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RESEARCH REPORTS

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              Research Report 1: a cultural review of Australian Local Government planning policy documents

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              Research Report 2: Cultural Competency & Urban Planning

       Research Report 3: Cultural Impact Assessment for Urban Planning & Design

 

BOOKS

             More than just a Bridge: planning &  designing culturally

             A New Renaissance: Contemporary Art Commissioning

ARTICLES

              Creative Capital: Creative Industries in the Creative City

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             Council Culture - Cultural Councils

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             Planning Culturally: the theory & practice for urban planners & designers

Blogs

Planning Culturally: Cultural Competency & Urban Planning

Richard Brecknock - BLOG April 2022

 

In an article titled Interculturally Inclusive Spaces as Just Environments, Professor of Urban and Environmental Policy and Planning, Julian Agyeman, wrote:

 

What is the role of the planning and urban design professional in the shift toward interculturalism? It is important to note that the placemaking professions most closely associated with the policy, planning, design, and development of public and open spaces are not known for their tolerance of difference, diversity, or cultural heterogeneity. There is a solid case to be made that the training, recruitment, and retention of professionals who more fully reflect the makeup of our “cities of difference,” as Ruth Fincher and Jane Jacobs called them in their 1998 book of the same title, would help speed the production, quality, and maintenance of culturally inclusive spaces, and, critically, the embedding and mainstreaming of culturally inclusive practice within those professions. (2017)

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The notion of achieving culturally inclusive practice in the built environment professions has been the focus of my consulting and research work over the last thirty years.  I strongly agree with the suggestion that we need to better train the profession in order to plan culturally, and to that end I have been reviewing a number of the existing models relating to what I call Cultural Literacy.  The review looked at various models across a range of titles, for example, cultural awareness, cultural knowledge, cultural sensitivity and cultural competency.  Generally, these models have been developed to train students and professionals in the education, business and health sectors, however I would suggest that they are equally relevant to the built environment.

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The first model reviewed was The Cultural Proficiency Continuum from the website of the Center for Culturally Proficient Educational Practice (CCPEP) which proposes a continuum in six phases: Cultural Destructiveness; Cultural Incapacity; Cultural Blindness; Cultural Precompetence; Cultural Competence; and Cultural Proficiency.

 

The second model was the Development Model of Intercultural Sensitivity (DMIS) by Milton Bennett, which also presents a continuum with six phases, this time labelled: Denial; Defence; Minimisation; Acceptance; Adaption; and Integration.

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In essence the two models set out a generally similar ‘Continuum’ from a very low level of cultural sensitivity through to achieving cultural competency.  Both models have value in demonstrating to planners and designers that gaining Cultural / Intercultural Sensitivity is an awareness raising process and therefore the models provide a structure in which to self-identify one’s own stage in the continuum. 

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The third model was the Intercultural Readiness Check (ICR) developed by Ursula Brinkmann and Oscar van Weerdenburg.  The ICR format is structured around four evaluation criteria, which are: Intercultural Sensitivity; Intercultural Communication; Building Commitment; and Managing Uncertainty.  The process aims to give individuals and organizations insight into their existing intercultural competences and how to develop them in the future. 

 

The final model is from the OECD and is perhaps the most relevant to those working in urban environments and I have changed the wording of the four dimensions slightly to make them more relevant for application in the planning and design process. The adjusted OECD Global Competence dimensions are, to: and

While it is important to acknowledge the above phases in the development of intercultural competences and the variations on the models developed by the various theorists, it is also important to recognise that they are only part of the equation.  While these competences are needed in order to be interculturally effective in planning and designing with people from other cultures, built environment professionals also need to behave with empathy, openness and sensitivity to difference, when working with diverse communities.  Gaining Cultural Literacy competencies would lead as Agyeman stated, to helping; the production, quality, and maintenance of culturally inclusive spaces, and, critically, the embedding and mainstreaming of culturally inclusive practice within those professions.  Therefore, leading to the ability to Plan and Design Culturally!

The full Research Report can be downloaded from the Research & Writing page.  

 

Reference:

AGYEMAN, J. (2017) Interculturally Inclusive Spaces as Just Environments. ITEMS: Insights from the Social Sciences, Social Science Research Council, NY, USA

Book Cover - culture sensitive design

BOOK REVIEW – JANUARY 2022

 

Culture Sensitive Design: A guide to culture in practice

Annemiek van Boeijen and Yvo Zilistra

 

This 2020 book by Annemiek van Boeijen and Yvo Zilistra and published by BIS Publishers, Amsterdam,

This publication is a welcome addition to the literature relating to ‘Culture Sensitive Design’ or as I would call it

‘Cultural Literacy’. 

 

The authors suggest that:

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Culture sensitivity is the competence to be aware of and to experience differences and similarities between people –

their values and practices – and that are based on what they have learned as members of groups.

 

And

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Culture sensitivity – or intercultural sensitivity if you want to emphasise the interaction between two or more cultural groups

– is the genuine interest in the cultures of others together with an interest in interpreting signals from others.

The goal of the culture sensitive designer is to know what the values, needs, and desires of the intended users really are,

based on who they are as part of a cultural group. (page 20)

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The above definitions of Culture Sensitive Design align with the notion of Cultural Literacy that is an essential part of my work as a cultural planner and researcher, as outlined in my book More Than Just a Bridge: planning and designing culturally. From the perspective of urban planners and designers the ability to read, understand and decode the subtleties of local cultures in a city is crucial in delivering culturally relevant urban outcomes.

While this book is primarily focused on the practice of product design, I believe that the are many lessons in the content that can inform urban planning and design practices, especially as it provides a range of different models for gaining cultural and intercultural competence. 

 

These models include:

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The Development Model of Intercultural Sensitivity – Milton Bennett, 2004

The model explains how a person experiences his or her culture in relation to other cultures.  The model outlines six stages that people progress through in developing intercultural sensitivity.  These are; Denial, Defence, Minimisation, Acceptance, Adaption and Integration. (page 20)

 

The Intercultural Readiness check – Brinkman and Weerdenburg, 2014

A tool that checks your Intercultural Sensitivity, which is defined as the degree to which a person takes an active interest in others as well as in their cultural background, needs, and points of view. (page 21)

 

In the section ‘Culture Defined’ the authors remind us of five principles of culture that practitioners need to consider when approaching design challenges. These are that: Cultures change over time, Cultures are examined in context, Individual people do not represent culture, Personal and cultural values and practices are intertwined, and Designers influence cultures through design. (page 55)

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Throughout the book the authors provide a wide diversity of design examples and illustrations to support their content.  The book has a good structure, taking the reader through context, theory, models and methods and finally demonstrating how these theories and models can be applied in the practice of design.  In essence the book provides a framework for designers seeking more culturally sensitive outcomes to support the authors argument that:

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Culture-sensitive design is not only about differences in nationalities and customs; above all, it is about designers being conscious of cultural borders and differences, so they are able to come up with better and innovative designs.

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