CREATIVE PLACEMAKING & WELCOMING: TIPS AND TOOLS
A GUIDE ONC R E AT IV EP L AC E M A K I N GF O R W ELCO M I N GCO M M U N I T I E SA BEST PRACTICEGUIDE FOR PRACTITIONERSOF IMMIGRANTINTEGRATION SEEKINGTO WORK WITH ARTISTSAND CULTURE MAKERS TOFOSTER MORE WELCOMINGCOMMUNITIES.CREATIVE PLACEMAKING & WELCOMING:TIPS AND TOOLS FOR INTEGRATING ARTS,CULTURE, AND IMMIGRATIONW E LC O M I N G A M E R I C A A RT P L AC E A M E R I C A
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATIONABOUT THIS TOOLINTRODUCTIONCreative Placemaking & Welcoming Tips and Tools forIntegrating Arts, Culture, and Immigration was createdas an entry point and companion piece to the fieldscan Bridging Divides, Creating Community: Arts,Culture, and Immigration — A Creative Placemaking FieldScan by John Arroyo, Ph.D., AICP, and published byArtPlace America and Welcoming America.All of us have the desire to be seen,to be heard, to belong, and to finda sense of home and safety amidstso much uprooting. This simplefact can both drive the “othering”that fuels anti-immigrant backlash,or offer solutions to it.In Bridging Divides, Creating Community: Arts, Culture,and Immigration — A Creative Placemaking FieldScan, you will find more examples and detailedstrategies. The full scan is available athttps://wamerica.us/artplace.No matter the national climate, manycommunities have addressed these deeper needsand are successfully making themselves placesthat feel like home to everyone who lives there,whether they just arrived or have lived therefor generations.This resource also includes excerpts from MakingWaves: A Guide to Culture Strategy, originallypublished by The Culture Group, a collaborationof organizations including Air Traffic Control,American Values Institute, Citizen EngagementLab, CultureStr/ke, and TaskForce. The excerptfrom Making Waves is reprinted with permissionfrom The Center for Cultural Power.Where these welcoming efforts have beensuccessful, artists, cultural organizations,and creative placemakers have not been at theperiphery, but at the center of such efforts.Artists and culture-makers are using theirtalents and assets to shape both inclusivepolicies and places that weave newcomersinto the civic, social, and economic fabric ofcommunities, helping neighbors to see oneanother as “we”, rather than “us” or “them”.Illustrations by Jing Wei and publication designby Studio MESH, both originally conceived andcreated for the ArtPlace field scan.In communities where arts institutions also playa role in welcoming, these organizations reap thebenefits of inclusion as they attract more diverseaudiences, ref lect their changing communities,and make communities more vibrant.DEFINING CREATIVE PLACEMAKINGThis guide focuses on “creative placemaking,”or projects in which art plays an intentional andintegrated role in place-based community planningand development. ArtPlace America defines creativeplacemaking as “the intentional integration of arts,culture, and community-engaged design strategiesinto the process of equitable community planningand development. It’s about artists, culture-bearers,and designers acting as allies to creatively addresschallenges and opportunities. contributing tocommunity-defined social, physical, and economicoutcomes and honoring a sense of place.”Welcoming America invites you to layer onarts and culture strategies into your currentimmigrant integration efforts when consideringcontact building, cultural heritage, collectivecapacity, and co-creation.2
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATIONCONTACT BUILDINGArts and culture can help bridge newcomers and longer-term residents by unearthing compellingnarratives, increasing opportunities for connection, building empathy and relationships, and diffusingor preventing future tension or “othering.”QUESTION TO CONSIDER:What are the opportunitiesfor real listening, sharing,and understanding acrossdifferences in perspectivesand backgrounds?Where can arts and cultureplay a role in inspiring theseconversations and supportingdiverse relationships?Communities need generative, collaborative waysto explore commonalities and encourage “contactbuilding” between new and existing groups.Contact building is commonly used in welcominginitiatives and is inspired by Gordon Allport, apsychologist who developed “social contact theory”as a way to explain how a focused, common goalreduces prejudice across different people.1Contact building is an important strategyfor welcoming efforts, especially when racismand othering create real barriers to good policyand practice. Arts and culture can generatebridges between new Americans and longer-termpopulations by increasing empathy andbuilding connections.Place-based arts and cultural activities thatembrace the plurality of the human experience,regardless of origin, can bring people together forshared experiences. What might otherwise be atense encounter can be defused in a creative space,where people share, learn, and celebrate the artsand cultural traditions of their neighbors. 2 Thisrequires time-consuming hands-on work to developrelationships with each individual group beforerelationships can develop between them.Contact building works best when individualsidentify each other as peers working towards acommon goal—a two-way dynamic. Because thoseconnections do not necessarily happen organically,many community leaders recognize there must beintentional efforts to bring people together andestablish bonds that shift perceptions from “us vs.them” to a collective “us.”3
