{"id":32545,"date":"2021-04-15T09:10:02","date_gmt":"2021-04-15T09:10:02","guid":{"rendered":"https:\/\/www.creativeaustria.at\/2021\/04\/15\/was-koennen-wir-tun\/"},"modified":"2021-04-26T09:55:20","modified_gmt":"2021-04-26T09:55:20","slug":"was-koennen-wir-tun","status":"publish","type":"post","link":"https:\/\/www.creativeaustria.at\/en\/2021\/04\/15\/was-koennen-wir-tun\/","title":{"rendered":"What can we do?"},"content":{"rendered":"\n

UNESCO Creative Cities Network \u2013 Actionable ideas in international exchange. <\/strong><\/p>\n\n\n\n

More than 240 cities worldwide are members of the UNESCO Creative Cities Network today. Film, music, literature, design and media arts, but also gastronomy and crafts are the thematic groups in which the city networks of the \u201cUNESCO Creative Cities\u201d are clustered and organized. In Austria, Graz and Linz are members of the \u201cUNESCO Creative City Network\u201d. <\/p>\n\n\n\n

The basic idea is always the same in each of these thematic networks: they offer a platform for exchanging knowledge, experiences, project concepts about good practice on a very directly implementable level. UNESCO\u2019s goal is \u201cto create a network of cities that promotes people- centered and sustainable urban development using creativity as a driving force.\u201d <\/p>\n\n\n\n

What at first glance might look like a travel agency for city delegations has in recent years contributed significantly to the development and dissemination of ideas that can be implemented at the municipal level. <\/p>\n\n\n\n

Unlike international relations at the state level, geostrategic or political conflicts of interest do not play a decisive role in these city networks. <\/p>\n\n\n\n

Against this background of the social, cultural, economic and ecological challenges they face, cities also have a much greater immediate pressure to act, to tackle and solve their problems concretely and in the here and now. <\/p>\n\n\n\n

At the same time, however, they always run the called \u201csecond cities\u201d this is probably especially far enough to the horizon. You don\u2019t have to in- vent the wheel twice, and it\u2019s often the simplest concept ideas that someone else has already had and implemented that are particularly effective. <\/p>\n\n\n\n

UNESCO does not provide funding for the UNESCO Creative Cities networks, but merely provides the framework and platform. 

The attraction and appeal of becoming a member of the UNESCO Creative Cities network is great. Since the program was launched in 2004, the number of members has grown continuously. The initiative for this usually does not come directly from local politics itself, but from committed stakeholders from the respective thematic areas. For the respective communities, the advantages are twofold: on the one hand, they open up opportunities for exchange in an institutionalized form within an international framework. On the other hand, membership in such a UNESCO Creative Cities network also has an internal effect. As a self-commitment of both local politics and the other stakeholders in a city. In Austria, in addition to Graz, which became a member of the \u201cUNESCO Cities of Design\u201d in 2011, Linz is represented in the \u201cUNESCO Cities of Media Arts\u201d network since 2014. <\/p>\n\n\n\n

The initiative for Graz\u2019s application to become a UNESCO City of Design came, among others, from the Graz architect Marion Wicher and was driven forward by Eberhard Schrempf, the managing director of Creative Industries Styria GmbH, a subsidiary of the province of Styria. With the establishment of a coordination office located directly in the mayor\u2019s office under the direction of Wolfgang Skerget, a direct transmission belt was created between the creative scene and the city administration, which can also very directly introduce the topics and ideas from the creative sector into the municipal political discourse. <\/p>\n\n\n\n

Similar constellations exist in many UNESCO Creative Cities. They all contribute to a better interweaving between the creative scene and the local government and thus necessarily keep design issues on the local day-to-day political agenda. <\/p>\n\n\n\n

Whether a city actually derives the best possible benefit from its membership in the UNESCO Creative Cities network depends in particular on its own commitment to the network itself. It is a debt to be collected. <\/p>\n\n\n\n

The exchange in the UNESCO Creative Cities networks makes an important contribution to raising awareness that the global problems affecting cities can also be actively and effectively countered within the framework of municipal action. <\/p>\n\n\n\n

In the UNESCO Cities of Design, this exchange is based on a very broad concept of design. Not only in the sense of designing object worlds, but also in the sense of designing processes and structures. <\/p>\n\n\n\n

For example, how to improve housing problems of poor neighbor- hoods through simple social interventions (See e.g. the project \u201cBetter Living Challenge\u201d in Western Cape South Africa: creativeaustria. at\/challenge ). Or through local re-use, upcycle, recycle concepts can both reduce primary resource consumption and create locally based jobs (See also the interview with Sigrid B\u00fcrstmayr: creativeaustria. at\/buerstmayr). 

