Paraa Bamboo Design Build Play by Paraa

BAMBOO: DESIGN BUILD PLAY A participatory design workshop with bamboo

www.paraa.org.uk info@paraa.org.uk

Credits Printed by: Paraa, Dhaka, Bangladesh, May 2017 Published by: Paraa, Dhaka, Bangladesh ,May 2017 Photo credits: Paraa team ( Tarannum Ali, Zaqaria Prince, Ruhul Abdin, Kazi Arefin) & Raiyan Samiul Haque (pages 106-107) Written and edited by: Ruhul Abdin & Farasha Zaman

“In reality, architecture has become too important to be left to architects. A real metamorphosis is necessary to develop new characteristics in the practice of architecture and new behavior patterns in its authors: therefore all barriers between builders and users must be abolished, so that building and using become two different parts of the same planning process. Therefore the intrinsic aggressiveness of architecture and the forced passivity of the user must dissolve in a condition of creative and decisional equivalence where each—with a different specific impact—is the architect, and every architectural event—regardless of who conceives it and carries it out—is considered architecture.”

Giancarlo de Carlo, ‘Architecture’s Public’, Parametro (5)(1971): 9

Certificate of Participation

IMAGE HERE

GROUP PICTURE :)

This is to certify that …………………………………………………………… participated successfully in the Bamboo Design Build Workshop held in Dhaka, Bangladesh between April 15May 5th 2017 held by Paraa, in collaboration with LEEDO. The workshop involved understanding Bamboo as a design material, and the role of the architect in the design process, especially the role of participation. Some sessions were structured on how to design with a participatory process for vulnerable user groups, while others focused on methods of designing through model-making and the construction process through hands-on experiences. The project was supported by the EMK Centre Small Grants Award and Ghorami.Jon.

M K Aref Director, EMK Centre

Forhad Hossain Director, LEEDO

Meftaul Kazi Areﬁn Director, Paraa

with support from:

Acknowledgments We would like to thank the team at the LEEDO Peace Home, and the EMK Centre for helping us realise this collective project. Without their enthusiasm and support for the process of this project, it would have been impossible to realise. LEEDOâ&#x20AC;&#x2122;s staff and children kept us well-fed and supplied with juices and snacks throughout the entire construction period. We are grateful for all the support they continually provide in these adventures that we embark on. As always, we must thank the amazing energies of the Paraa team members who led and were involved in the project; Kazi Arefin, Zahidur Rahaman Abeer, Zaqaria Prince, Farasha Zaman, Tahmidur Rahman, Ulfath Arshi and Ruhul Abdin. We would like to thank the following for sharing their experiences and providing support: Apu Roy, (SAFE Bangladesh), Construction support team led by Md. Abdul Malek Badshah with Md. Bajlu Miah, Md. Bulbul Mia & Md. Monir Hossen, Farhad Mazhar (UBINIG), Ghorami.Jon ( Fuad Abdul Qauiyum & Tamanna Rahman Trisha ), Housing and Building Research Institute, Bangladesh (HBRI), Ismat hossain, (principal architect, SHWO, Senior lecturer, North South University) Jasna apu (master weaver, Mymensingh), Mohammad Abu Sadeque, (Director, HBRI), N. K. Moortuza, (photographer), Nazmul Nayeem, (architect, Team Mritikka and co-owner of Peda Ting Ting), Majeda K. Tumpa, (architect) Rahat M.Niaz, (founder and principal architect, Binyash), Masbha Uddin Rubel (engineer, HBRI ), Prachyanat, Shoshannah Williams and Heiner Salomon for proofing and providing input to the publication, Suraiya Chowdhury (Senior Designer, Prokritee). We would also like to thank all the participants for engaging so intensely in this small project which has made a significant impact already on the lives of the children that currently reside at the LEEDO Peace Home. We would like to extend a special mention to Tasfia Ishrat and Bhaskar Chowdhury whose enthusiasm for the process was beautiful to see, engage with and we hope will continue on. Finally, we would also like to thank our sponsors Nupami BD, Sajida foundation, Nazmul Haque Khan, architect and Dr. Shams un N Zaman.

Contents

Acknowledgements 9 Introduction 12 The participatory design as a tool for making architecture 18 Critical self reflection 22 Bamboo in Bangladesh 27 Interviews 30 Designing the process 36 Developing the Brief 37 Objectives of Bamboo Design Build workshop 37 Expected impact in future 38 Tool-box of methods: Re-thinking how to do architecture 38 Designing the play space 42 An explanation of the final model 56 Diary: the construction process 59 The impact of the design process: Critical analysis 92 The role of the user 93 The role of â&#x20AC;&#x2DC;participationâ&#x20AC;&#x2122; in design process? 94 Construction Detail issues 95 Concluding comments on the workshop and project 95 Reflections from participants and users

Final project photos 100 Further Reading 112 Appendices: 114 1: Original brief given to participants 115 2: Organisation profiles 116 3: List of participants 119 4: Organising team 119 5: Workshop schedule 120 6: Invitation card to opening 121

Introduction

This publication is a reflection of the process of a bamboo design build workshop conducted by Paraa. The publication documents the intensity of the process involved in working at different scales, negotiating theory and practice, and exploring the potential of a material with a live architectural installation project. This workshop was designed to familiarise both architects and non-architects about bamboo and its architectural potentials, through the opportunity of having a hands on experience. It is hoped that this workshop does not just inspire the participants, but also a wider audience to engage with participatory process and bamboo as an architectural medium. The main collaborating partner was LEEDO, with additional support from Ghorami.JON, and the EMK Centre Small Grants Award. The site for the project was adjacent to the LEEDO Peace Home that is based in the Washpur Garden City, Bosilla, Mohammadpur, Dhaka, Bangladesh. The project adopted a participatory and collaborative design process. The first two days comprised of a series of talks and presentations by experts followed by planning of the design workshops. Over the subsequent four days, participants learned how to apply participatory design methods. The children of the LEEDO Peace Home were the focus of this process, as the intended user group. Model-making was utilized as a method for designing and detailing. Finally, the participantsâ&#x20AC;&#x2122; collective design was built using locally available bamboo. This led to hands on making by the participants with expert support throughout. The book is structured in four chapters. The introductory chapter explores the ideas behind the workshop, providing the context for the project, bamboo material information, the importance of participation and critical reflexive practice. The second chapter explores the design process, including - the participatory design workshops, describing the needs of the various users, the development of the model-making method, gaining feedback from the users, and finally to the detailing of the potential design. Finally, a photojournal of the construction process, along with a reflection on the construction detailing challenge is presented. The third chapter explores the final project that was built, its spatial qualities and explores some of the details used as a cross-reference to the design brief that was developed for the participants at the beginning of the project. The book concludes with reflections from the 13

participants experience, especially in relation to the process of the workshop the critical importance of the roles of participation, of developing new methods for designing and working on site to build in the context of Bangladesh.