CONTACT BUILDINGCASE STUDYFOLDED MAP PROJECT CHICAGO, IL. Artist TonikaLewis Johnson’s Folded Map Project connectsresidents at corresponding addresses on oppositesides of Chicago, or “Map Twins” from the North andSouth sides, to investigate what urban segregationlooks like and how it impacts residents. Whatstarted as a photographic study quickly evolved intoa multimedia exploration with video interviews. Sheinvited audiences to open a dialogue and questionhow we are all impacted by social, racial, andinstitutional segregation. These encounters createdspace for connection and also for conversation onthe legacy and impact of segregation in Chicago.Credit: Tonika Lewis Johnson4
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATIONCULTURAL HERITAGEArts and culture can help to elevate cultural traditions as assets by promoting appreciation of diversecultural expression, creating new business opportunities rooted in heritage (ex. foodways, folkways),and sustaining a new population of ethnic entrepreneurs.QUESTION TO CONSIDER:What role has culture playedin the local economy?How can current programs beexpanded to better supportimmigrant entrepreneursand artisans?Culture links new and generational Americans to theirhomelands through food, medicinal remedies, religiousexpression, athletic traditions, and arts.3 Traditionssuch as these form the foundation for a shared culturalexperience within immigrant communities, anecessary bind amidst multi-dimensional migrationexperiences. This tie to people and places is critical tocreating a sense of belonging and has been linked tohealth and community engagement; the preservation ofcultural heritage is an important factor in building andsustaining inclusive places.Culture and creativity can also present new businessopportunities to build immigrant wealth and expandaccess to economic life. Core to immigrant inclusion isdeveloping and executing programs that expand skillsand leadership in new immigrant communities.5
CULTURAL HERITAGECASE STUDYNIBBLE SOMERVILLE, MA is the culinaryentrepreneurship arm of the SomervilleArts Council. Through food tourism inthe form of cooking classes, internationalmarket tours, and pop-up restaurants, theprogram celebrates the diverse food andcultural landscape of the Union Squareneighborhood of Somerville. Its signatureelement is the Nibble EntrepreneurshipProgram (NEP), an eight-week programthat provides emerging immigrantculinary entrepreneurs training to launchtheir culinary careers. The programdistinguishes itself from other culinaryentrepreneurship programs because itprovides skills training while allowingmembers to share their stories andtalents with each other and throughcooking classes with the public. Culinaryentrepreneurs learn about price points,permitting, employee training, businessdevelopment, restaurant hospitality, andrestaurant safety. Nibble has embarked onNibble Catering as a revenue-generator;in October 2019, a fixed Nibble Kitchenopened in Union Square, complete withcuisines from Brazil, Ethiopia, and Bolivia.6Scenes from the Nibble Kitchen GrandOpening. Credit: Photos by Maria MerbandaMartinez, courtesy of Somerville Arts Council
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATIONCOLLECTIVE CAPACITYArts and culture can help build individual and collective capacity by providing an accessible forum toadvocates that empower immigrants; hone their voice; and guide them on how to be civically engaged.QUESTION TO CONSIDER:What diverse,cross-sector networksor coalitions exist in thecommunity already?Do artists and culturalworkers participate inthese spaces?Success in the immigration sector requires cross-sectorstrategies and support, including diverse financialsupport. Distinct connections between groups thathave traditionally served one ethnic population ortype of new American with larger local culturalinstitutions has proven to be a powerful base forbuilding new coalitions.Artists and cultural workers can also engage andinspire new leaders on immigrant inclusion byreframing policy issues in creative and accessible ways,as well as creating physical spaces that inspire greatercivic engagement.Arts and culture is a powerful tool for building trust,raising awareness, and opening up safe spaces. Thesheer act of convening in a casual, creative, andculturally familiar setting provides an opportunity fordeeper conversation and understanding of the issuesArts and culture practitioners can help build collectivecapacity by recognizing and convening allied partnersand funders in other sectors that intersect withthe immigrant community. While service provisionand advocacy efforts may differ, core values such asthe quest for a more just and inclusive society alsoresonate with the target affinities of other sectors,including women’s rights groups, the labor andworkers’ rights sector, human rights, and the LGBTQadvocacy movement.faced by many immigrants and refugees that would notbe shared through traditional surveys or othercommunity feedback approaches.7
