This practicum is an exploration of the role of the “visionary community designer” described by Randolph Hester in his recommended participatory design process “a refrain with a view.” The question of this practicum is simply this: what lessons can be learned about how to function as Hester’s visionary community designer while conducting a participatory design process as a service learning project? This practicum is both pragmatic and transformative in philosophy. It uses a subjectivist research strategy in which research outcomes are qualitative and the knowledge generated is subjective. This practicum includes a case study comparison of seminal approaches to the participatory design of public spaces in the United States; records a brief participatory design process conducted as a service learning research project in Port Hawkesbury, Nova Scotia; and culminates with lessons learned during the participatory design process with regard to acting as Hester’s visionary community designer. / May 2017

Lawrence Halprin foi um arquiteto paisagista norte-americano que atuou profissionalmente entre 1945 e 2009. Sua prática holística, multifacetada, experimentalista e transdisciplinar aplicada ao processo de pensar a paisagem e projetar os ambientes humanos resultaram numa abordagem compreensiva e inovadora ao design.Assumindo a relevância de suaprática na paisagem, esta dissertação procurou entender e discutir sua trajetória profissional sob o ponto de vista do processo de design. O recorte abrange o período de transição entre os anos 1950 e a primeira metade da década de 1960. O trabalho foi organizado de forma que se compreenda o objeto da pesquisa, que também é sujeito, frente as suas origens, influências, referências e contextos, para então percorrer seu processo de design, cujos temas abordados por este trabalho correspondem aos subsídios que servem para embasar a discussão entre discurso e prática em duas de suas principais obras: o condomínio de veraneio SeaRanch, no condado de Sonoma (Califórnia), e a Sequência de Espaços Abertos da cidade de Portland (Oregon). / Lawrence Halprin was an american landscape architect professionally active for more than sixty years. His holistic,multifaceted, experimentalist and transdisciplinarypractice offers a way of thinking landscape and design in the human environment as a result of a comprehensive and innovative approach. Assuming his relevance under the field of landscape practice worldwide this thesis seeks to understand and discuss Halprin\'s professional lifewith an emphasis on his creative process or design process. The research focus was narrowed to the years of Halprin\'s first discoveries that lead him to developthe themes that characterize his comprehensive approach, which correspond to the beginnings of the fifties and the first decade of the sixties. The thesis\'s structure was organized to situate Halprin under the historical, artistic and social context of the fifties and sixties providing an insight in his origins and influences to then explore his design process with which are used to discuss the interface between his discourse and his practice using as case studies two of his major works: Sea Ranch, located in Sonoma Couny, California, and Portland Open Space Sequence, in Portland, Oregon.

Lawrence Halprin foi um arquiteto paisagista norte-americano que atuou profissionalmente entre 1945 e 2009. Sua prática holística, multifacetada, experimentalista e transdisciplinar aplicada ao processo de pensar a paisagem e projetar os ambientes humanos resultaram numa abordagem compreensiva e inovadora ao design.Assumindo a relevância de suaprática na paisagem, esta dissertação procurou entender e discutir sua trajetória profissional sob o ponto de vista do processo de design. O recorte abrange o período de transição entre os anos 1950 e a primeira metade da década de 1960. O trabalho foi organizado de forma que se compreenda o objeto da pesquisa, que também é sujeito, frente as suas origens, influências, referências e contextos, para então percorrer seu processo de design, cujos temas abordados por este trabalho correspondem aos subsídios que servem para embasar a discussão entre discurso e prática em duas de suas principais obras: o condomínio de veraneio SeaRanch, no condado de Sonoma (Califórnia), e a Sequência de Espaços Abertos da cidade de Portland (Oregon). / Lawrence Halprin was an american landscape architect professionally active for more than sixty years. His holistic,multifaceted, experimentalist and transdisciplinarypractice offers a way of thinking landscape and design in the human environment as a result of a comprehensive and innovative approach. Assuming his relevance under the field of landscape practice worldwide this thesis seeks to understand and discuss Halprin\'s professional lifewith an emphasis on his creative process or design process. The research focus was narrowed to the years of Halprin\'s first discoveries that lead him to developthe themes that characterize his comprehensive approach, which correspond to the beginnings of the fifties and the first decade of the sixties. The thesis\'s structure was organized to situate Halprin under the historical, artistic and social context of the fifties and sixties providing an insight in his origins and influences to then explore his design process with which are used to discuss the interface between his discourse and his practice using as case studies two of his major works: Sea Ranch, located in Sonoma Couny, California, and Portland Open Space Sequence, in Portland, Oregon.