About Paraa Paraa is an architectural and research studio, based in Dhaka, Bangladesh working with communities to enhance their spaces in a multi-disciplinary approach. This particular workshop is the continual belief in Paraa about the importance of learning about architectural design and its socio-cultural implications through practice. Paraa’s ethos is to : - Respond to each community’s rights and aspirations through research-led processes, - Gain and share knowledge of the built and natural environment by bridging communities of developed and developing societies - Encourage knowledge exchange through developing innovative and participatory methods of engagement

Dhaka & vulnerable urban children This project publication is the result of ongoing work by Paraa, an architectural and design research studio based in Dhaka, Bangladesh. The ‘Bamboo Design Build Workshop’ project was developed to engage with the potential of bamboo. Bamboo is a relatively abundant, low cost, sustainable and environment friendly as a contemporary architectural material, with multiple possibilities. Engaging with bamboo as an architectural material is timely within the context of Dhaka, city. Bangladesh requires innovative and new methods to address the challenges it is facing, as one of the most rapidly urbanizing countries in the world, with high levels of volatility with respect to climate change. The city of Dhaka is no longer known for its parks or playgrounds. As one of the most densely populated mega-cities globally, it has a population of over 15 million people that is rapidly increasing. The untrammeled pace of urbanization has overwhelmed the ability of state and non-state actors to develop adequate infrastructure for urban inhabitants, with a distinct lack of attention to accessible and safe play spaces. Paraa, in collaboration with LEEDO,has engaged directly 14

with vulnerable urban children, through the Cycle of care, an empirical action research project. This research worked with children to map, communicate and explore how they are using small pockets of the city to play, work or rest. This process uncovered that the children had to pay up to 10 taka to just enter a park to be able to play near Sadarghat. It is through this research based method of working that Paraa has continued to develop interesting ways to design projects, especially in a participatory manner. There is inadequate data regarding both the number of vulnerable urban children in Dhaka city nd the scope of issues experienced by this population. Whilst there is some research available, a mismatch between the research and the ‘reality on the ground’ continues to persist. Although this book does not intend to explore in these issues in depth, it instead highlights that additional research is required, to better understand the phenomenon of continual arrival of vulnerable children into the city. The process has lso highlighted that social protection mechanisms, along with institutional, policy, resource (people or financial) or communication (especially data access and sharing ) at the local, national and international levels are urgently required to address this situation. There is the overwhelming need for better communication tools at institution level, and resource sharing at field level, given the plethora of governmental, non-governmental organisations and private individuals working on this issue. Tools that involve participatory and collaborative models of engagement, enabling user driven understanding and evaluation of their needs, would be of great benefit.

Collaborations with LEEDO Paraa has been collaborating with LEEDO Street Children since 2013, exploring their role as designers in projects that work with vulnerable urban children. The first collaboration was to develop and design SETU - an experiment to test the potential for a Transition Shelter in Babubazaar, Dhaka. This began an interesting relationship for Paraa to engage with LEEDO in a variety of modes. Focus group workshops, intimate conversations, and creative projects ensued, the most recent of which, was the ‘Play - Garden’ at the Peace Home in Bosilla, Mohammadpur, Dhaka. The Play- Garden was an useful test, in pushing the boundaries for Paraa, and students of architecture to develop 15

a design, that had limitations of time, site, finance and other resources despite these challenges, the elements that remain in the garden - a small bamboo stage, a path and a growing patch, are a testament to the approachâ&#x20AC;&#x2122;s success. Previous to that, Paraa explored multiple dimensions with vulnerable urban children - through film, drawing, participatory action research, design, making, and play. Throughout the process, there has been an investment in engagement and communicating directly with the children, in developing the ideas. Paraa taught other architecture students methods of engagement as well as ways of developing participatory design tools. This has been difficult, as we realise the limitations of the skillsets in students, but also the other real challenges of building ourselves. Working collaboratively with builders, artisans, agriculturalists, carpenters, etc, and getting our hands on to the project has been a great process to learn.

The land for the Bamboo Design Build Workshop LEEDO were able to secure an additional land plot directly behind the Peace Home on a temporary use basis (2 year lease - 2017-2019) from the landowner and it is this new site of 5 katha in Bosilla, in which Paraa conducted the design build workshop for the Bamboo playground, for both the children, and the wider public. The site is easily accessible from Dhaka via the Bosilla Bridge.

Dhaka city map

Location map of Bangladesh

Site location on Google map image

Site view from the South West view. Before construction

Site view from the East view

Participatory design as a tool for making architecture 18

â&#x20AC;&#x2DC;There is a critical difference between going through the empty ritual of participation and having the real power needed to affect the outcome of the process. This difference is brilliantly capsulized in a poster painted last spring by the French students to explain the student-worker rebellion. The poster highlights the fundamental point that participation without redistribution of power is empty and frustrating process for the powerless.â&#x20AC;&#x2122; Arnstein (1969)

In translating the the ideas behind participation into the design process, the Paraa team have sought ways to engage in participatory and collaborative processes. To what extent this has been successful is dependent on the project and its approach. This has, from experience, also required a critical understanding of the importance of the participatory and collaborative methods. The roots of participation in place-making emerges in the 1950’s and 60’s Europe, post war and new ideas had taken over. Along with that, there is the ‘Design Methods Movement’ in the USA. Since then, there has been many alterations and development of a language for such ideas - from basic design participation, to providing sites and services with templates to develop methods that can be systematised - to wider collaboration, to the most recent - co-production, and also now spanning across the globe in different forms and styles. Now, with the distinction between the facilitator / planner and the architect as designer and innovator, there is scope to expand upon the role architecture now plays in place-making. At the same time, there is the potential to go further, by learning from others that are leading ways forward. Pariticipation can mean many things, and the final goal of participation perhaps still needs to be questioned especially within architecture - where scale plays a fundamental role. Critical design theory and practice that aim towards more co-production and collaborative design methods - such as Susan Hofmann’s Baupiloten BDA, or Decolonising Art and Architecture residency (DAAR) based in Beit Sahour, Palestine, led by Sandi Hilal and Alessandro Petti or the UK group Assemble, the Urban Think Tank (U-TT) based in Zurich, or the Community Architect’s Network as part of the Asian Coalition of Housing Rights in South East Asia. The widely appreciated movement of Architecture for Humanity with many chapters across the globe (now known as Open Architecture Collaborative) , with its projects and publications, also has made a significant impact. The Spatial Agency database includes many studios and practices that are exploring different ways of doing architecture. At the same time, the rapid development of material technology and access to new tools of designing, provides potential for explorations into material and spatial designs beyond the constraints usually faced. These new forms of practice seem to cross boundaries and blurs disciplines as the fluidity of architecture, art, planning, geography, urbanism, visual methodologies and citizen rights all begin to redefine the role of the architect and how to design, 19