COLLECTIVE CAPACITYCASE STUDYKOUNKUEY DESIGN INITIATIVE (KDI)NORTH SHORE, CA is a sociallyengaged design and communitydevelopment organization. Theirprojects increase access to resourcesand build connections between publicand private actors through the socialdesign of “productive public spaces”, orspaces that address the economic andsocial conditions of an underservedneighborhood. KDI’s projects drawon expertise from different sectors,including architects, engineers, urbanplanners, and community organizers.In all of their projects, they centerthe communities from start to finish.Recent projects include partnering withthe LA Department of Transportationand residents to explore more flexibleuses for city streets, particularly inneighborhoods that lack access to openspace and parks. Through this project,KDI designed and deployed a “box ofplay” that could be used at events inlow income neighborhoods lackingpark space.8Top: North Shore community members were co-authorsin the park’s design process from start to finish.Credit: Kounkuey Design InitiativeBottom: Children playing at the park entrance.Credit: Studio Loz Feliz
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATIONCO-CREATIONArts and culture can help co-create physical spaces that reflect identity, signal belonging, and serve asentry points and pathways for immigrant services and action.QUESTION TO CONSIDER:How can the design ofphysical spaces betterempower immigrantand refugee leaders andbuild bridges withinthe community?As more institutions and communities becomeinvolved in the work of serving and engagingimmigrants and refugees, arts and culture canstrengthen service provision and collaboration.Many immigrant-serving organizations areconstructing centralized facilities that serve manyof the needs of the newcomer constituency and alloworganizations to more easily collaborate. How thesespaces are designed has the potential to empower newimmigrant residents, create a sense of belonging, andbuild bridges across diverse communities.“Co-production” in this context is a dual process whereartists of different backgrounds and disciplines workwith each other as well as with service providers todevelop creative programs, events, or spaces for bothnew and existing communities. Examples includeinstalling culturally relevant visual arts elements inimmigrant-serving social service centers; physicallydesigning spaces to strengthen community andbelonging; and building monuments or memorials tolocal immigrant and refugee leaders.Co-created spaces also have the ability tobecome a meeting point for passive socializingor organized strategy.9
CO - CREATIONCASE STUDYCASA AZAFRÁN NASHVILLE, TN is an immigrantservices complex located in downtown Nashville, one ofthe fastest-growing urban centers of new immigrationin the U.S. The complex is a one-stop shop that houseseducation, legal, healthcare, and arts and cultureservice providers alongside a community event space.Opened in 2012, the complex was a project of ConexiónAméricas, one of Nashville’s largest immigrant socialservice centers. After purchasing the 28,800 square-footbuilding Conexión Américas worked with artists JairoPrado and Susan Prado to ensure the physical spaceembodied the vision for the building. The outcome was“Migration,” a 12-foot mosaic mural that includes morethan 7,000 pieces of hand-cut tile “built by Nashville,for Nashville”. During the open sessions in the Prados’studio, community members shared and illustrated theirmigration stories. “Migration” ultimately incorporatedthe work of over 350 volunteers, capturing the migrationstory of people across the world.Top: Hands on Nashville and Workers Dignity staff membersarrange tiles in the mosaic. Credit: Prado StudioLeft: Detail of “Migration,” the mosaic mural installedat the main entrance of Casa Azafrán. Credit: Prado Studio10