When you see that another city has succeeded in setting up the digitalization of its municipal structures in such a way that it does not have to depend on data corporations that dominate the global market, and that local public ownership of the processed data is just as feasible as democratic open-data open-source structures, then this also increases the courage and self-confidence in other cities to set up their own project processes in a similar way and thus also make an important contribution to securing democratic conditions and structures at a municipal level. (See: Interview with Charles Landry creativeaustria.at\/landry and also www.fsfe.org ). <\/p>\n\n\n\n

An awareness of a \u201cwe-can-do-it-ourself\u201d is created when best prac- tice projects are presented to each other and it is discussed whether and how these can be transferred and applied to one\u2019s own city under the respective different social, economic and cultural conditions. <\/p>\n\n\n\n

Such questions were also the focus of the annual conference of UNESCO Cities of Design organized from Graz last fall, which was held online due to corona: How can cities be organized more sustainably with the design, i.e., the design of frameworks, structures and processes, promote social togetherness and use digitalization not to undermine basic democratic rights and civil liberties but to improve living conditions while preserving their own autonomy?
 <\/p>\n\n\n\n

SOCIAL DESIGN \u2013 SIMPLE MEANS, GREAT EFFECT. <\/strong><\/p>\n\n\n\n

What interactions exist between the social interaction structures of a place, the creative potentials that can be released through interaction, and the economic perspectives that are associated with them? But above all: How can such structures be constructively influenced by design interventions? 

The Italian architect Andrea Paoletti deals with such questions of  \u201csocial design\u201d and has presented a number of project concepts within the UNESCO City of Design network that can be transferred to other cities without much effort. (Interview with Andrea Paoletti: creativeaustria.at\/paoletti ). <\/p>\n\n\n\n

\u201cI use a methodology called co-creation or co-design. This means that people are always involved in the process from the beginning. It allows them to network, encourage new ideas and let them learn by doing. I usually create places where people feel accepted, where they can express themselves and use their creativity,\u201d Paoletti says. <\/p>\n\n\n\n

An important basis for this is often variably usable unfinished basic elements that can be used for different func- tions. Instead of ready-made furniture, just quickly regroupable building elements. This invites people to actively appropriate the space that surrounds them, to interact with it and at the same time to take responsibility for what they have created together. Whether in public space or in closed interior rooms, it does not matter. <\/p>\n\n\n\n

But not only the object world is suitable for such interventions. It can also be the design concept for dialogue mechanisms that help people with completely different backgrounds to start working together on a relevant topic. For example, by bringing people from completely different backgrounds together for a joint \u201cblind date dinner\u201d in or- der to bring, for example, residents of a place with a major vacancy problem into direct contact with designers and architects so that they can jointly develop solutions for the place in question. With such methods, Paoletti has succeeded in bringing life and completely new forms of use back to places with major vacancy problems. This is a problem that not only the outmigration areas outside the major metropolitan areas have to contend with, but increasingly also the historic centers of cities in which – triggered by online retailing – the local small-scale retail structures are increasingly eroding. (See also: www. mammamiaaa.it\/en\/, www.wondergrottole.it) <\/p>\n\n\n\n

\u201cThe most important thing in social design processes is to listen to people. Designing together places where new solutions can be found, defining priorities and finding new perspectives – all these steps are important to engage the community through the process.\u201d Paoletti is convinced. <\/p>\n\n\n\n

