INTRODUCTION

In the battle between modernization and preservation, who speaks for the identity of urban communities? Gentrification is a transformative process that, on the one hand, creates economic opportunities for businesses and adheres to a more modern aesthetic, but it also reshapes urban communities built environments, often at the expense of the cultural and historical identities and working-class communities that define these areas. Students in this workshop addressed this issue by looking at gentrification through the perspective of urban design. They explored the discipline’s ability to express a community's cultural identity by creating sketches and three-dimensional physical models of relevant designs that embrace the character and identity of their campus community.

HISTORY & DISTINCTION

Gentrification is not a new concept, but with the changing nature of society, it is being argued and criticized in new ways. The argument for and against gentrification has always existed because of its contentious definition. Professional Educators and Urbanists describe gentrification as "a spatial and social practice" that results in the transformation of working-class or vacant urban areas into middle-class residential and commercial spaces (Zuk et al. 2018). She points out how it is a multifaceted process that is rooted in responding to social dynamics, economic trends, and local government policies. Given this understanding, I found it important to advocate for an approach that ensures discussions about gentrification and its impact are not trumped by political and economic theories, and that social and cultural viewpoints are given an equal opportunity to be heard.  This emphasis on addressing social and cultural perspectives naturally led to research on how individuals use art as a means of resistance and preservation. Scholars Edward Snajdr and Shonna Trinch's book, “To Preserve and Protect Vanishing Signs” explores how artists use the visual appeal of New York City’s Street art and public signage to express the creativity and identity of its working-class community while also challenging urban development processes that threaten their presence (Snajdr & Trinch, 2022). Sam Kirk's series of paintings titled, “The Foundation”, compellingly illustrates "the dynamic nature of working-class communities and the effects gentrification have on the community" (Kirk 2012). Kirk uses social realism and postmodernist techniques to emphasize the vibrance and strength of these communities, even in the face of possible destruction. Collectively, these works highlight the need and possibility of using art to fight back against gentrification and advocate for the preservation of cultural identities. 

METHODS

As I was conducting research for this workshop, I drew upon my background as an architecture major and academic articles and textbooks to find methods/approaches for investigating and illustrating the intersection between urban design and cultural identity. For example, "The Art of City Sketching: A Field Manual" was an important source that guided my decision to use freehand sketching as the primary creative medium for students to observe and reflect on the built environments of urban communities and to document their designs for their final project. Based on my research and experience, I created weekly lesson plans that included an interactive warm-up, a lecture, a hands-on activity, and a reflection/assessment, allowing students to mentally engage with the concepts using design thinking as well as have the opportunity to physically engage with the workshops content through sketching and model making.

AUDIENCE & IMPACT

This workshop was designed specifically for freshman and sophomore Arts Scholars interested in urban design and the prospect of gaining experience as a designer/artist to address a socially important issue. The workshop aimed to encourage participants to recognize urban designers’ larger responsibilities and role in shaping equitable communities by focusing on the cultural and social consequences of gentrification, rather than just its economic impacts. This workshop influenced students’ creativity by improving their awareness to portray complex social issues through art, stimulating their capacity to think critically about built environments, and promoting collaboration based on shared cultural values. Leading this workshop deepened my awareness of the political and emotional power of urban design. I believe this experience made me a better leader, educator, public speaker, and artist.

REFERENCES

Abrams, Michael (Michael C.). The Art of City Sketching: A Field Manual. 2nd edition., Routledge, 2021. https://doi.org/10.4324/9781003026037 

Kirk, Sam. “The Foundation.” Behance, 15 Nov. 2011, https://www.behance.net/gallery/2506841/THE-FOUNDATION?locale=sv_SE 

Zuk, Miriam, et al. “Gentrification, Displacement, and the Role of Public Investment.” Journal of Planning Literature, vol. 33, no. 1, Feb. 2018, pp. 31–44. EBSCOhost, https://doi.org/10.1177/0885412217716439. 

Snajdr, Edward, and Shonna Trinch. “To Preserve and to Protect Vanishing Signs: Activism through Art, Ethnography, and Linguistics in a Gentrifying City.” Social Semiotics, vol. 32, no. 4, Sept. 2022, pp. 502–24. EBSCOhost, https://doi.org/10.1080/10350330.2022.2114728. 

ACKNOWLEDGEMENTS

This workshop would not have been possible without the willingness of my workshop participants, and I am grateful for their honesty, creativity, and vulnerability. I'd also want to thank my wonderful TA, Conell Brandner, for his kindness and guidance during this process. I am thankful for my fellow workshop leaders for inspiring me, as well as the Arts Fest faculty members for giving space and trusting in my vision for this program. Finally, I would want to express my appreciation to the community voices who inspired the workshop concept and are currently fostering discussions around cultural representation within built environments.