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATIONGETTING STARTED:COLLABORATION BETWEENARTISTS AND IMMIGRANTINCLUSION ORGANIZATIONS13 KEY PRINCIPLES FOR WORKING WITH ARTISTSThe following principles are designed to helporganizations and organizers build an equitable,respectful, and effective partnership with anartist or culture-maker — a relationship that isrewarding and inspiring for all parties involved.2.FIND THE RIGHT ARTISTAlthough this may seem like an obvious point,it is crucially important to partner with artistswho have an authentic connection to the issuesyou are working on. Do your research! Also, thinkabout your target audience. Who are you trying toreach? Is there an artist who is a natural fit for youraudience? Think about demographics and identityas you search for the right creative partner.The following excerpt from Making Waves: A Guide to CultureStrategy, first published by The Culture Group, is reprinted withpermission from The Center for Cultural Power. You can read the fullreport and find additional resources at culturalpower.org.1.INVOLVE ARTISTSFROM THE BEGINNING3.SUPPLY INFORMATIONEngage artists from the very beginning of yourprocess, not at the last minute or after a campaignor event is fully planned. Give them time to immersethemselves in the issue and create something ofreal quality. Who knows, by engaging them earlierthey may also offer a game-changing idea thatdramatically enhances the plan itself—you mightend up building your entire campaign around agreat song, video game, or work of art. Art amplifiesour struggle best when it is not merely used asdecoration, but as part of the foundation of any planor action. (And as with any relationship, clear andopen communication is key, from the beginning andthroughout the process.)Provide the artist with raw materials to becomewell versed in the issue, and get inspired: abreakdown of the issue, a few talking points,key facts, and the values and principles thatmotivate your work. Don’t assume the artist willknow everything you know about the topic, so putthem in close dialogue with people knowledgeablein other areas, like people who are affected bythe broken policies or academics who’ve doneextensive research.Some artists like to immerse themselves inresearch and become an expert on an issue andothers prefer just enough material to develop abasic working knowledge. We have generally foundthat providing artists with information aroundstrategies and stories helps them be more creativeand effective than loading them up on factsand figures.11
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATION{ CONTINUED }COLLABORATION BETWEEN ARTISTS AND IMMIGRANTINCLUSION ORGANIZATIONS13 KEY PRINCIPLES FOR WORKING WITH ARTISTS4.6.MATCH THE MEDIUMGET ORGANIZATIONALBUY-INTry not to choose artistic mediums because theyare cool or trendy. Concentrate on the art formsthat best suit the campaign you’re working on. Forexample, comedy allows for the safe explorationof taboo subjects, while film and TV offeropportunities to tell stories that create empathyand understanding.Make sure your organization is fully on boardwith integrating arts and culture into your work,and that everyone understands that the project(s)will require an investment of staff time, budget,and other organizational resources. Also considerhosting a creative fellow, or creating a staffposition, to focus on integrating cultural strategiesinto your organization’s work.5.CONSIDER WORKINGWITH A CULTURALPRODUCER7.LET THE ARTIST LEADIN THE CREATIVECultural producers are bilingual in art andadvocacy. They are professionals who willunderstand your needs and goals, match youup with the right types of creators, and helpyou develop and manage the partnership. Theycan help you assess what is already happeningculturally around your issue. She or he also has theconnections and know-how to help you access—and effectively work with—high-profile artists andcultural figures.The artist should always be the lead when it comesto creative matters. Trust the artist’s intuition,and remember they are the experts in their area:reaching people emotionally and unleashing thepublic’s power and willingness to act. They needthe f lexibility and authority over the final productto make sure it works as effective art, music, orstorytelling first.Nobody wants to hear political comedy if it’s notactually funny, or a political song that’s painful tolisten to, so be sure not to compromise the art inorder to force the message. If it works as art, thenthe message it carries will travel further.12
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATION{ CONTINUED }COLLABORATION BETWEEN ARTISTS AND IMMIGRANTINCLUSION ORGANIZATIONS13 KEY PRINCIPLES FOR WORKING WITH ARTISTS8.11.PAY THE ARTISTUNDERSTAND THISWORK TAKES TIMEArtists are skilled laborers. They have years ofprofessional training, so pay them appropriately(with actual money, not just “exposure”). Also,be sure to allocate for related costs like supplies,production, and insurance. Artists should not beasked to work for free or reduced rates, unless youand your colleagues are doing the same.Be prepared to invest in a long-term process oflearning the best way to work with creators. It maytake time and experimentation to get it right, but theorganizations that take this process seriously willfind that they are able to consistently produce greatresults, and that culture can dramatically amplify andtransform the work they