especially at different scales. For Paraa, this places the role of the architect in an interesting space within the design process. Paraa wants to push he process allows for potentially a holistic learning and ownership, and a continual reiteration of design. Learning and thinking through doing, and creating a space for reflection on these methods in these workshop is crucial. Along with the use of architectural investigation and design tools and a critique of the role of participatory design methods, it develops all of the participants within the project. What is crucial, also is the scale of the project, especially to reflect what is or is not considered architecture. Finally, Paraa argues that in the general practice, working with users should be considered an essential part of the design investigations, and thus an extension of the architectâ&#x20AC;&#x2122;s sphere of activity. From experience in Bangladesh, however this aspect of the project is not accordingly remunerated or taught, thus creating a vaccum of a process. As a result, participation as a potential for better and more appropriate architecture is seldom used, or is performed in a casual and poorly planned manner, which only confirms prejudices regarding its ineffectiveness. Token participation, participation as an end in itself, participation not being economically viableâ&#x20AC;&#x201D;these are just some of the concerns surrounding participation processes. Well-planned participation can contribute significantly to a high-quality built environment and an increased sense of belonging. In these workshops, power structures and hierarchies of decision making were challenged, and designing together, versus designing for, was also encouraged. This framing of the design process, at this scale, perhaps is the most useful method to understand and appreciate the complexities of designing and planning a place for play, together. This also requires for the architect to act as facilitator, to develop methods and tools relevant to the context, and to be willing to make mistakes, in order to learn, collectively. For this project, creating an atmosphere of experts ( architects, planners, bamboo artisans, engineers, children, carpenters, students of architecture and beyond ) inevitably created a power dynamic, that required a sensitive handling. This is also often a neglected part of the design participation process, and so, Paraa have been focusing on ensuring how to create an environment where 20

mutual learning can take place. All readers of this book could explore in depth, the politics of design participation, especially when it happens at the physical scale of the city. An important note to keep in mind, is that the architect brings in a very specific set of skills to the project, and this technical know-how, along with the artisans, users, facilitators can allow for a creative and engaged project - with a lasting legacy. The vision, thus, for design participation, is embedded in the idea that it would collectively engage, provide the scope to learn, and ensure the potential of the design to be realised collectively. Although, in this particular project, the radical stems of design participation are not necessary it signals for a rethinking of how architects position themselves in place-making.

One of the illustrated images used for presentation about participation. Translation: I participate, you participate, they participate, we participate, you all participate, they profit. (Original poster by a student in France, 1968)

Critical self reflection

Within the structures of participatory design, Paraa has been working closely with vulnerable groups. This has meant that the methods need to reflect the group make-up. Whilst working with vulnerable groups, it is important to acknowledge that it is a skill set not often taught at architecture school, at least not in the critical manner that such a process requires. From the Paraa experiences thus far, there is an understanding that there is not a set prescriptive box of tools, but a flexible, adaptive approach. This planning of the design participation process is crucial to the success of the project, it does not just â&#x20AC;&#x2DC;happenâ&#x20AC;&#x2122;. The participation element has to be designed into the project plan, and then rigorously revised as necessary, as frustrating as it may seem - this ethic perhaps is one of the reasons designers continually look to the concept of participation with disdain. In working with vulnerable groups, it is crucial that these methods are not merely tokenistic, but centred and embedded in a language and process that can be understood, appreciated and owned. For that to happen, the architect needs to be critically self-reflexive. It is a personal tool, designed to t to instil working with people and what is meant by this, is to be able to critically reflect on our self in the role of architect, our identity, our position, our education, our gender, our language, our interactions and engagements, our personal history, the way we deal with relationships against a set of ideals or values that we may uphold. This tool relies on the self to question and better understand the dynamic of the working relationship. In the context of Bangladesh, existing nuanced dynamics of power structures is important to understand. In relation to this project, this derives from the diverse lived experiences of architects or designers or planners and beyond, whoâ&#x20AC;&#x2122;ve had privileged upbringings and high levels of formal education, and how that can potentially determine our attitudes towards vulnerable groups or work with other experts who may not have had formal training as such. It is one thing to allow for collectivisation of the poor, for their own self determination, through their own struggle and hard work, and for them to communicate and articulate their needs. However, when an outsider group or individual enters the project to help, or develop a project, it is the role of the outsider to be aware of the imbalances that he or she may bring. For example, the power of communication - language and 23

Image: Group discussion and feedback on the site and first impressions

mannerisms, using technical words when it is not necessary, not explaining ideas or thoughts properly, dressing appropriately, not speaking down to people, not making overt assumptions about the abilities of people, and most importantly, being able to empathise and listen. These skills, perhaps are not the typical skillsets of the architect or designer, and we have to acknowledge that too. That the education and experience as an architect, still may not allow for engagement with vulnerable groups, the lack of ability to empathise, despite having technical expertise, can prove to be much more harmful to a vulnerable group. So, in this regard, it is important to be critical of the position of the architect or any other technical expert, in relation to the design process.

Bamboo in Bangladesh

Bangladesh is located between 20°34’ and 26°39’ North latitude and between 88°01’ and 92°41’ East longitude. The country is bounded by India on the West and North, India and Burma on the East and Bay of Bengal on the South. The major forest areas are located in the eastern and southwestern parts of the country. The country has a total land area of 14.4 million ha of which 0.93 million ha are waterways, 8.5 million ha - net cropped area, 2.67 million ha - uncultivable land and 2.2 million ha - state forests. Most of the land that is flat with rich alluvial soil lies in the active delta of three of the world’s major rivers - the Jamuna, the Brahmaputra and the Meghna. Bamboo is a locally grown and available material in Bangladesh. Seven species of bamboos grow naturally in the forests of Bangladesh. Among them muli bans (Melocanna baccifera) is most common. Other species - mitinga (Bambusa tulda), orah (Dendrocalamus longispathus), dalu (Neohouzeaua dullooa Syn. Schizostachyum dullooa) and kali (Oxytenanthera nigrociliata) occur sporadically either in association with muli or in isolation forming small patches of pure stands. The other two species lata (Melocalamus compactiflorus) and pecha (Dendrocalamus hamiltonii) are localized only in limited areas of Cox’s Bazaar and Sylhet forests respectively. In terms of construction, it is used as a material to build the vernacular homesteads of Bangladesh, as a material in part for many of the informal housing that exists in the larger cities, the tea stalls or small shops that are available in many parts of the country. However, in urban formal building sector, it is primarily used as a scaffolding material till now. Although it is an indigenous material, with diverse applications, and within the global perspective of design, bamboo is fast being recognised as a material to work with - make paper, fabric, products from lighting to furniture, to fashion accessories and beyond as well as being an edible delicacy. This is because of its tensility, sustainability (in three to five years, a mature bamboo plant can produce 30 new saplings if replanted. [1] ) and has a particular aesthetic. Although in recent construction project development, it fell out of favour due to a common belief of it being less durable. Initiatives to revive the indigenous building techniques, means that bamboo can be a fantastic resource for 27

