新石头岛艺术银行，William Gibbons Uffendell ，翻新：艺术家西斯特·盖茨（Theaster Gates）／The Stony Island Arts Bank was originally designed by William Gibbons Uffendell and constructed in 1923 as a community savings and loan. The refurbishment was launched by the Rebuild Foundation under the direction of artist Theaster Gates. Image Tom Harris © Hedrich Blessing. Courtesy of Rebuild Foundation
道德重建的9大原则，是提升社区感，而非将其改造
9 Principles of Ethical Redevelopment to Consider in Order to Improve Communities, Not Gentrify Them
由专筑网李韧，王帅编译
何处有创意生活？文化产物的最高代表是否来源于街头？这是否意味着好社区的重要性？现代化的生活方式让人与人之间的关系愈发遥远，这是一种怎么样的状况？对于他人抛弃的价值观念你又是如何看待？在我们社区的改造中是否有片刻的成功经验？这种经验并非偶然和随机，而是来源于真正的高度适配性。另外，什么又是公共同理心呢？
这些问题来源于芝加哥大学的合作伙伴Place实验室，该实验室于去年在John S. 和James L. Knight基金会的支持下开展了一项探索活动，即对于道德重建（Ethical Redevelopment）的9大原则的阐述。
这项研究主要位于芝加哥南部地区，以艺术工作、社区活动为基础，积极开展各项工作，这些理念来源于艺术家Theaster Gates、Jr. For的作品，Place实验室持续在他们的项目和实践中发力，通过文件和政策支持实现了芝加哥南部地区艺术文化投资的持续发展，此类文件与政策有Stony Island Arts Bank，以及芝加哥大学的Arts Block发展，从而持续推进这些项目的研究。除了观察与积极参与Gates主持的工作，Place实验室还对曾经参与过该项目的人进行了访问。这些访问包括不同的艺术家、收藏家、艺术管理者、社区领导、组织者、居民、投资者、当地员工、个人与专业团队、倡导者、早期收养者、信徒、支持者，甚至是批评者等团体。这些谈话与Gates所阐述的价值观相吻合，对于我们城市的建设有着积极的指导作用，人们将其命名为：道德重建（Ethical Redevelopment）。
Where does creativity live? Can the highest level of cultural production come from down the street? What does it mean to be a good neighbor, a good steward? How does that look when there are so many forces at work keeping people isolated? How do you see value in what others discard? Can we learn to talk about moments of success in our struggling neighborhoods, not as random and magical, but as sophisticated flexibility? What is civic empathy?
These are some of the questions Place Lab, a University of Chicago partnership between Arts + Public Life and the Harris School for Public Policy, explored in an exercise last year conducted with the support of the John S. and James L. Knight Foundation: it’s the articulation of a set of nine principles collectively called Ethical Redevelopment.
Rooted in artist-led, neighborhood-based development work actively occurring on Chicago’s South Side, these evolving set of principles emerged from the work of artist Theaster Gates, Jr. For more than a year, Place Lab steeped itself in his projects and practices, and through documentation and implementation has supported the ongoing growth of the artist’s South Side cultural investments, such as Stony Island Arts Bank and the developing Arts Block at the University of Chicago. In addition to observing and participating in the work that Gates directs, Place Lab compiled a series of interviews with individuals who have current or past roles in the work. These interviews included a diverse group of artists, collectors, arts administrators, community leaders, organizers, neighbors, funders, staff, personal and professional associates, enthusiastic advocates, early adoptees, believers, supporters and even skeptics. This catalog of conversations, in tandem with the values espoused by Gates, have been distilled into our approach for mindful city building: Ethical Redevelopment.
