14130122580737650178arupuni_smartcities_daverife_smartplacemaking

Arup University – Smart Cities
Smart, Creative Placemaking
Dave Rife
May 23, 2014
This report takes into account the particular
instructions and requirements of our client.
It is not intended for and should not be relied
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Ove Arup & Partners P.C.
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Arup University – Smart Cities Smart, Creative Placemaking
Dave Rife
| | May 23, 2014 | Ove Arup & Partners P.C.
C:USERSDAVID.RIFEDESKTOPDESKTOPDESKTOPARUPUNI_SMARTCITIESDAVERIFE_SMARTPLACEMAKING.DOCX
Contents
Page
1 Introduction 1
2 Placemaking 1
2.1 An Abbreviated History 1
2.2 Smart, Creative Placemaking 3
2.3 Examples of Smart, Creative Placemaking 5
2.4 Economic Case Studies 8
3 Conclusion 11

Dave Rife
May 23, 2014 | Ove Arup & Partners P.C.
Page 1
1 Introduction
Oh hi! - thanks for stopping by and opening up this document. We’re going to
explore the role of digital technologies in creative placemaking within cities, with
particular geographical emphasis given to New York City. This paper is meant to
act as a summary of how smart technologies and creative placemaking exist in the
context of urban planning and design of the built environment, and it’s also meant
to be a reference of projects and practitioners currently working in this field (as of
May 2014). The hope is it also acts as a go-to reference for those interested in the
world of art, technology, and design for public spaces within cities.
We’ll start with defining what we mean by ‘placemaking,’ and run through a brief
history of placemaking as a design discipline. We’ll explore examples of how
digital technologies have been used to create experiences in cities that support the
goals of creative placemaking, and then we’ll then look more in depth at three
case studies of projects that have married digital technologies and placemaking,
each project with its own flavor of logistics, economics, and design strategies.
Finally, based on the examples given here, we’ll wrap up with a summary of the
role that digital technologies play in placemaking for cities of the future, and
touch on the skills and knowledge necessary to be a player in this new area of
expertise in design.
The following questions will be explored in order to determine the role of digital
technologies in placemaking within cities:
• What is creative placemaking?
• What does creative placemaking look like in the modern, technological age?
• Who are the people creating these experiences? What hardware is used to
create these experiences?
• Who pays for these projects?
2 Placemaking
In order to look to the future of technology’s role in the design of public spaces in
cities, let’s take a look back at where many believe the placemaking movement
began in the United States.
2.1 An Abbreviated History
It would be absurd to state that the conscious thought of placemaking began in the
20th
century. It didn’t, as evidenced by well-known public spaces of cities long
ago (ie, public markets, the city forum, etc). However, for the purposes of this
paper, we will explore the formal study of human centered design and
placemaking in the context of a post-World War II, industrialized and
suburbanized United States, where people like Jane Jacobs and William H. Whyte

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were responding to top-down, public planning policies and design theories that
were a by-product of suburban sprawl and the popularity of the automobile.
Jane Jacobs was involved in a famous standoff against New York City Parks
Commissioner Robert Moses over the clearing of communities in Greenwich
Village to make way for the growing needs of automobile infrastructure. She led
multiple grassroots movements that eventually reversed Moses’ and other’s plans
to clear what the Commission described as areas of blight, which were to be
demolished and redeveloped. Jacobs opposed the New York City government, and
rallied the community around her to undertake their own study of the
neighborhood, which led to local newspapers doing the same, and eventually
overturned the Commission’s accusations of blight. Washington Square Park, a
large, car-free public space popular with musicians, chess players, and fountain-
goers, was saved from having a highway built through it (Silberberg et al, 2013).
As a result of her interactions with the Parks Commission, Jacobs went on to
publish The Death and Life of Great American Cities in 1961, stating, ‘there is a
quality even meaner than outright ugliness or disorder, and this meaner quality is
the dishonest mask of pretended order, achieved by ignoring or suppressing the
real order that is struggling to exist and to be served’ (Jacobs 1993: p.21)
William H. Whyte made a name for himself in a different way, after meticulously
gathering data about the way people approach, visit, and inhabit public space via
capturing and reviewing time lapse photography of various New York City public
spaces. He and his team of researchers, called the Street Life Project, rated
whether or not public spaces were ‘good’ based on observing the behavior of
people within them (Silberberg et al, 2013). Whyte published The Social Life of
Small Urban Spaces, summarizing his findings of the data he and his team
collected. A few of those findings include,
‘A good plaza starts at the street corner. If it’s a busy corner, it has a brisk
social life of its own. People will not just be waiting there for the light to
change. Some will be fixed in conversation; others in some phase of a
prolonged goodbye. If there’s a vendor at the corner, people will cluster
around him, and there will be considerable two-way traffic back and forth
between plaza and corner.’ (Whyte 1980: p.54)
‘Watch these flows and you will appreciate how very important steps can
be. The steps at Paley are so low and easy that one is almost pulled to
them. They add a nice ambiguity to your movement. You can stand and
watch, move up a foot, another, and, then, without having made a
conscious decision, find yourself in the park.’ (Whyte 1980: p.57)
‘Musicians and entertainers draw people together…it is not the excellence
of the act that is important. It is the fact that it is there that bonds people,
and sometimes a really bad act will work even better than a good one.’
(Whyte 1980: p.96)
As the 70s passed, the movement of bottom-up placemaking was being explored
by urban planners and architects alike. Projects for Public Spaces emerged as a
formal entity created in 1975 by Fred Kent (a former researcher of Whyte’s). The
organization is still in business, currently describing itself as a ‘central hub of the