st ustainable development in a country like Bangladesh. Its diverse application - from product to building, gives it a strong edge against other expensive materials. At the same time, with the eve of new and rapidly advancing technologies, the potential to work with bamboo, treatment processes and adaptability, will increase. Within the Asian region - Bamboo is readily available across the Sub-Continent, and some countries have rapidly advanced with its potential use. This has resulted in a growth of use of the bamboo as an architectural material, especially interior design products, as well as being used in interesting, innovative ways in architectural installations and projects. Paraaâ&#x20AC;&#x2122;s initial idea is to test the ability of bamboo to be used in designing a quick, effective and durable solution of a childrenâ&#x20AC;&#x2122;s playground. With global inspiration readily available and explored, especially for interesting, exciting low-rise projects. Within current global trends - with climate change fast approaching, and the new UN Sustainable Development Goals to be met, there are risks and opportunities, and with bamboo, there is also potential to address some of these major concerns of the environment.

Interviews

â&#x20AC;&#x2DC;Challenge the system fundamentally, challenge the lifestyle and develop one that rejects even drinking from plastic bottles, one that allows you to buy clothes only from the weavers and artisans of your country, one that makes you rethink your lifestyle as a whole. You have to do this in order to ensure the very existence of your culture, in order to make sure that your roots are not stolen from you.â&#x20AC;&#x2122; Farhad Mazhar

Farhad Mazhar, UBINIG technology / collective action / participation Is there a lack of political will from within the technocrat ( the architect, the planner, the designer, policy-maker etc and the ‘citizen’,) that wholly comprehends the importance of participation? What we understand by the ‘technocrat’ today is that one who is highly dependent on machines for support; one who relies on the support of machinery and software to do everything. I think this ideology and dependency is what has become the greatest barrier for participation. You will see a lot of people talking about participation, but at the end of the day what they give us is a solution bounded by the technological limits of the person. For instance, take the World Bank, the Asian Development Bank, several renowned NGO’s and even the Government of Bangladesh, they all talk about ‘participation,’ ‘community involvement,’ ‘community empowerment,’ but at the end of the day, what they give to us as an output of the ‘participatory process’ is simply based on ‘kritkoushal’ (someone with a fixed set of skills) The global issues and problems are highly socio-political and philosophical, and thus need for you to build a stand, a society, a polis, before trying to address its problems Is the meaning of participation - one that seems to have been co-opted into various models ( by NGOs and beyond) the same as that, which was coined in the 60’s, 70s? Where does the idea of ‘ownership’ go, now? What I understand is that ‘technology’ is dominating our minds and thoughts today. We still do not truly understand the meaning of the word ‘participation,’ or that of ‘participating’ politically. The idea and belief of the bengali word shamaj (society) has vanished completely in the urban areas today. It remains, if not very strongly, in the rural areas; where you still have the shalish consisting of the people of the village, where issues are first discussed among the community before a decision is reached and established by those influential. The modern society however has created a centralized policy making system, one which takes decision for all. This system is constituted of people who 31

make the rules, execute them and enforce them; it is the system which is constituted of those you vote for, those that make the rules and then break them. This system that we have created does not have any place or meaning of participation within it. It may have some meaning if we give scope for a political community, the essential element of participation, to develop; if we allow a space, a porishodh for the discourse among people to develop, a place where I can listen to what you have to say, and have to listen to what you have to say before deciding on whether it is correct or not, where we speak in front of the community and allow all to decide what is right and wrong. Say for instance, we have a system which has the household on the inside and a polis on the outside. Whatever decision we take within the polis has an effect directly or indirectly on the household and vice versa. But what is happening now is that there is no relation between the two elements, we have a system where we simply live like animals. Where do you expect to place ‘participation’ in such a system? What we have do first is break this system, challenge it if we want to introduce participation into the process. Otherwise the idea of people’s participation will only remain to be ‘a term to be adapted by the NGO’s, the World Bank or the ADB.’ In order to understand the meaning of shamaj, jonogon, democracy and demos we need to start understanding the alphabets that essentially give shape to these ideas before trying to practice these ideas. All the political conflicts that we face today are an exact outcome of what we have created, a society with no place for discourse and discussion. Your advice to designers and young people? Challenge the system fundamentally, challenge the lifestyle and develop one that rejects even drinking from plastic bottles, one that allows you to buy clothes only from the weavers and artisans of your country, one that makes you rethink your lifestyle as a whole. You have to do this in order to ensure the very existence of your culture, in order to make sure that your roots are not stolen from you. From this, you will be lead into discovering and rethinking the architecture for this country. you will learn to break the conventions, the panditta; not through disrespect but through participation, through collective discourse.

Suraiya Choudhury, Senior Designer, Prokritee craft / future of design / artisan What is the future of craft in Bangladesh? I want to say that I am very hopeful and see a bright future for the Bangladeshi craft sector. If we talk about tradition, craft is our tradition. If we can work with the artisans and craftspeople, work for them then I think we can easily refrain from the present rapid loss of the traditional crafts such as pottery making and more. I think it is absolutely essential for all of us, artists and architects to work and create a platform for the crafts and the artisans. Do you think technology and the traditional processes of craft making should intermingle? if so how? The traditional methods by itself is very rich. However in the race for survival, and for the refinement of the inherent skills, the craftsmen need to be exposed to the modern technologies and its benefits. For instance, there are hundreds of artisans and craftsmen working with bamboo and making products from this relatively abundant material. But the skills remain bounded to the level that they have learnt from their â&#x20AC;&#x2DC;guru.â&#x20AC;&#x2122; They remain unaware of the contemporary methods of treating bamboo or processing it. I think we should give the people working with such indigenous techniques an access and exposure to upcoming technologies. What is the role of the designer in this process for promoting Bamboo? Firstly, it would be to increase the connectivity with the people who are working with bamboo. Then the designer should respect the basic skillset that a craftsman already has and develop contemporary designs based on those skills, rather than change them. For instance, many rural houses of Bangladesh have bamboo walls and fences, but the urban fabric does not accept or recognize this. Designers need to understand the uniqueness of the rural houses and derive a concept that helps realize the potential of those element within the urban fabric. They need 33

to understand how the rural fencing system can be reinterpreted into the contemporary architecture that serves urbanized areas. I think we can apply the same approach towards bamboo architecture. We could use it as interesting spaces of restaurants or to build the interior walls of our houses. I think it is essential for us to now develop a style that belongs to Bangladesh, that is derived from the traditional elements of rural Bangladesh, a style that has some reflection of our identity.