西斯特·盖茨（Theaster Gates）肖像／Portrait of Theaster Gates. Image Courtesy of University of Chicago
Gates也许独一无二，他对于自己的空间理论有强烈的见解，但他并不是唯一一名热爱自己归属地的人。世界上高手如云，这样的研究工作每个人都能够进行。正如我们所记录的那样，为每个研究事件、实施方法、发展策略保留其特有的过程，Place实验室充分避免了带有偏见的观察视角。文化背景、历史文化、参与者在重建项目中至关重要，而Place工作室的本次工作并不是让人们盲目地去模仿。这些艺术家、建筑师在芝加哥所进行的研究工作与公众、邻居、投资者合作，他们也为研究者提供了多种灵活的方法，这些策略应用广泛，但绝不可单纯地复制。
构成9大原则的基础内容并非新思路。以往一些城市论坛主要关注于“创新”，但事实上，他们更应该关注的是人们的思维方式。许久以来，人们总是在通过不断地努力让社区变得更加美好，并且制造仪式感，让社区保持持续的活力。他们将各个空间结合运用，这些人也并非白手起家，只是更多地看到了别人不曾注意到的诸多可能性。
Gates may be unique—he has a strong and particular point of view in his space practice—but he’s not the only one who loves where he’s from and where he lives. There are champions of place all over, with complimentary work happening in many other parts of the country. As we document, create stories about the process, implement intervention and develop strategy, Place Lab will avoid prescriptive declarations or the propagation of models. Context, histories and the players matter in redevelopment work, and what Place Lab shares is not meant to be duplicated. What works in Chicago—in our buildings, with our artists, with the publics we assemble, with our neighbors, with the funders who join—should provide a flexible methodology that can be customized for other locations but never replicated.
The body of content that forms the basis of the nine principles is not new thinking. Smart city discussions have a huge focus on “innovation,” but there should be caution against preoccupation with the newest, freshest ideas. For centuries, regular folks have been doing important work to make their communities successful and creating rituals to keep their communities alive. They have turned shacks into juke joints, stoops into entrepreneurial outdoor offices, corners into performance venues, vacant lots into adventurous playgrounds. They have not made something from nothing. They have seen possibility where others see only limitation.
新石头岛艺术银行，William Gibbons Uffendell ，翻新：艺术家西斯特·盖茨（Theaster Gates）／The Stony Island Arts Bank was originally designed by William Gibbons Uffendell and constructed in 1923 as a community savings and loan. The refurbishment was launched by the Rebuild Foundation under the direction of artist Theaster Gates. Image Tom Harris © Hedrich Blessing. Courtesy of Rebuild Foundation
与其说道德重建是个新概念，倒不如说这是一个改造过程。以人为本的发展策略并不是单纯地将社区的发展看做是传统的形式。“社区的改造对于许多人信奉的概念来说仍然站得住脚。”Gates在接受芝加哥论坛记者的访问时如是说，“在贫穷的黑人社区，如果运用到改造这个词，他们会提出许多问题，如果这里发生了一些好事情，那么我会被迫离开这里吗？我是否还能负担得起这里的房租？随着社区的重建，我的生活是否会发生改变？每个人其实都在关注着经济、生存、生活质量等问题。有时，社区的改变与发展悄然而至，但完全合乎情理的是，你可以对已经有人居住的地方进行道德重建，同时为他人的生活、工作、购物、旅行和安全感提供充分的空间。”