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global Placemaking movement, connecting people to ideas, expertise, and partners
who share a passion for creating vital places. [pps.org, 2014.].
In 1977, Alexander et al published A Pattern Language, focused on human
centered, bottom-up design. The book, meant to be paired with their previous
works, The Timeless Way of Building and The Oregon Experiment, is comprised
of a set of 253 ‘patterns,’ which are solutions to common problems in the built
environment. The reader is encouraged to stitch together a suggested series of
patterns to most humanely create the type of space in question. The authors write,
‘You can use it (this book) to design a house for yourself, with your
family; or to work with other people to design an office or a workshop or a
public building like a school. And you can use it to guide you in the actual
process of construction.’ (Alexander, Ishikawa and Silverstein, 1977: p.x)
‘At the core of these books is the idea that people should design for
themselves their own houses, streets, and communities. This idea may be
radical (it implies a radical transformation of the architectural profession)
but it comes simply from the observation that most of the wonderful places
of the world were not made by architects but by the people. (Alexander,
1975, p.206)
Fast forward to the present day, and you have the United States’ first master’s
program in Urban Placemaking and Management, launched by Pratt Institute.
David Burney, one of the creators of the program who served as New York City’s
Department of Design and Construction Commissioner from 2004-2012, said in
an interview with Projects for Public Spaces,
‘In the past 10-15 years there’s been a real paradigm shift in thinking
about planning and urban design, from what used to be a principal focus
on buildings to more of a focus on the spaces between buildings. Rather
than allowing these places to be formed as a sort of afterthought of
building design, Placemaking approaches public space from a people
perspective. So the idea is that the program incorporates a whole variety of
professional and technical skills - including community building,
economics, sustainable design, management, urban design and landscape -
because Placemakers need to understand the role that each of these
disciplines plays in creating, designing, and then maintaining successful
public spaces.’ (Bradley, 2013)
2.2 Smart, Creative Placemaking
Phew! Now that you’ve got some context, let’s formally define creative
placemaking to set the tone for the rest of the paper. This definition is offered up
by Ann Markusen and Anne Gadwa at MIT’s Department of Urban Studies and
Planning, who included it in their 2010 white paper titled Creative Placemaking,
written for the National Endowment for the Arts in partnership with the United
States Conference of Mayors and American Architectural Foundation:

