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Scoring Collective Creativity and Legitimizing Participatory Design

Scoring Collective Creativity and Legitimizing Participatory Design Scoring Collective Creativity and Legitimizing Participatory Design Randolph T. Hester Like most students of landscape architecture in the followed was top down; considering diverse viewpoints 1960s, I was infl uenced by Larry Halprin long before from the grassroots masses was blasphemous. Land- I knew him personally. Half a generation our senior, scape architects, like other professionals at the time, he inspired us indirectly, largely through Grady Clay’s were insecure, fi duciary elites whose expertise was Landscape Architecture Magazine. Articles told us vulnerable to public scrutiny. To one African-Amer- he worked on site, sensing with his whole body, camp- ican participant, the landscape architects he worked ing out at the Sea Ranch to learn its microclimate, to with were “fat-cat establishment-oriented reactionar- feel fi rsthand the power of the landscape. By evoking ies” who were landscaping urban freeways and urban a primal sexuality from the land, he indirectly encour- renewal projects that destroyed the neighborhoods aged us to experience nature, not just rationalize and of people of color. These projects came to be called abstract it. For him, sensual delight was far more Negro Removal after their real intentions became powerful than surface aesthetics or fear of ecologi- public (Hester http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Landscape Journal: design, planning, and management of the land University of Wisconsin Press

Scoring Collective Creativity and Legitimizing Participatory Design

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Publisher
University of Wisconsin Press
ISSN
1553-2704

Abstract

Scoring Collective Creativity and Legitimizing Participatory Design Randolph T. Hester Like most students of landscape architecture in the followed was top down; considering diverse viewpoints 1960s, I was infl uenced by Larry Halprin long before from the grassroots masses was blasphemous. Land- I knew him personally. Half a generation our senior, scape architects, like other professionals at the time, he inspired us indirectly, largely through Grady Clay’s were insecure, fi duciary elites whose expertise was Landscape Architecture Magazine. Articles told us vulnerable to public scrutiny. To one African-Amer- he worked on site, sensing with his whole body, camp- ican participant, the landscape architects he worked ing out at the Sea Ranch to learn its microclimate, to with were “fat-cat establishment-oriented reactionar- feel fi rsthand the power of the landscape. By evoking ies” who were landscaping urban freeways and urban a primal sexuality from the land, he indirectly encour- renewal projects that destroyed the neighborhoods aged us to experience nature, not just rationalize and of people of color. These projects came to be called abstract it. For him, sensual delight was far more Negro Removal after their real intentions became powerful than surface aesthetics or fear of ecologi- public (Hester

Journal

Landscape Journal: design, planning, and management of the land – University of Wisconsin Press

Published: Feb 16, 2013

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