Lawrence Halprin (1916-2009) fue un arquitecto norteamericano que desarrolló una dilatada, fructífera y galardonada obra arquitectónica y urbana. En su proceder proyectual fue pionero en EE. UU. en introducir los procesos participativos para que los ciudadanos pudieran aportar información, reflexión, conocimiento y propuestas en los proyectos urbanos. Los primeros experimentos de Halprin en incorporar la participación ciudadana sucedieron en la década de los años sesenta, coincidiendo con la revisión democrática que provocó el Speech Movement. Desde entonces los procesos participativos estuvieron asimilados en su modus operandi. Mediante los Take Part workshops, Halprin desarrolló una metodología que permitía conseguir un amplio consenso en los deseos urbanos de la ciudadanía. Sus procesos participativos implicaban a los ciudadanos de a pie, pero también a instituciones, administraciones, empresarios y funcionarios. Los resultados de los talleres participativos eran incorporados en sus proyectos, asegurando un éxito social y político de los productos desarrollados, además del reconocimiento profesional que ya conseguía anteriormente. La definición práctica del método Take Part fue una tarea que duró varios años e implicó en su evolución a diversos proyectos. El principal objetivo de esta investigación es profundizar en la praxis ejercida en los procesos participativos Take Part de los proyectos urbanos de Halprin y definir una metodología de aplicación. La Tesis se estructura en cuatro secciones principales. En la primera se define el marco teórico y se realiza una introducción general a la vida y obra de Halprin y al contexto social, político y cultural norteamericano de los años sesenta y setenta. La segunda sección, cuerpo central de esta investigación, describe en detalle cuatro casos de estudio que fueron paradigmáticos para concretar el método Take Part. Para ello se ha consultado y analizado la documentación original producida por Halprin y depositada en los Architectural Archives of the University of Pennsylvania, Filadelfia, EE.UU. De los cuatro casos de estudio, dos todavía fueron proyectos de ensayo y aproximación al método Take Part Process, son Seattle 1970 y Wilmington 1970, y los otros dos, Yountville 1973 y Cleveland 1973, se estiman proyectos de concreción y consolidación del método que Halprin aplicaría desde ese momento. La información al respecto de estos casos de estudio no se refiere al producto arquitectónico acabado, sino al proceso de conceptualización de este. Se centra la investigación en el proceso proyectual con la intención de comprenderlo y asumirlo desde la actualidad como una herramienta más de capacitación de diseño. De esta manera se aporta una gran cantidad de documentación inédita que permite diseccionar el detalle de las actividades realizadas en los distintos talleres Take Part, y con ello descubrir la metodología usada de forma pormenorizada. En la tercera sección se reproducen los resultados de la investigación desarrollada, eso es la descripción metodológica de los procesos Take Part, las fichas resumen de los distintos ejemplos analizados y una completa bibliografía de y sobre Lawrence Halprin. En la última sección, previa a las referencias, se discuten los resultados obtenidos y se apuntan nuevas perspectivas, se contextualiza una crítica de los procesos estudiados desde la praxis contemporánea para abrir vías de aplicación en la sociedad de hoy, se proponen nuevos caminos de investigación y se detallan las conclusiones. Entre estas cabe destacar que del análisis de los proyectos participativos de Halprin se desprende que la participación es una acción intrínsecamente positiva para la sociedad, es una metodología eficaz para la definición del proyecto urbano, sus procesos favorecen el bien común y el reconocimiento de los resultados por la propia ciudadanía y su resolución depende de varios factores determinantes como la calidad del profesional que lidere el proceso, la muestra representativa de los participantes o el posicionamiento político en relación al proceso participativo. Lawrence Halprin formó parte activa de los movimientos que consiguieron cambiar la sociedad occidental en los convulsos años sesenta y setenta de EE. UU., mejorando la democracia y la calidad de vida de los ciudadanos. Centrada su aportación en el campo de la arquitectura y el urbanismo, es pertinente revisitar y referenciar su actuación, especialmente en un momento como el actual en el que se incorporan de forma generalizada los procesos participativos en la vida pública y la gestión política de nuestra sociedad.

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Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories. / Graduate