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In creative placemaking, partners from public, private, non-profit, and
community sectors strategically shape the physical and social character of
a neighborhood, town, city, or region around arts and cultural activities.
Creative placemaking animates public and private spaces, rejuvenates
structures and streetscapes, improves local business viability and public
safety, and brings diverse people together to celebrate, inspire, and be
inspired. (Markusen and Gadwa, 2010: p.3)
Markusen and Gadwa also argue that successful placemaking has been shown to
lead to higher quality of life, increased jobs, and larger incomes in cities across
the United States.
If we take Barcelona as an example of a modern, smart city - the city that won the
2014 European Capital of Innovation prize given by the European Commission
for ‘introducing the use of new technologies to bring the city closer to its citizens’
(Eu-smartcities.eu, 2014), the definition above describes a process that fits well
with the goals of Barcelona - namely, to ‘build a livable city, [and] increase public
space for people.’ (Lopez, 2014: slide 15)
As digital technologies become faster, smaller, more efficient, and cheaper, we
see them more and more in our daily lives. Smart phones are a clear example:
61% of Americans are reported to own a smart phone as of June 2013, which is a
10% increase from the previous year (Nielsen.com, 2014). Similarly, digital
sensors, microcontrollers, and software to control them are becoming increasingly
affordable and accessible to the general public (Adafruit.com, 2014).
It makes sense that these digital technologies have been and will continue to play
a role in the design of the built environment and creative placemaking. Next, we’ll
explore a number of project examples that have incorporated smart technologies
in the design of public environments and experiences.
Problem, Solution, and Payoffs of Effective Placemaking (Markusen and Gadwa, 2010:
p.3)

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2.3 Examples of Smart, Creative Placemaking
Here, you will find a table of public creative placemaking projects that include
smart, digital technologies as part of their design. If you’re reading this on a
digital display and have internet access (most likely you are), each project name
and designer tab is linked to more information on the web. Projects marked with a
* are those that have not been experienced first-hand by the author.
Project Location Designer Description
21
Balancoires*
Montreal Daily Tous
Les Jours
21 Balançoires (21 Swings) is a giant collective instrument, a
game where together we achieve better things than
individually. The result is a giant collective instrument
that stimulates ownership of the space, bringing together
people of all ages and backgrounds, and creating a place for
playing and hanging out in the middle of the city center
(Dailytouslesjours.com, 2014).
Silent Lights New York
City
Urban
Matter Inc,
Studio
Indefinit,
Brett Burton
Silent Lights takes the Expressway’s ever-present traffic
noise and makes it visible, illuminating the gloomy,
clamorous underpass with a pathway of peaceful lighted
gates. The lights respond to the sounds above them, lighting
up sequentially as vehicles pass overhead. The hum of the
traffic thus becomes a tangible, reactive presence rather than
a hidden aggravation, and passersby can walk beneath the
multicolored gates to experience a moment of respite from
the constant noise. The installation also acts as a way-finding
element, making the inconspicuous pedestrian pathway more
visible and engaging. (Urban Matter Inc, 2014)
Under Armour
LED Sidewalk
New York
City
James
DeVito,
George
Michael
Brower
Interactive installation, embedding LEDs and IR sensors
under existing glass blocks under the sidewalk in front of
Under Armour’s storefront in Soho. As people pass by along
the store, their presence triggers the IR sensors and the glass
illuminates in real time under their feet. (DeVito, 2014)
Reach: NYC New York
City
Christopher
Janney
An “urban musical instrument” created for the 34th Street
N/R subway platform to enhance and connect subway riders
with their urban environment in an unusual way. As
passersby reach up and wave their hands in front of one of
the eight “eyes” a beam of light will be interrupted. This
activates REACH, which emits a range of sounds—from
melodic instruments [marimba, flute] to environmental
“sound images” [Everglades, rain forest]. (Janney, 2014)