Suraiya Chowdhury having an informal discussion about her practice as a craft product designer

Farhad Mazhar presenting his main talk to the participants

Participants taking notes, listening

Designing the process The participants discussing in groups the potential methods to be used for the initial design site investigations and workshop with children

Developing the Brief The initial brief for the project contained experiences from previous brief designs as developed by Paraa - usually a challenging and overarching set of guidelines for participants to explore ideas in a competitive manner. In undertaking the process, it emerged that a revision of structuring the workshop was required. The workshops were intended to provide participants a theoretical grounding on the role of participation in design, the importance of ecology of the built and natural environment and also the chance to build with their own hands a structure intended for a unique user group to engage in play. Participants were given the opportunity to develop and discuss the methods that could be used to develop a more engaged feedback for the development of the project. Iterative discussions with participants resulted in the brief being re-developed and have several re-iterations over time, due to the specificity and nature of the process. Discussions were held between Paraa and participants about how to approach the deficit of knowledge regarding the users, site, context, etc. through relevant methods. As a result, the process was more collaborative approach between participants rather than competition, as was originally planned.

Objectives of Bamboo Design Build workshop Five main objectives guided the workshop: 1. Developing the knowledge and skills to design and build with bamboo,especially using participatory design and construction methods. 2. Utilizing model making as a process to design. 3. Developing the critical self-reflexive practice of the architect/designer, especially within the process of a live project. 4. Engage in innovative design practices that address time and resource constraints which create limitations for the participants in developing the design with the users, and building together (radical interventions / decision-making effectively). 5. To enable participants and users to have opportunities to interact, developing effective communication tools for different audiences.

Expected impact in future The final space that has been made is intended for use by the children of the LEEDO Peace Home, along with the people of the local neighbourhood. The project provides a precedent for Paraa in continuing to understand the role of architects in civic and public space creation, and working with an user group to design the place in a participatory manner. The project is also laced with potential activities, beyond just a space, and this is where the needs of the users have been acutely addressed. There are two main outcomes of this project. The first is as the creation of a play space for many vulnerable children that reside in the Peace Home. The space is intended to provide a much needed amenity - a space to play, to relax, to sit, to enjoy performances and beyond. Currently the space is a temporary one (up to 2 years), due to the temporary lease agreement with the landowner. Secondly, the project at it’s current scale is intended to inspire young architects to push the boundaries of what is possible in design and delivery process.

Tool-box of methods: Re-thinking how to do architecture The design component of the project required the use of several critical tools and methods. The importance of understanding the diverse user group through interactive sessions has been a method embedded within Paraa’s approach to practice. The challenge is always to connect to the user’s aspirations and dreams and align that within the architect’s technical and design work. The methodology of using scale models, examples and other visual tools, enables architects to make e users aware of the potential of the role of design. However, the question will always remain regarding the extent to which methods were participatory and how to develop participatory design methods that meet the specific needs of user groups. If there is investment in the process to develop an architectural project, then there needs to be an awareness to ask questions that are important at this stage, especially in relation to participation, as it links directly with the critical role of the architect in such projects. This project has identified that different and relevant methods need to be utilized in order to develop or communicate the design idea.

Discussions and feedback systems are crucial - across all collaborators in the project, especially at the design stage. Instilling aspirations, or being aware of aspirations, or creating the potential to aspire, is important. The pace of this project required some tweaking in order to meet the needs of the users and students engaged in this process, and a ‘mess of participation’, was experienced. The challenge is always to communicate well, and clearly, in order to inform and build on the design process. Finally, the project has identified the importance of keeping methods flexible to change. The intensity of the design process (to develop a buildable prototype within four days) was no small challenge. The site and context provided a myriad of opportunities to develop ideas as potential ways forward. The process also provided constraints that were not foreseen in the planning stages. There is an important element/ tool to keep in mind always: that the process needs to be fun - for everyone involved. A chief games facilitator, throughout, is crucial, to keep energies and spirits up, something that was missed at certain stages of the workshop. The complexity of material, user group, and context of site, naturally will create an upheaval to the architect’s usual mode of practice and ways of visioning the project. It is this intersection - between participation, practicality, safety, aspiration and aesthetics, that designing the process helps to mediate. Being aware that the architecture is a process, to be designed from stage zero (before the inception of the idea ) to fully immerse and engage was a key learning from this project. Engaging with ‘architecture as a process’ sadly, has no short cut, and is crucial to ensuring a thorough project embedded in all of its process.

Access to expert knowledge (academics / artisans / practitioners) Key presentations or lectures about the theory and context of the bamboo material, participation and environment, the architectural potential for Bamboo in Bangladesh and the role of design. Conversations with psychosocial experts about developing elements for the differently abled children

Focus group for needs awareness Developing communication methods for the different user groups - splitting into focus group discussions across age groups. Various drawing exercises with the children about their interests, games they play, aspirations, etc. 39

Ground truthing Site analysis - observational tools (photography / mapping )

Aspiration setting Working together, participants collated sample images for developing a common idea of what is possible: Showing the children what the Bamboo project could be about and also what elements the children were excited about.

Design through model-making ( 1mm: 10mm scale models ) The participants worked in different groups using jute sticks. Focusing on developing a structure that would fail to stand.

User feedback sessions on models using 1:10 photo-models, planted onto the scale model site : Feedback from the children - playing in the model playground, games & interaction sessions in understanding the user groups - letting them lead.

Collective detailing of the structure This required groups to work to detail architecturally the elements that had been designed.

Discussions and continued feedback There have been sessions for design re-iteration and practicalities of the built element. As this was a built project with limited scope to effectively detail everything, there needed to be a method for updating and re-designing in the process.