区分道德重建与改造的关键要素是价值、过程及目标，稳定的公共生活需要信仰。值得注意的是，Gates在芝加哥南部所从事的大部分工作都在以往几代变革所忽视的地方，这些地方的社区名声都不太好。
这9大原则是城市发展的一部分。就如同城市发展一样，每项工作都有自己的进程。道德重建只是一种策略，这项策略为大多数人牟利。我们希望世界各地的人们能把这些原则带到内心所关心的场所。让我们的城市如家般温暖。
道德重建的9大原则
道德重建是将价值体系从传统背景下对城市环境进行干预的经济发展方式中剥离出来。以下是对着9大原则的简要说明。
1、重设目标+重设概念
概念：可能性、越界
艺术是一种魔术，它能将一个东西变成另一个东西，所以你要成为社区的魔术师。在新策略中，要正视弃置和忽视，这包括人与物质，那些你身边的人，他们是否有价值？他们是否有着共同的目标？你的工作是否能帮助到那些被别人抛弃的人？
设置新目标。只要你想，人、财产、材料都可以重新混合再利用。事实上，这是一种越界行为，因为这需要将情感转变为利益，从而让其他适当因素产生。因此应当充分利用暂时还为利益化的人与物。
2、积极参与
概念：亲切邻里、地方主义、主要切入点
邀请别人参与。把参与者当做你的邻居那样真诚对待。并且与那些相信场所感的人共同工作，事实上，本地人常常被外来人员所包围，而他们通过一个共同任务密切相连。因此在研究工作中可以为他们提供多种参与方式，参与推动一个场所的转变。并且可以以公众的名义促进公民参与公民权力关系的建设。
这种关系的价值在于亲密关系，而不是时间。只要参与便有意义。这种亲密关系激发了对愿望的承诺，通过不同的切入方式，邻居、工作人员、来访人员都成为了社区建设的参与者，而不是单纯的消费者。这样的工作对许多人来说都很有意义。
3、教学时刻
概念：传播知识、社会责任
学习与教学时刻存在于工作的方方面面。项目中的每个步骤都具有指导意义。通过挖掘社区内现有的潜在人才，并让其为社区工作所服务，事实上，知识的交流能够跨越身份、角色、实践、学科、年代以及地域的限制。年轻一代需要更多机会去挖掘经验，并且充分想象他们的未来。而面对着新契机的成人们也是如此。因此在社区的发展中应当培养每个人的天赋，挖掘他们的工作能力。经验是很好的老师，不断实践才是前进的方向。
无论是充分利用现有人才或已建立的工作经验进行培训，亦或是加速商业的发展，能够识别知识并进行技能分享是每个人的社会责任，必须将其深化至社区关系的网络之中，从而将社会经济最大化。如果不通过这些结构和时间进行学习交流，那么就失去了学习以及培养人才的良好契机。
4、不确定性
概念：想象力、直觉、信念
对于渴望知识、接受不确定性、接受歧义，我们可以通过工作来解决，并且针对邻里或城市的问题提出解决方案。资源的不平等性可以通过想象力而减少。未知内容的多样性能够转变为道德重建的过程，也能够转变为获取资源的基础。通过信念和直觉来引导方法，这一过程具有不确定性，也有着发展缓慢的研究成果，但我们应当允许通过这种流动性、动态性，以及创造性来回应所需的事态发展。基于企业家的工作而消除的不确定性是一种独特的利益，这是一种谨慎的策略和合作方式，当然结果也是开放的。在开始任务之后也许你并不了解其中的细则，但是你的直觉能够引导你不断向前。
5、设计
概念：美学、需求
每个人都应该了解并且成为改造空间的一员。审美是建筑设计的一大原则，但在城市的某些被遗忘的角落，审美原则常常消失不见。这与一些特定的场所并不一致，美丽的事物有时来源于古旧的场所。在这种情况下，创新思维至关重要。美好的事物其实能够相互吸引，它们有自己的特性，并且让人们产生敬畏之情。通过策略的设计，人们会更多地关注一些被忽视的场所或街区，同时也能表达邻里之间的敬重与关爱。美学理念有时能够表现得异常突出，有时却也十分隐约，但无论如何它们都以自己的方式吸引着人们。这为社区带来了价值和尊重。
6、时间的痕迹
概念：灵活性、敏捷度、聚集场所、特定空间
场所精神无法在一夜之间形成。行动、策略、特定方式，以及投资等各项行为都需要充分时间才能得以实现。同样地，随着时间的流逝，对于一个场所的忽视、放弃甚至剥夺也时有发生。城市的发展潜力会逐渐衰退。因此城市的行动力和活跃度都需要长时间的培养，这些工作无法速成。场所感更多的存在于人们在其中所进行的活动，而非这个空间其本身。为了让城市形成特定的空间场所，首先必须要让人们愿意在其中花费时间。一些热点新闻来去匆匆，这些信息无法将人们的真实需求和空间环境相联系。人们的需求随着时间变化而变化，因此，空间也不应当一成不变。基于场所的工作是人际关系多年来有机发展的结果。当城市空间具有自身魅力时，这种魅力便会吸引着人们来来回回，有时不为其他，只寻找属于自己的地方精神。对于一个空间来说，人们可以反客为主。他们能够促进城市的可持续发展，同时也提升场所的参与感。因此，许多人常常会把一个特定的空间当做精神与文化的寄托。
7、集合、利用资源
概念：扩大、策略
为你的理念和项目进行一定的投资，会让别人更加关注你。这就好像你想要做一件事，就要付出一定的努力，想要做出改变就必须拥有信念、能力、精力、时间，以及坚持不懈的勇气。这类的项目需要最多的不是资金，反而是勇气与动力。无论一个大项目，还是只是一个小改造，每件事都会有一定的影响与回报。早期的成功会为接下来的项目带来正能量，我们应当积极运用每个工作所带来的正面作用。一个好想法对于投资者之间的人际关系的建立十分有利，再充分结合专业知识，甚至能产生多个领域的不同影响。因此我们应当把对某件事的兴趣逐渐转变为投资，这个世界上的资源不仅多样，而且丰富，几乎能满足所有项目的需求。随着时间的流逝，你所参与的项目会逐渐成熟。一些你热切相信的东西，也许无法获得大多数人的支持，但这些东西其实有潜力发展成为让大家为之心动的优质理念。适当地表达你的能力能够让你获得许多资源，因此一些代表作品则最具说服力。
8、合作
概念：生态系统、多样化