do.9.12.CREDIT ARTISTSHAVE A ROLLOUT PLANMake sure to credit artists wherever their work isfeatured. It’s not just their proper due; it also canimbue the work with greater authenticity. It tellsthe audience the work was created by an actualhuman being who genuinely cares about the issue.Also, be judicious in the size and placement oforganizational logos as they can distract from thework and undermine its authenticity.Have a plan ready to disseminate the art or culturalproduct in the public realm. You should have a planand the budget for distribution and promotion,including a press strategy and a social mediastrategy—maybe even an advertising budget—and allthe personnel and resources you’ll need to implementthe plans. And make sure to plan that outreachstrategy in partnership with the artist.10.13.BE CLEAR ABOUT OWNERSHIPDON’T TRY THIS AT HOMEArtists own their creations by default, so a licensingagreement is the proper business and legal frameworkto use (as opposed to a work-for-hire contractor’sagreement). As the owner, the artist is free torepurpose his or her work, but if you want exclusiverights to the work you can negotiate with the artistand pay a higher fee.Creating an effective, powerful work of art is not easy.Artists who do it are able to because they have spentyears honing their craft. Trying to do it yourself mightnot produce the best results. Be willing to invest inreal talent.13
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATIONGETTING STARTED:COLLABORATION BETWEENARTISTS AND IMMIGRANTINCLUSION ORGANIZATIONSFOR ARTISTSSmart cultural strategy means you have an equaland early seat at the table when organizations beginplanning for a particular project or campaign. Ifthe organizations are doing their part right (andhopefully the “13 Key Principles” in the previoussection will help them do just that!), you shouldbe in a situation where you can lead the creativecharge, do your best work, and be an effective,fully-engaged advocate for an issue you care about.You may have had prior experience working withorganizations on a political or social issue orcampaign. It may or may not have been a happycollaboration. But our hope is that everyoneinvolved can aim for—and achieve—an engaged,empowering, effective, and long-term relationshipthat produces potent, affecting work.With that in mind, we’ve put together a couple ofnotes specifically for artists that we hope will helpyou in your work with advocacy groups, politicalcampaigns, philanthropic foundations, and the like.Starting with the 13 Key Principles for WorkingWith Artists in the previous section, here are somethings you can do to ensure the organizations aredoing their part in treating you like the skilledprofessionals you are.1.PLEASE HELP THEM REMEMBER THAT THEYNEED TO PAY YOU FAIRLY FOR YOURLABOR, CREDIT you appropriately, and ensurethere is clarity over OWNERSHIP (and not assumeyour creative work belongs to them).2.WE ALSO RECOMMEND YOU TRY NOT TOAGREE TO DO THINGS AT THE LAST MINUTEor when you haven’t been involved from early on.Try not to allow your process to get rushed orshortchanged. Your work can get compromised,and you can get frustrated fast.3.HELP THEM UNDERSTAND THEY ARE YOURCOLLABORATOR, and must do their part if theywant the final work to be effective. This meansproviding you with any RAW MATERIALS youneed to get inspired, like their core arguments, keyinformation, or connections to researchers andpeople who have been directly affected. They alsoshould have a proper plan for the ROLLOUT of yourcreative efforts once completed.A couple of other things to think about:4.MOST ADVOCACY GROUPS ARE 501(C)(3)NONPROFIT ORGANIZATIONS, AND AS SUCHTHEY HAVE TO LIVE BY CERTAIN LEGAL ANDFINANCIAL RULES—they are accountable totheir funders, the IRS, and their board of directorsin ways that can limit their willingness to courtrisk and controversy. Sometimes those limitations14
TIPS AND TOOLS FOR INTEGRATING ARTS, CULTURE, AND IMMIGRATION{ CONTINUED }COLLABORATION BETWEEN ARTISTS ANDIMMIGRANT INCLUSION ORGANIZATIONSFOR ARTISTSare fine, but for some projects and for some artists,they’re not OK. Try and understand what therestrictions might be early on in the process, and ifyou aren’t comfortable with those restraints, thenyou may not want to work with them.5.PEOPLE IN THESE ORGANIZATIONS HAVEDIFFERENT EXPERTISE, HISTORIES, TALENTS,AND STRATEGIES FOR SOCIAL CHANGETHAN YOU—sometimes worse, sometimes better,mostly just different. Either way, they have a lot ofinformation that can be useful to you. And just likeit’s important that you lead in the creative process,unless you are an expert on the issues, you mightwant to take their lead on the policy front.6.PEOPLE WHO WORK IN ADVOCACYORGANIZATIONS OR IN PUBLIC POLICYUSUALLY HAVE NO IDEA HOW AN ARTIST’SCREATIVE PROCESS WORKS. It can be hard notto get disheartened by that, but try and patientlyexplain how you do what you do. Sometimes youmay need to be very clear about things that