Designing the bamboo play space 42

A rigorous four days of design took place on site, which included a variety of methods and activities Day 1 Session 1: Visit to HBRI- learning about the bamboo treatment process and other materials Session 2: Learning from Badshah bhai about basic bamboo tying techniques & site investigation and analysis discussion Session 3: Site investigations and feedback Day 2 Session 4: collecting specific samples of bamboo architecture and presenting bamboo inspirations to all the children Session 5: Discussing with the children in groups about their needs - split into age groups of 0-6 years, 7-12 years, 13+ years Session 6: Exploring potential design ideas through model making Session 7: Initial feedback from children with models on site Day 3 Session 8: additional feedback from the children using their scaled photo models and placing on the proposed large model Session 9: Detailing the potential bamboo structures for construction Session 10: Presentations and group feedback on detailing aspects Day 4 Session 11: Structural design potential and practical starting points for the pentagonal structure

IMAGES 1: Presenting Bamboo to inspire to the children

Session 1: at the HBRI, they have a basic treatment process for bamboo structures to make it last over 20 years

Session 2: Badshah bhai showing the various knots and ties available to the participants

Session 2: Participants practicing the knots for tying bamboo together

Session 3: Exploring the site and its periphery elements, plants, contours, access, sun patterns

Session 3: Group discussing their site findings

Session 4: Discussing as a group the different potential bamboo ideas for children

Session 4: Presenting to the children various bamboo play spaces and structures and taking their feedback

Session 5: Working with the children in different groups to understand their needs for play

Session 6: Making models as part of the design development from users feedback

Session 7: Presenting the models on site for the childrenâ&#x20AC;&#x2122;s feedback

Session 7: Arefin explaining the structure and scale

Session 7: play models on site

IMAGES 4: Detailed drawings ( pictures of actual details drawn )

Session 7: Shristy explaining the components to the children

Session 8: Making cut out models at 1:10 scale for the model for feedback and user interaction

Session 8: Rasel, Amin, Hasan are exploring the model with their cut out photo figures

Session 8: They place the guardians of the centre stage, overlooking everybody else

Session 8: Ishika exploring placing cut out figures on the model

Session 8: The model populated with various figures, sitting, running, jumping, hanging, standing

Session 9: participants beginning to detail potential structural members and joins for different elements

Session 10: Feedback on the details being proposed to the group for feedback

Session 11: participants develop structural model for the beginning of the construction

Session 11: exploration of the structural members and the pentagon base

Some of the details being explored: joints, scaled play spaces - images show play spaces, seating spaces, structural elements being proposed

Potential elements for playing ( tyres and also how to develop more physical activities

Detailing out the amphtheatre hammock design

Exploring the seating styles

An explanation of the final model The participants worked with and engaged with the users to determine aspects of the model that could contain activities for the various ages and abilities of the children, leaving a central space, almost like a mini colosseum. With lots of ramps and intimate places to sit under the shade, there were also lots of places to climb and experience the structure in many ways. Main platform / performance / stage space

Central open play space

Tyre swings placed in various places

Top platform for the climbing wall ascend

Climbing wall

additional platform / performance / stage space

Staircase / ramp access to various heights

Amphitheatre space made with hammock layers

Diary: construction process

This section explains how the final design was realised into a constructed project. The preparation for the grounds was done early on, and almost everything else was prepared or done on site by the participants in some way. Despite the limitations of the team, and the lack of resources (especially power tools!) the end product is structurally safe and architecturally, interesting. The diary recounts some of the challenges experienced, as well as some of the achievements by the team. There is reflections on the wider impact and the potential for the construction process to be better. It also brought interesting findings and reflections from within the participants, some of whom had never worked with builders or carpenters. Others had not been on site and built with their own hands before, so that has also been a learning. Overall, the sun and heat tested all of our resolve and determination to complete the project. The diary is presented chronologically with photos, to explain some of the elements that were developed each of the days. The plan was to construct within six days, however, due to weather and other difficulties, it was extended to eleven days.

Monday - Day 1 There was rain in the morning. This created perfect time and space to resolve the pentagon structure. An agreed process for developing the members and the testing of the first element. There was lots of drilling, waiting around for the rain to stop. The lesson learned from the first day was to find bamboo that was as straight as possible to ease the construction of the members. The second lesson learned was that the members had to bolted together, rather than tied with rope, as originally planned due to the tensions.

Measuring out the site and understanding the scale of the model

Applying protective layer to bamboo base for putting into ground

Putting together the ten structural beams for the pentagon

Putting together the first of many beams by drilling and bolting with a rod.

The first five pillars used to raise the pentagon structure

Tuesday - Day 2 Power was not available for parts of the day. One of the main challenges had been ensuring that adequate supply of electricity would The construction of three of the members, installed two of the members on site. It rained extensively! And thunderstorms in the night knocked down the second pentagon truss, member as there was not enough support to keep it up. So, there was two put up, but one had collapsed. However, it was a massive achievement to get the initial structure started and raised. There was plenty of cutting, sorting and drilling throughout the day.

The continual making of the pentagonal beams

IMAGE HERE

The first structural column goes up, all hands on to help it up

Wednesday - Day 3 The team arrived on site to see the collapse of one of the structural members from the pentagon. So, the target was to erect the entire pentagon structure within the day. The rest of the members and the entire pentagonal structure was lifted up. Major achievement here! Strengthening of the structure was now the focus along with adding elements of space, place etc. Arrival of Jasna (weaver) to show how to make hammocks for seating among other weaving techniques. The climbing wall design resolution was also begun.

We all seem to have become experts overnight! all five almost up!

Mahiza and Adiba getting stuck into tying the beams, wrench at the ready!

Meanwhile, Jasna apu is teaching the participants how to weave a hammock

Its taken three whole days, but we have the framework up! now to have fun

Thursday Day 4 The structure and design of the climbing wall is agreed. The method of construction of platform number two is agreed and also the design of the main platform is proposed. The seating amphiteatre seating arrangement begins to be woven. Jasna apu arrives again to teach more weaving methods. The day ended late, with the team working on to ensure that as many tasks as possible were completed - to make up for the lost time of the past two days due to weather and power shortages.

Amphitheatre begins to take shape with the structural support for the seating

The weaving of the seating for the amphitheatre can now take place, Tasfia continues on under the guidance of Jasna apu.

Strenthening of the pentagon, and the foundation for the main stage have been added (on the right of the image )

Working into the night, adding the beam support for the main platform

Friday - Day 5 The adding of the beams to main platform begins, as does the extended lower periphery space. The stairs are being added to the second platform. The Prachyanat team arrived today to run a workshop with the children to explore developing a theatre play specifically for the space. This will be performed in the opening day. The complexity of the structure begins to take fold as many elements are being constructed at the same time.