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Piano
Staircase*
Stockholm DBB, VW
Fun Theory
To encourage citizens to use the stairs instead of escalator, a
musical experience was created on the staircase. Pressure
sensors react to footfall on each stair tread, which plays a
musical note according to the piano layout transposed on the
staircase. (Thefuntheory.com, 2009)
Central Park
(Listen to the
Light)
New York
City
Bluebrain,
Bradley
Feldman,
Zamtools
'Central Park' is a site-specific work of music that responds
to the listener’s location within the stretch of green of the
same name in New York City.
(Bluebrainmusic.blogspot.com, 2011)
Bryant Park
Wifi
New York
City
Bryant Park
Corporation,
Sky-Packets,
Meraki
Bryant Park Corporation teamed with Sky-Packets and
Meraki to install a brand new, state of the art wireless
network. The latest upgrade has made the system capable of
accommodating thousands of users each day, and has
enabled Bryant Park to be one of the busiest hotspots in the
world. (Bryantpark.org, 2014)
Sent Forth San
Francisco
Arup,
Jefferson
Mack
Sent Forth is conceived as a time-travelling airship which
has been collecting audio recordings of San Francisco across
the centuries. Recently, the airship has become stuck at Fort
Mason Center. As it attempts to revive itself, visitors will
hear fragments of collected soundscapes revealing histories
of the area, both composed by the malfunctioning ship and
influenced by the surrounding environment. (Arup.com,
2014)
Bruum Ruum! Barcelona David
Torrents,
artec3
Studio,
Ledscontrol
BruumRuum! is an interactive installation in the Plaza de
Glories, next to the Museum of Design (DHUB) and Torre
Agbar. Depending on the intensity of environmental sounds,
this installation changes shape and color, presenting a
dialogue between visitors and the public space through
sound and light. (LEDsCONTROL, 2014)
Skies Painted
with
Unnumbered
Sparks*
Vancouver Janet
Echelman,
Aaron
Koblin
At night the sculpture came to life as visitors were able to
choreograph the lighting in real time using physical gestures
on their mobile devices. Vivid beams of light were projected
across a massive scale as the result of small movements on
spectators’ phones.
In the daytime, the sculpture’s delicate yet monumental form
is subtle, blending in with clouds and sky. A complex matrix
of 860,000 hand and machine-made knots and 145 miles of
braided fiber weighing nearly 3,500 pounds span 745 feet
make up Skies Painted with Unnumbered Sparks.
(Echelman, 2014)

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The same list of projects with associated hardware - sensors and transducers -
implemented to deliver each experience can be found in the table below.
Project M IR US GPS T H C F Wifi TS A LS LED P
21 Balancoires  
Silent Lights  
LED Sidewalk  
Reach: NYC  
Piano Staircase  
Central Park  
Bryant Park 
Sent Forth      
Bruum Ruum!  
Skies  
Sensor/transducer abbreviations: M: microphone, IR: infrared, US: ultrasonic,
GPS: global positioning system, T: temperature, H: humidity, C: chroma (light),
F: force, Wifi: wireless internet, TS: touchscreen (smart phone),
A: accelerometer, LS: loudspeaker, LED: light emitting diode, P: projection
While it’s outside of the scope of this paper to dive into all the software packages
and languages used to create these experiences, it should be noted that packages
and libraries such as Processing, Max/MSP, Arduino IDE, Cinder, and Open
Frameworks were used to deliver the projects listed above. This list of software is
not meant to be exhaustive and all-inclusive of those used in each project, but
rather vaguely instructional, as the method of coding these types of installations
varies significantly from project to project.

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2.4 Economic Case Studies
2.4.1 Bryant Park Wifi
Bryant Park is maintained by the Bryant Park Corporation (BPC) in association
with the Bryant Park Management Corporation (BPMC). BPC signed a 35 year
agreement in 1985 with the City and has been the governing body that controls the
programs, plans upgrades, and handles day-to-day operations of the park ever
since.
BPC introduced free wifi throughout the park in 2002, partnering with Intel to
install and maintain the network. The costs were estimated to be $10,000 for the
up-front installation, with $1,000 monthly maintenance fee (Begay, 2002). The
network went through another $10,000 upgrade in 2008 (Collins, 2008). In 2011,
BPC partnered with Sky-Packets and Meraki to further update the wireless
network, providing capacity to serve 20,000 distinct clients per month, with 2,000
users on the network during peak times (Cisco Meraki, 2011). The cost of the
2011 upgrade is unknown.
Bryant Park is operated through the use of private funds, and does not receive
public money from the City. BPMC can be thought of as a business improvement
district, collecting an ‘annual property assessment’ from nearby, participating
businesses. In 2012, BPC’s operating revenues totaled $7.6M USD, made up of
sponsorships and contributions, restaurant rental income, park usage fees,
concessions, BPMC assessments, interest, and other sources (KPMG, 2012).
Park Usage Fees,
$2,688,676
Restaurant
Rental Income,
$1,617,373
Sponsorships &
Contributions,
$1,256,601
Concessions,
$1,051,998
BPMC
Assessments,
$900,000
Other Sources,
$109,842
Interest, $17,553
Bryant Park Corporation and Bryant Park Management Corporation Revenue, 2012 (KPMG, 2012)