seemincredibly obvious to you. If you’re really havingtrouble understanding one another, you may wantto get a cultural producer involved, someone whocan help with the translation and advocate foryour interests.7.FINALLY, IT’S IMPORTANT FOR ALL PARTIESINVOLVED TO OPERATE IN GOOD FAITHWITH ONE ANOTHER. There should be enoughclarity from the beginning to ensure that everyoneis in agreement about goals, responsibilities, anddeadlines. You’re a professional. So you do yourpart—and if they don’t do theirs, it’s your rightto call them on it and ensure that everyone isoperating with mutual respect.ADDITIONAL RESOURCES: Bridging Divides, Creating Community: Arts, Culture,and Immigration - A Creative Placemaking Field Scanby John Arroyo, Ph.D., AICP (ArtPlace America) Welcoming America Social Cohesion Series Building Meaningful Contact: A How-to Guide(Welcoming America and Welcoming Michigan) Welcoming America Community Planning Process Guide Welcoming WeekRESOURCES ON CREATIVE PLACEMAKINGAND ARTS-FOCUSED EFFORTS Making Waves: A Guide to Cultural Strategy, The Culture Group The National Consortium for Creative Placemaking LISC creative placemaking resourcesABOUT WELCOMING AMERICAWelcoming America leads a movement of inclusivecommunities becoming more prosperous by making everyonefeel like they belong. We believe that all people, includingimmigrants, are valued contributors and vital to the successof our communities and shared future. Launched in 2009,Welcoming America has spurred a growing movement acrossthe world, with one in every eight Americans living in awelcoming community.Learn more at welcomingamerica.org or NS1.Allport, Gordon W. (1954). The Nature of Prejudice.Cambridge, MA: Perseus Books.2. Hirschman, Charles. (2013). “The Contributions of Immigrants to AmericanCulture.” Daedalus, 142(3), 26-47.3. Fernández-Kelly, Maria Patricia, and Paul DiMggio (2010).Art in the Lives of Immigrant Communities in the United States (The Public Life ofthe Arts). P. DiMaggio (Ed.). Rutgers University Press.15
culinary entrepreneurs training to launch their culinary careers. The program distinguishes itself from other culinary entrepreneurship programs because it provides skills training while allowing members to share their stories and talents with each other and through cooking classes with the public. Culinary entrepreneurs learn about price points,
understand the role that creative placemaking can play in supporting their efforts. Besides creative placemaking, three concepts are important to define. The first, public or community safety, can be broadly defined as the idea that c
of creative American placemaking, drawing on original economic research and case studies of pathbreaking initiatives in large and small cities, metropolitan to rural, as well as published accounts. The case studies stretch from Providence, Rhode Island, to Los Angeles, California, and The Problem: American cities, suburbs, and small towns
This white paper summarizes two decades of creative american placemaking, drawing on original economic research and case studies of pathbreaking initiatives in large and small cities, metropolitan to rural, as well as published accounts. The case studies stretch from Providence, Rhode island, to los angeles, california, and The Problem:
Comp Plan OP Response ANC 1A-1 2.13 AC-4.3.2 & AC-4.3.3 Arts and Culture Policy AC-4.3.2: Emphasizing Community Identity Through Creative Placemaking and Policy AC-4.3.3: Partnerships to support Creative Placemaking - ANC1A strongly supports language included in the Comp plan that encourages Advisory Neighborhood Commissions (ANC) having
Jul 06, 2017 · Design Wisconsin Team A research-based approach to community placemaking July 6, 2017 Reedsburg Design Team Community Design Charrette In Collaboration with: City of Reedsburg, Wisconsin UW-Extension Sauk County UW-Extension Community Vitality Placemaking Team Summary Report Prepared by: Community Vitality
your students to name as many food safety tips and cooking safety tips as they can. Discuss and decide which are the five most important tips in each category. Write the tips on the “Top 10 Kitchen Tips” handout.] Now that we have our Top 5 Food Safety Tips and Top 5 Cooking Safety Tips, we’ll div
Practical Strategies for Creating Welcoming & Supportive Environments for All Youth August 27, 2020. Presenters Lia Cassanego, ETR Lisa Unti, ETR Amanda Gaston, MEES . welcoming and supportive environment. When young people feel relatively safe, they can think and feel at the same time. This is essential for learning. 11.
Prof. Andreas Wagner Karlsruhe Institute of Technology (KIT) Published: April 2014 Third edition: May 2015 2. The significance of thermal insulation Arguments aimed at overcoming misunderstandings 3. 4 Preamble. The energy renovation of existing build-ings represents a key component of the “Energiewende” (energy revolution). The building envelope and the system technology used within the .