Everybody is now in small groups focused on different elements. The climbing is proposed on the right, while the main stage support (far centre) is being put together

Drilling and placing the structures for the revised main stage

Meanwhile, Prachyanat team arrive to discuss and develop a short theatre play, using the space, for the opening day.

The gang is weaving hard and aggressively, long way to go!

Saturday - Day 6 The backdrop for the main stage is proposed and is built, the components for the climbing wall are being added, and a support beam for the third platform (as part of the wider climbing wall) is completed. A set of full length bamboo are proposed to cascade along the left of the amphitheatre. The team work again, till late into the evening, hoping to finish off the stairs and the amphitheatre weave. The storm arrives early and the work is wrapped up.

The staircase is ready, with the second playform being added and the third on way

The climbing wall is beginning to take shape, its curved

The second layer of seating is up!

The mian platform has a backdrop that loosely cascades

The climbing wall steps are being added

Storm arrives again, and work is stopped for the day

Sunday - Day 7 The team start by finishing off the climbing wall (30 feet high) with ropes added for climbing at the base. An additional layer is added to create a shaded space. The first tyre swing is added. The amphitheatre seating arrangement is almost complete. An universal access ramp is added for the main stage to enter the site via the road. Small steps to the main stage are being added. Safety barriers being added to various elements. It was intended to be wrapped up and complete by this day. However, additional days were needed now to add the finishing touches.

A cascade of bamboos have been added to support the structure along one side

The climbing wall steps are being added

Additional Days 8-9 The final elements are being added. Safety and security checks. Addition of the platforms for the stages. Reducing and cutting the extruding thread rods on the lower parts of the structure. Site preparation and tidy. Over the two days, extensive work in detailing the structure is carried out, especially to ensure that the final structure is stable. The amphitheatre is completed with a safety net at the top. The hammock is installed under the second platform - everyone is testing this hammock!

The main challenges of the stairs, amphitheatre hammock and ropes for the climbing wall added

The floor for the main platform is being prepared by quartering the bamboo

The climbing wall steps are being added

Bhashkur adding the additional hammock under the second platform

Additional Days 10-11 The final covered elements. Safety and security checks are started. The addition of the bamboo for the platforms. Reducing and cutting the extruding thread rods on the lower parts of the structure. Site preparation and tidy is being carried out to be ready for the launch. Two green and yellow tarpaulin sheets of 8â&#x20AC;&#x2122; x 10â&#x20AC;&#x2122; are added to the centre of the space, to provide some colour and shade. Addition of all the swings, the adding and removal of the shades for the amphitheatre seemed to have been a challenge. Agreeing on the light installation ( although was not installed in the end before the open evening. )

The flooring for the mini platform is being installed

Revising the strength of the overall structure by adding more lateral support

The climbing wall platform flooring is being added finally

Prince and Bhashkur testing another shade element, which was later removed

Adding the small tyre swing

Adding layers of bamboo onto the lower seating platform

A view of the tensile canopy from below after installation

Design process impact

This chapter analyses the design and construction process across the elements that the workshop focused on . It looks at the role of participation - to understand the needs of the different users, and the participants (architecture students/ architects) involvement in the design process, the impact on construction and detailing within the constraints of the final revised project needs. The chapter ends with some concluding comments.

The role of the user The biggest challenge has been understanding the different perceptions of children, especially those who may not have been able to communicate their ideas or needs. It needed over two for the relationship between participants and users to have some significant potential for exchanging ideas, especially to understand the needs of the child as the user of the space. As the participants focused on images and models to communicate their ideas, it allowed great potential to improve upon the potential idea. Focus group discussions were held between similar age groups. This allowed for an understanding of the needs of various age groups and abilities. As user feedback was also taken using the model directly, with models to scale of the users, it allowed for potential visioning of what is possible and where, in the model. This visioning exercise provided some insights into where the users may want to sit, stand, jump or run on the new space. Although relatively simple as a tool, it exposed fears and aspirations of the various children. Some were daring and wanted to hang off a tiny bamboo, others, were happy to stand in the middle on the ground and watch. There was some feedback on watching the younger children, to make sure they were safe. A challenge was to incorporate as many of the users needs as possible - this meant to take into consideration the youngest child to the eldest, as well those that are specially abled. The need for access - through ramps, and plenty of places for all interactions to take place was discussed extensively, and the participants were in chorus in wanting to make sure the place was safe and fun.

The role of â&#x20AC;&#x2DC;participationâ&#x20AC;&#x2122; in design process? One of the challenges was to incorporate, as much as possible, the users in the design process. This is difficult to achieve in the limited time allocated. However what transpired was that the participants, much more so, than the children, were able to participate in the design process, especially in its construction phase. As the participants built their own confidence in understanding the structure and material, remarkably, the process allowed for everybody to be involved in the co-production. This co-production, is better demonstrated in the way participants took the lead where required, and continually were able to reflect on the architectural and spatial potential of the model. So, despite not being able to fully engage with the user groups ( there was significant conversations and rationalising of the elements proposed for building ) the participants were aware of the implications of their design and the need to incorporate the limited knowledge gained by working with the users. What can be concluded is that the idea of participation has been questioned. The main potential to learn - about material and users, as well as the scope to develop architectural visions, is a challenge when the process includes others. The reflexive design practitioner could develop much more interesting methods to include participation at all stages. However, of the four days allocated to design, three of them had involvement with the user group in some manner. Effective participation, especially to make it inclusive in the design process, is always difficult. The participants developed various methods to interact, including drawing, model making, explaining and playing games.

Construction and detailing issues A problem to overcome, was the detailing of the structural members and ensuring their safety and ability to withstand both weather and rough use. As the structure is intended for play and interaction, it was agreed that the easiest method to construct would be using nuts and bolts. This required cutting of bolts to size using a grinder ( and in total there are over two thousand nuts and bolts drilled to hold up the structure. This is definitely no easy task and participants were able to engage effectively in all these aspects. The detailing of the stairs, ramps and stage areas, as well as the weaving of the hammocks, 94

provided scope for understanding how to make simple elements. An issue which architectural critics may take to heart is the aesthetics of the project - and here, there needs to be an reinforcement that the project was process driven, not style or form. Therefore, the aesthetics of the project maybe questioned, but the focus has been on the potential of process to create impact - as both a bamboo material construction and the the potential to create architecture in a participatory manner. This ultimately provides limitations, which, with more time and resources, can always be improved.