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As an interesting aside, Keith Hampton et al published The Social Life of Wireless
Urban Spaces in 2010, which summarized observations of the social landscape of
public spaces in the wifi era. They replicated methodologies used by William
Whyte in The Social Life of Small Urban Spaces, using Bryant Park as one of 7
field sites. They found all sorts of statistical fun facts, like men outnumber women
in public internet use by three to one, and 10% of internet users engage in at least
one extended interaction with a stranger while in a space (Hampton et al, 2010).
Hampton also argues that ‘our tendency to interact with others in public spaces
has, if anything, improved since the ‘70s.’ (Oppenheimer, 2014)
2.4.2 Silent Lights
Silent Lights was conceived by Urban Matter Inc, and implemented in
collaboration with Studio Indefinit and Brett Burton in 2013. The project was
made possible through partnerships with the urban Arts Program of the
Department of Transportation of New York City, the Brooklyn Arts Council,
ArtPlace America, Black Rock Foundation, Designers Lighting Forum of New
York, Awesome Foundation, and individual donors. The total budget for the
project was $61,281 (Lin, 2014).
ArtPlace
America
$33,000
Brooklyn Arts
Council
$8,037
NYC DOT
$5,000
DLF NY
$5,000
Black Rock
Foundation
$4,800
Fundraiser Event
$4,088
Awesome
Foundation
$1,000
In-Kind
Contributions
$201
Individual
Contributions
$155
Silent Lights Budget (Lin, 2014)

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The majority of the costs for the project involved the fabrication and electrical
installation of the gates – the LED and sound designers were paid in meals.
2.4.3 Bluebrain – Central Park Listen to the Light
BlueBrain’s Central Park app is an entirely different take on creative
placemaking: by tracking the position of the user through their smart phone and
creating a custom piece of music based on where in Central Park the user is, a new
experience is created from an existing space without physically manipulating it.
It’s an entirely individual experience, something of a ‘choose your own
adventure’ of an album, and relies on the user to download the app before
exploring the park.
Fabrication
$25,500
Fabrication
Materials
$21,563
Electrical
Construction
$9,070
Electronic
Components
$2,189
Meals (design
fees)
$1,334
Insurance
$966
Transport
$344
Advertising and
Promotion
$315
Silent Lights Project Costs (Lin, 2014)

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This presents an interesting model for revenue generation in reference to the other
projects cited in this document. For instance, the two location-aware albums that
Bluebrain have created are reported to have been downloaded over 10,000 times
(McKinley Jr., 2011) – you don’t need a calculator to imagine the kind of revenue
could be gained by charging a one-time fee for the initial download.
In the case of this particular project, the app is free. The costs of producing the
app are unknown. Bradley Feldman apparently developed the software pro bono,
after Bluebrain received proposals from other developers that ranged from
$80,000 and up (Green, 2011). The Central Park app included 400 orchestral
tracks, performed by friends and recorded at a studio where the founders of
Bluebrain are employed (McKinley Jr., 2011).
3 Conclusion
It’s my hope that by now, you’ve read a decent amount of the preceding text, and
maybe even clicked a few links and jumped down a smart-placemaking-project
rabbit hole or two along the way. Hopefully, I’ve demonstrated the following:
• Placemaking is the act of designing the look, feel, and experience of an
environment, and when done successfully, leads to a distinct character,
improved quality of life, and increased economic activity in a given city.
• A number of projects have been carried out that incorporate digital
technologies to help achieve a successful creative placemaking experience
within a public space – from musical swings to interactive projections onto
sculpture made of fishing nets.
• There exist a range of smart technologies that are used to deliver smart,
creative placemaking projects – from microphones to accelerometers to
infrared sensors. If one were to become a practitioner in this field, the author
highly recommends getting some practical experience exploring these
technologies, and specifically experiencing first-hand what kind of data can be
obtained using these types of sensors and transducers, both from a data format
and noisiness/stability standpoint. While it’s outside of the scope of this paper,
it’s worth noting that there is also a range of software and coding skills
necessary to create these experiences.
• The economics of smart, creative placemaking projects vary from private
revenue models to public funds and grants to flat out pro-bono passion
projects.
As digital technologies become more and more intertwined in our daily lives, the
role of digital technologies in creative placemaking becomes increasingly natural.
This is not to say every example of successful placemaking in the modern age
requires the use of digital technology – but rather, clever and well-designed use of
technology can lead to successful and smart placemaking opportunities within a
city.

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