如果没有团队，再有魅力的领导都无计可施。领导者与团队必须相互协调，互补的技能与实践能力对于项目来说至关重要。通过团队的共同策划与交流才有可能做出优秀的作品。每个项目都需要理想主义者、信仰者、合作者，以及评论者。充满魅力的合作伙伴和丰富的团队专业系统是每个项目团队的必需品。如果某个项目发展缓慢，那么也许会是团队中某个环节出了问题，一个优秀的项目团队自身就散发着磁场，能够吸引来自世界各地的优质合作者。
9、平台
概念：良性循环、共用时间
不论哪个地区，城市都面临着同样的挑战，例如弱势群体的忽视、人口的流失、无法满足人员需求的废弃建筑。通常来说，解决方法也很简单，但是对于一座建筑、一个人，亦或是一个项目来说，想要改变场所的发展痕迹其实有些困难。一个社区需要一个优秀平台，可以是能够创造新的社交可能的基础场所，也可以是能够促进经济或艺术发展的建筑设施。一个平台代表了一种机制，它能够创造出多样性环境、物质观念、扩大化社交邻里、成长的契机，甚至铺平一条康庄大道。这样的平台通常肉眼不可见，其存在的目的并不是服务于其自身，而是它所能带来的优势。
城市需要各种各样的平台，用于人们展示各自的才能与理想。平台意味着人们能够聚集在一起的交流机会。当下正在发生的事情并不是重点，重点在于人们能够聚集在一起沟通交流、相互学习。通过深入的交谈、建立关系，最终共建有归属感的社区。也许最理想的场景便是志同道合的人来到某个城市空间，然后提问：“我应该怎么做才能让城市更加美好？我该怎样为街区的发展做出贡献？我该如何与他人分享我的故事？”
Instead of calling Ethical Redevelopment new or innovative, it’s more accurate to consider Ethical Redevelopment as an atypical process for transformation. A people-focused approach to development is simply not as widely practiced as traditional forms of neighborhood development that prioritize profit over community. “Gentrification is a standing word for lots of other things that people really mean,” Gates explained in an interview with the Chicago Tribune. “When people in poor black communities use the word gentrification, they’re asking specific questions. If something good happens here, will I be forced out? Can I still afford to live here? Will the social constructs that governed how I lived here change? Everybody’s concerned with those questions around affordability, livability and quality of life. Sometimes, growth or change in a place happens without sensitivity, but it’s completely reasonable that you could have ethical redevelopment that would be sensitive to people who already live in a place, while making room for other people to live, work, shop, travel and feel safe.”
Values, process, and aim are what distinguish Ethical Redevelopment from gentrification: robust public life requires a belief in and devotion to place in advance of investment. It’s important to note that much of the work that Gates is engaged in on the South Side of Chicago happens outside of places on the cusp of change. The work is taking place in stigmatized neighborhoods that have been systematically ignored over several generations.
The Nine Principles are part of a living, evolving approach to making cities successful. Like our cities, they’re a work in progress. Ethical Redevelopment is an approach that allows a city to work in the interests of all, not just the few. It is our hope that people everywhere can apply these principles to the places they care about. To the cities they call home.
