 45. Drum Rehearsal. Retrieved November 20, 2020 from https://www.google.com/maps Fig. 46. Dance Class. Retrieved November 20, 2020 from https://www.sierraclub.org/sierra/climate-gentrification-could-exacerbate-housing-crisis-south-florida#6 Fig. 47. Dance Studio. Retrieved November 20, 2020 from https://www.bloggingblackmiami.com/2012/07/african-dance-and-drum-festival-at-little-haiti-cultural-center-aug-3-5.html Fig. 48. Festival. Retrieved November 20, 2020 from https://www.facebook.com/LHCCMiami Fig. 49. Dance Class in Caribbean Marketplace. Retrieved November 20, 2020 from https://www.facebook.com/LHCCMiami Fig. 50. Film Premiere in Theatre Lobby. Retrieved November 20, 2020 from https://worldredeye.com/2018/04/talks-trevor-schoonmaker-little-haiti-cultural-center/ Fig. 51. Caribbean Marketplace Facade. Retrieved November 20, 2020 from https://www.miamiinfocus.com/miami/haitian-cultural-ctr.html Fig. 52. Child Playing Trumpet. Retrieved November 20, 2020 from https://www.theledger.com/article/LK/20150808/News/608081517/LL Fig. 53. Woman Dancing. Retrieved November 20, 2020 from https://www.miamiandbeaches.com/things-to-do/restaurants/where-to-dine-in-little-haiti Fig. 54. Little Girl Holding Family Ticket. Retrieved December 5, 2020 from https://www.yelp.com/biz/little-haiti-cultural-complex-miami Fig. 55. Children Dancing. Retrieved December 2, 2020 from https://pbs.twimg.com/media/DsTfC3PWsAA9xrm.jpg Fig. 56. LHCC Facade. Retrieved December 5 20, 2020 from https://www.hungrypassport.xyz/home/top-10-things-to-do-in-miami-in-2020 Fig. 57. Haitian Food. Retrieved December 5, 2020 from https://www.miamiandbeaches.com/things-to-do/restaurants/where-to-dine-in-little-haiti

Melissa Briceño Prof. Marcia Lopes De Mello, Ph.D. | IND 6639 Research Methods | Fall 2020 *In collaboration with: Angela Gonzalez, Roxana Lifshitz, Daniel Martinez This collaborative thesis research is completed entirely as a group effort.