Concluding comments on the impact of the workshop There were two main outcomes of the design project. Both of these have been successfully achieved: 1: Play space for many vulnerable children that reside in the Peace Home. 2: to inspire young architects to push the boundaries of what is possible in design and delivery process. What has been learned through this workshop, has been implemented into a project that will serve 50 children of the LEEDO Peace Home, and the wider Washpur Housing community, and beyond. The temporary structure will provide opportunity for various activities to take place, and creative projects to be developed. The children will be able to play, learn, perform and interact. Currently the space is a temporary one (up to 2 years), due to the temporary lease agreement with the landowner. It is a way of learning about architecture and its wider implications for society, particular user groups and the public. This has inspired the young architects to rethink about materials and process. It also helps to add to the layers of learning needed to better engage with the tools required for making architecture with people. Paraa intends to continue in this spirit, with more workshops and explorations of materials and methods - within its processes, one of which engages with the current and future realities for a collected vision of a more socially just world. 95

Reflections from participants / users

Comments from the children Hasan: “I’m very much pleased with the stage ! And the swings are awesome !” Rubel: “I liked the hammock very much ! I’m going to use the swings a lot.” Russel: “I’m very pleased ! It was a barren field and we couldn’t play. Now we can play at this playground. Building this playground has been fantastic for us.” Nizam: “I’m delighted with this spacious playground. Hopefully we can explore the space for our entertainment. We’ll manage the playground.” Rahul: “I liked the stairways and climbing wall.”

Comments from visitors “Feeling like I’ve come to a dreamland. A wonderful space. Everyone is so friendly. Will visit again.” “Fantastic ! I’m amazed to be here. Wish those children to keep on smiling like this.” “A fantastic space. I’m very pleased. Be happy everybody !” “Lots of love for the children. And to all who participated in this amazing architecture and best wishes !”

Reflections from the some of the participants ‘I learned about many techniques by working directly with bamboo. Spending ten intense days with the construction team also allowed me to learn from them directly. This type of workshop that combines social values and learning about architecture needs to happen more.’ ‘I was very skeptical about the whole model development process. After seeing it up, I am inspired. There should have been more engagement with children. The detailing of the joints, especially as it relates to children, and their relevance could have been improved. A lot of people in the team, are excited that there is a way to do this kind of architecture. are also inspired to see it as a constructed project.’ ‘I came with an open mind - and as I was learning about the project - how to interact with the children, how to make the model stand, and then to actually take the model to reality. I found the whole process interesting. As an architect, in student life, its easy - but as a professional architect, we tend to avoid this kind of architecture - we need to encourage each other to do more, especially as it relates to vulnerable children, is public facing and allows for many ideas to co-exist.’ ‘My personal learning - we plan a lot - but what happens when plans don't work? to test it and experiment - and to not quit when it gets tough. Finally, when the five pillars were up, I was finally convinced it will happen. To make a difference, or impact, is the role of the architect - there needs to be a focus on that.’ ‘I am truly inspired by bamboo through this workshop - especially its possibility. I am hoping to think and explore other available materials that are locally available and we can do so much more! More material workshops need to be done.’ ‘I was thinking why there wasn’t more time for construction - and then I learned that 10 days is a long time! Lots of proposed designs were not built, especially relating to more accessibility. More hands and time would have allowed this to happen. After doing this workshop, I feel more human.’

Some key lessons learned Below is a summary of the main challenges from the feedback of participants. In addition to these, there was the daily, gruelling and frustrating challenges ( in retrospect, that could have been avoided. ) What is needed, is a reflection on the the impact created by such architecture, and the role of the architect in creating such places. For Paraa, in depth feedback discussions and reflections are critical to be aware of the gaps that continue to exist between theory and practice. 1. The development of an open brief and participatory methods - creating the scope for design development through model making and relatively ‘unconventional’ methods for Bangladesh context, proved a challenge. This was fully overcome, and from the feedback of the participants, has given them confidence and ability to dare to do architecture, especially with local materials such as bamboo. 2. What is LEEDO? The difficulties to fully comprehend the extent of the work being done on the existing place by the children’s charity ( LEEDO’s outreach work, their working processes). Also along with that the challenge to keep up with lots of information. This is a difficult challenge to overcome, as simplifying processes is unfair. There genuinely was not enough time to grapple with wider discusssions about the issues regarding vulnerable urban children. Hopefully, participants are inspired to seek on their own, and pursue knowledge and do further research. 3. Construction during a season that is temperamental (April - May) the heat was unforgiving at times, and the rain not always welcomed! - this definitely created fatigue amongst the team, despite which - there was great progress. The participants must be commended for working in these conditions. For future workshops, the weather will be a factor to keep in consideration. 4. A difficult lesson is to consider the role of leadership, especially as an active design leader in a project filled with architects. The main question arose in the reflections about the architect as a leader, and in a project of 15-20 participants, is there one leader or many? and how can the workshop also focus on the role of the ‘design’ leader? It provides more questions for future publications and 98

workshops. 5. The involvement of the children in feedback and also the design development processes. This was alwasy going to be the most difficult design challenge, and perhaps, not enough was done. So, although there was plenty of engaged workshops and friendships developed, there could have been better workshop designs. A key note here and the importance for Paraa in this process was to show that it is not so easy to quickly get the information ( the user is not just a data source ) but to develop meaningful interactions and participation if possible. 6. The wider engagement with the local community. Although we intended to engage with the local public, the time and resources did not allow for such an activity. However, on the opening day, the public came, enjoyed the space immensely and gave us positive feedback throughout the construction phase. They were intrigued, and we imagine, will make full use of the space too. 7. The future programme planning of the space and increasing its impact for the children and the wider public, as it is temporary (two years), this would need to be maximised and a proper strategy implemented. It provides amazing opportunity to expand the scope for creative activities. 8. Overall, as this workshops main critical element was the involvement of participants and users in the design and construction process. The methods and tools used, could be improved ( if there was more time and resources available - the ideal scenario always asks for more time and resources ) However, despite the limitations, the team far exceeded the intended outcomes for the brief that had been set, especially in relation to participation.

100

Final project photos

The climbing wall in use

101

One the three swings in use

Tyre seating in place

102

The hammock in full use, overcapacity!

Children occupying the new hammock amphitheatre

103

The lowest seating space, occupied by the children

The green floating tensile shades near the central space, perfect for escaping the sun mid-day!

104

The lowest seating space and playing occupied by the children

The entrance via the ramp, access for all

105

The children enjoying the climbing wall

Enjoying the various platforms available for seating and watching

106

A view from the top platform looking down towards the second platform

107

108

The main platform, big enough for many kids to sit on or perform, or to hide underneath!

109

Image here: Hammock seating areas

The girls of the LEEDO Peace Home put on an impressive dance show

110

111

112