The 9 Principles of Ethical Redevelopment
Ethical Redevelopment is about shifting the value system from conventional financial and development practices to conscientious interventions in the urban context. The following explanations of the Nine Principles have been edited for space. Review the full principles in this downloadable document.
1. Repurpose + Re-propose
Concepts: possibility, transgression
Artistry is alchemy—it allows one thing to become another. Be an alchemist in your community. In new hands, there is renewed possibility for the discarded and overlooked. This includes people as well as materials. Who is around you, and how are they valuable? How does repurposing objects live alongside the rehabilitation or reclamation of people? How can your work become a pipeline for training individuals on whom others have given up?
Repurpose with new purpose. People, property, and materials can be remixed and reimagined if you imagine a new use. This, in effect, becomes a transgressive act by replacing allegiance to profit-as-motivator and allows for other considerations to drive the creation of place. Objects and projects do not have to be monetized to be useful.
2. Engaged Participation
Concepts: neighborliness, localism, access points
Invite others to get involved. Approach participants authentically as you would a neighbor. Work with the people who believe in the place: locals embedded by proximity, those connected by a desire to contribute or commitment to a mission. Provide multiple access points or ways to participate. Participation drives the transformation of a place and of those involved. Work as a resident and citizen to spur civic engagement, drawing a relationship between citizen participation and citizen power.
The value of the relationship is in the intimacy, not in the duration. Engage for as long as it makes sense to engage. This intimacy sparks commitment to a vision, and the neighbors, staff, and visitors become participatory producers—more than “consumers”—by tapping into different access points to find themselves in the work. The work is for many, with many, and, ultimately, by many.
3. Pedagogical Moments
Concepts: knowledge transfer, social responsibility
Moments of learning and teaching unfold in all aspects of work. Consider the steps in each project that could be instructive. By tapping into the existing, possibly latent talent within a community and putting it to use for the community, exchanges for transfer of knowledge reach across identities, roles, practices, disciplines, generations, and localities. Young people need opportunities to experiment, gain experience, and imagine their future. Adults, who are looking for new chances, benefit as well. Bring everyone along for the journey. Cultivate the talent they bring and foster new talent in work that excites them. Experience is the teacher; exposure is the lab.
Whether creating programs that capitalize upon existing talent or establishing workshops, training programs, and business accelerators, the ability to recognize moments for knowledge and skill sharing is a part of one’s social responsibility, effectively deepening the network of relationships within a community, its ecosystem, and the larger social economy. Without leveraging these structures and moments for pedagogical exchange, opportunities for teaching, learning, and cultivating talent are lost.
4. The Indeterminate
Concepts: imagination, intuition, faith
Suspend knowing. Embrace uncertainty. Accept ambiguity. Allow the work to offer solutions; ask questions in response to “problems” facing a neighborhood or city. Resource inequity can be reduced with imagination. The variable of the unknown is built into Ethical Redevelopment, into the programming and the acquisition of resources. Use faith and intuition to guide methodology, a process that’s left undetermined, undefined, or slowly revealed, allowing for a fluidity, dynamism, and creativity that respond to developments in the moment and change direction as needed. Strictly profit‐based entrepreneurs work to eliminate uncertainty, opting for careful strategizing and coordination to reach defined goals. Part of the unorthodoxy of Ethical Redevelopment is that while it is vision-driven, the route to achieve the vision is open-ended. Believe in your project but resist believing there is only one path to achieve it. You can begin without a clear understanding of your end game—your intuition is just as powerful as a well-designed strategic plan.
5. Design
Concepts: aesthetic, desirability
Everyone deserves to see and be a part of the transformation of their spaces into places. Beauty is a basic service often not extended to “forgotten parts” of the city. It is an amenity considered incongruent with certain places. Beautiful objects come from and belong in blighted spaces, just as they do in high-investment areas of a city. Creative people can play a pivotal role in how this happens. Beauty has magnetism. It defines character. It promotes reverence. Design can enhance the desirability of a neglected site, corridor, or block while illustrating the reverence and care of a neighborhood and its residents. Aesthetics may speak loudly or whisper, but either way they draw people in. It provides value, respect, importance, and regard for the character of a community.