For Paoletti, the key to success is the systemic and structured generation of a group of stakeholders acting collectively for a place, a neighborhood, with diverse competencies. This unleashes knowledge, ideas and creativity from a wide range of sectors and develops solutions that suit the people who live there. Pilot projects, such as the one in the village of Grottole in southern Italy, where several hundred houses have stood empty due to migration and are now – triggered by such social processes – gradually coming back to life, illustrate these approaches and make them transferable to other places. <\/p>\n\n\n\n

According to urban researcher Charles Landry, who was one of the co- initiators of the UNESCO Cities of Design network, the right \u201cdesign\u201d of dialog processes also plays a crucial role in municipal digitization strategies. <\/p>\n\n\n\n

\u201cI think you can do amazing things with data. But it comes down to the control of that data. You need open-data platforms to mobilize collective knowledge,\u201d Landry believes. Projects such as open-data actions by Reni Hofm\u00fcller, artistic director of the Graz-based art association esc, which trigger citizen participation processes to collect data critical of democracy on open-data platforms such as \u201copen- street-map\u201d (esc.mur.at) <\/p>\n\n\n\n

Landry cites examples where local governments have also begun to give cultural meaning to the data they manage: \u201cWe know there are optimization processes that can be achieved, and of course collaborative processes – but it\u2019s always about optimization. And I re- ally wonder: optimization of what? It\u2019s forgotten that people have been thinking about how to design great places in different ways for centuries, and I\u2019m just concerned that some of that knowledge, often cultural knowledge, is completely left out. There are some great projects, I like \u201cWienBot\u201d for example, which is not a Google project, it\u2019s a Vienna city project. \u201cSharing City Seoul\u201d is interesting, \u201cBetter Reykjav\u00edk\u201d, \u201cBlock by Block\u201d in Nairobi, and also the things that Nesta has been heavily promoting in the UK.\u201d <\/p>\n\n\n\n

SMART CITIES NEED LOCAL DATA-OWNERSHIP <\/strong><\/p>\n\n\n\n

These examples make it clear that cities are by no means dependent solely on driving their digitization processes forward under the dominance and control of big data corporations, which are primarily interested in owning (!) municipal data for their own exploitation in- terests.  For Landry, it\u2019s more about asking the right questions, \u201cIt always comes back to the question \u201cWhat do I want to achieve with my city?\u201d When starting fresh, each city should simply remember what its ambitions and visions are.
The data questions are then subsidiary to achieving those visions. The way we define and think about cities very often assumes data first, and that often leads to a situation where data drives everything\u201d warns Landry. \u201cIt\u2019s clearly about publicly owned data. Many people recognize that by giving data to corporations, national and local governments have given up their autonomy. Here we come back to the point that public agencies or entities working in the public interest should have more confidence in their role and position. And the CO- VID crisis has clearly shown what working in the public interest can do.\u201d <\/p>\n\n\n\n

Landry also emphasizes, in particular, the cultural dimension and its importance to local identity, which has always been related to the gathering of knowledge: \u201cCities have always been the repositories of knowledge. They had archives that held documents and maps. Libraries and museums that held the kind of physical artifacts and cultural memories of places. But what was so good about these institutions like libraries is that they really had assessment mecha- nisms to filter our garbage, to look at biases and help people understand bias.\u201d <\/p>\n\n\n\n

In Landry\u2019s view, therefore, at the heart of all digitization projects must always be a purpose that is public benefit-oriented: \u201cI\u2019m not sure I want computational logic to forever be the driver of how we see, build and transform cities. Anything that has to do with cities, and especially if it\u2019s technology, needs a purpose. And that purpose needs to be an ethical one.\u201d <\/p>\n\n\n\n

Cities should enable the people who live in them to live a \u201cgood life.\u201d But what is that actually and by which factors is it significantly deter- mined? Agla\u00e9e Degros, a professor of urban planning at the Technical University of Graz, sees one of the main factors above all in highquality spatial design: \u201cI recently read an article with the headline \u201cSpace is the new luxury\u201d. This is not a new discussion. I think, to re- phrase, the new luxury is good space.\u201d Underscores Degros. \u201cThe crisis we\u2019re in right now has shown us that our cities are more fragile than we would have thought. We have empty downtown stores, housing that\u2019s a little too cramped and public space that\u2019s a little too crowded.\u201d <\/p>\n\n\n\n

Degros underscores the connections between design quality and resource use that may not be immediately obvious at first glance: \u201cIf we want to fight climate change, we shouldn\u2019t be questioning the quantity of space, but the quality. If you look at the basics of a city, the public space, the streets and the housing, you can see that the quality of space can be improved quite easily. It\u2019s all a matter of priority.\u201d Because places with poor quality of stay with an inadequate local supply, without social contact opportunities automatically induce more traffic, more resource consumption by people fleeing from these inadequate conditions. <\/p>\n\n\n\n

In this context, Degros focuses in particular on the quality of social relationships in a place: \u201cThere are new forms of housing that are re- ally interesting. Co-housing, for example – a pooling of resources and space with more quality community space. I had a discussion with an architect from Switzerland who suggested that rather than having a refrigerator in every apartment, we should have a refrigerated cellar to store our food for the whole building. It\u2019s about the relationship between social inequalities and climate change. His proposal tries to address both.\u201d <\/p>\n\n\n\n

From Degro\u2019s point of view, it is important to analyze already existing resources and potentials and raise them to the next level of quality in order to further increase the quality of life as well: \u201cIn Augarten Park in Graz, the city has created a beach facing the Mur River. I think this is great, because the city meets there an element of its territory, the water. However, the water is not clean enough to swim in. And that\u2019s what I mean when I say that it\u2019s the quality that matters: I think the next task is to make the water swimmable.\u201d <\/p>\n\n\n\n

For Wolfgang Skerget, head of the Graz UNESCO City of Design coordination office, above all recognizing the right questions is half the way to success. If it is then possible to network the right people with the right ideas, imple- mentation is no longer the greatest challenge. This is precisely where he sees both the role of the International UNESCO Creative Cities Network and the local task of his office: <\/p>\n\n\n\n

\u201cDesign creates solutions to problems. In social, ecological and economic areas. If a design concept provides the impetus for people in the neighborhood to talk to each other again, to help each other, to pay attention to each other and the things that surround us – and good design has this potential – then it can be at least as important a contribution to society as transfer payments from the public sector.\u201d <\/p>\n\n\n\n





INTERVIEWS<\/strong>
The relational age \u2013 design to connect things, people and places 
<\/strong>Interview with Andrea Paoletti, Architect and Social Designer <\/em>
www.creativeaustria.at\/paoletti<\/a><\/p>\n\n\n\n

Smart cities \u2013 digitization, collective intelligence and the bureaucracy 
Interview with Charles Landry, Publicist and Urban Researcher  <\/em>
www.creativeaustria.at\/landry<\/a><\/p>\n\n\n\n

Designing sustainable cities 
Interview with Sigrid B\u00fcrstmayr, Exhibition- & Informations-Designer & Designactivist
<\/em>www.creativeaustria.at\/buerstmayr<\/a><\/p>\n\n\n\n


The sustainable city – The fragile city 
Interview with Agla\u00e9e Degros, Architect and Urban Planner<\/em>
www.creativeaustria.at\/degros<\/a><\/p>\n\n\n\n


BEST PRACTICE Beispiele & Dokumentationen<\/strong>
Cultural Center Planning Initative of Detroit 
Designerkollektiv \u201crootoftwo\u201d <\/em>
www.creativeaustria.at\/rootoftwo<\/a><\/p>\n\n\n\n

Better Living Challenge 
CDI Craft and Design Institute <\/em>
www.creativeaustria.at\/challenge<\/a><\/p>\n\n\n\n


<\/strong>Agroplaza Urban Ecological Infrastructures 
Pezestudio<\/em>
www.creativeaustria.at\/agroplaza<\/a><\/p>\n\n\n\n


INFO<\/strong>

Graz UNESCO City of Design 
www.cityofdesign.graz.at<\/a><\/p>\n\n\n\n

UNESCO Creative Cities Netzwerk 
www.en.unesco.org\/creative-cities<\/a><\/p>\n\n\n\n

Designmonat Graz 
08.05. \u2013 06.06.2021
www.designmonat.at <\/a><\/p>\n\n\n\n

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