6. Place Over Time
Concepts: flexibility, nimbleness, aggregation, anchor space
A sense of place cannot be developed overnight. Actions, interventions, site-specific experiments, and investments need adequate time to be realized. Likewise, neglect, abandonment, and divestment of a place happen over time. Pockets of cities deteriorate gradually. Thus activation, density, and vibrancy require cultivation for an extended duration, not short, quick fixes. Place is more about the people who inhabit it and the activities they engage in than the space itself. To be an anchoring space in a city, people have to be willing to spend time there. Hot, hip spots come and go. Trendy locations fall short of connecting “need” with “space.” Need changes over time and, as a result, space has to change over time. Spaces have to be flexible and nimble. Place‐based work is about the aggregation of years of activity and organic development of relationships. When it works, people visit and return in response to offerings that are authentic to the spirit of the place. Intentionality resonates. Visitors can shift from users to participants. They can become invested in the sustainability of the place and contribute to the quality of the experience. Participants come to rely on anchor spaces as consistent resources of cultural and spiritual sustenance.
7. Stack, Leverage + Access
Concepts: scaling up, strategy
An investment in yourself, in your ideas and projects, sends a signal to those watching your work. It is critical to have skin in the game, to have something at stake even if the investment is sweat equity. Making change requires conviction and commitment utilizing belief, brainpower, energy, time, and dogged perseverance. Projects like these require belief and motivation more than they require funding. Whether an intervention is a single project, location, or gesture, it has impact and reverberation. Early small success can enable the next project. Leverage the attention garnered by the work to amplify it. Let the work attract more believers. A good idea is as crucial as establishing relationships with funders, gaining access to multiple spheres of influence, and incorporating expertise. Turn interest and excitement into investment. Resource streams should be diverse, stacked, and bundled to meet the price tags of your projects. Over time, a project from your initial days of engagement and experimentation can mature. Something that you passionately believed in, but had little external backing for, can grow in scale and scope to become a sophisticated version that many stakeholders support and believe in. Demonstrating capacity permits access to greater resources. Proof of infrastructure is persuasive.
8. Constellations
Concepts: ecosystem, diverse entities
Charismatic leaders are ineffective without teams. Both are strengthened by the presence of the other. Complementary skills and practices advance work. Collaboration allows for some of the best work to emerge from a process. Teams benefit from careful curation and exchanges across specialty. Projects need visionaries, believers, implementers, collaborators, and evaluators. A vibrant constellation or a rich ecosystem is responsive to the pairings and groupings that suddenly emerge. Some webs of connectivity mature more slowly, gradually revealing formerly unforeseen affinities. A project taps into a particular kind of power when it refuses to be singular, when it takes up space and assembles believers from disparate corners.
9. Platforms
Concepts: the thing that makes the thing, hang time
Regardless of regional circumstance, many of our cities suffer the same challenges—neglect, population loss, and abandoned buildings that defy the limits of the neighborhood’s imagination. Often, the proffered solution is singular. But one building, individual, or program cannot reroute a neighborhood’s trajectory. A community needs a platform: a foundation that creates new social possibilities, a structure that incubates new economic or artistic prospects. A platform is a mechanism to propel work forward—it creates conditions of multiplicity, compounds ideas, expands relationships, germinates opportunities, and widens access. A stage or platform is often invisible. It operates not in service of itself but to reinforce what can be.
A just city is required to facilitate platforms that engage those who do not understand their power and feel cheated out of the right to publicly demonstrate their power. Platform building means developing opportunities for people to gather and commune. The event—what is happening—is beside the point. The point is that folks are meeting, exchanging, and learning. Create intentional hang time, which builds community, through a space that encourages deep conversation, new friendships, and, ultimately, a community of people who want to be a part of transformative work in the neighborhood. A space where like‐minded folk can come and say, “What else can be done? What can I do 10 blocks away from my block? How do I share what I love to do with others?”
作者简介：
Ferguson是Place实验室的项目负责人，也是芝加哥大学城市艺术社区发展项目的发起者，主要负责记录和表达以艺术与文化为主导的城市转型的过程。
sis Ferguson is program manager for Place Lab, an urban arts community development initiative at the University of Chicago, which documents and demonstrates arts and culture-led urban transformation.
出处：本文译自www.archdaily.com/，转载请注明出处。
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