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    <description>recent bookmarks from shannon_mattern</description>
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	<rdf:li rdf:resource="http://natehill.net/4thfloor.html"/>
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    <title>Behind Index, a Growing Network of Community Spaces | Are.na Editorial</title>
    <dc:date>2025-11-06T18:56:27+00:00</dc:date>
    <link>https://www.are.na/editorial/behind-index-a-growing-network-of-community-spaces</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Index is particularly interesting, I think, for its peer-led programming and its funding structure. We get into both of these things below, but I’ll try to set up the structure a bit here, since there’s a lot at play: The people behind Index are also part of garden3d, which is a worker-owned creative collective made up of the design studio XXIX, the technology studio Sanctuary Computer, the sustainability strategy company Seaborne, and the digital design studio Manhattan Hydraulics. As garden3d, these studios work together in various constellations on client projects, produce their own products, and share their profits (I’m a fan of their profit share calculator, and in general, their commitment to financial transparency). 

We also require all of the “Nodes” — or spaces — in the network to have complete financial transparency with all of their members. At Index in Manhattan, and soon to be Greenpoint, we run a Town Hall every quarter where we do a full breakdown of the profit and loss statement with the entire member membership group. We allow people to ask questions. We allow people to understand why we might have to rent the space for an event on a weekday, when really they would prefer that we won't interrupt their workspace. We bring them into all of that decision making. 

The outcome is that we have a group of people who are super invested in every decision that we make. There’s a recursive feedback loop that is grounded in the fact that we are showing folks that we are not extracting and profiting from them. Rather, we're just doing our very best to steward this space to the best ability we can. I feel strongly that financial transparency is a form of putting our money where our mouth is and reflecting back to the community that we're here for the long-term, and we're doing this because we want to see it exist. There’s no ulterior motive. ]]></description>
<dc:subject>alternative_school event_space cooperatives governance coworking</dc:subject>
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<item rdf:about="http://natehill.net/4thfloor.html">
    <title>Nate Hill</title>
    <dc:date>2014-02-25T13:41:09+00:00</dc:date>
    <link>http://natehill.net/4thfloor.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The 4th Floor now functions as the library’s “beta space”, a space where we prototype new services and solutions before implementing them across the library building and system. This iterative approach to service design allows us to rapid prototype new ideas in a risk-friendly environment. It is a public space. On the 4th Floor, you’ll find library staff solving library service delivery problems right alongside community members using the tools and space to solve their own problems. In the early days of transformation, the 4th Floor was only open during special events. Now it is open afternoons and evening daily.

The facility features state-of-the-art wireless internet access and publicly accessible 3D printers, electronics hacking, laser cutter, vinyl cutter, crafting equipment and much, much more. It also serves as a flexible event space for large scale productions. One Saturday when the library collaborated with co.lab, our local startup accelerator, to throw an event called “Makerday: Thinking in 3D” we increased the library’s door count by 1200 people.

Perhaps most importantly, the 4th Floor embraces and puts into practice David Weinberger’s “library-as-platform” concept. Our library-as-platform offers standardized public services, in this case access to tools and media, 3d printing, coding classes, and more. The community-contributed extensions or plugins on top of the library platform are represented by our strategic partnerships and the expanded functionality they bring. Animating this 14,000 square foot space with the type of rich, exciting, community-building experiences the library aspires to would simply be impossible without turning the space over to the community themselves as the animators. ]]></description>
<dc:subject>libraries makerspaces event_space Chattanooga</dc:subject>
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<item rdf:about="http://www.vanalen.org/groundwork/finalists_clok.html">
    <title>Ground / Work: A Design Competition for Van Alen Institute's New Street-Level Space</title>
    <dc:date>2014-02-25T03:08:31+00:00</dc:date>
    <link>http://www.vanalen.org/groundwork/finalists_clok.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The new home of the Van Alen has to be many things at once. The brief requires curatorial flexibility for a breadth of public programming including exhibitions, lectures, reading groups, and book launches; a comfortable and efficient office environment for different scales and modes of work ranging from formal to casual; a framework that can grow to include the second floor and basement as the institution expands in the future; and a mobile street seat that will bring the Van Alen's mission into the urban realm.
To accommodate this range of possibilities within a limited square footage, we propose a Screen Play; a mechanism to order these spatial, curatorial, and temporal scenarios through a subtle interplay of surfaces that creates a complex and ambiguous presence in the city.
The project employs five types of screen play to enable and give shape to the broadest possible range of uses. Along the east face, a polycarbonate wall of fixed and sliding panels masks a dense pochÉ of private and semi-private programs, producing a figure in plan that is calibrated along its length to accommodate different scales of use from work areas to public events. Above, a synthetic ceiling houses projectors, track and fluorescent lighting, acoustic cones, and mechanical equipment within a module that inverts the traditional heavy coffer into an ethereal geometry of suspended scrims that both obscure and reveal what lies above. Along the west wall, a long niche provides a panoramic screen for continuous multi-projection as well as uninterrupted wall space for exhibition display, seating, and storage. Mirrored exterior screens extend the space outward to include the mobile street seat in front and an outdoor terrace in back, doubling the facade to create a layered threshold from the city into the institutional space of the Van Alen. Translucent interior scrims can be lowered from the ceiling to bracket different programmatic areas, allowing the scale of spaces to be controlled for curatorial and staff needs.
The complex interaction of these surfaces according to different conditions of use creates subtle, luminous effects of reflection, transparency, and translucency that alternately reveal or obscure the changing presence of these activities within the space of the city. ]]></description>
<dc:subject>media_architecture screen_space public_space exhibition event_space modularity</dc:subject>
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<item rdf:about="http://www.metropolismag.com/story/20120214/x-marks-the-spots">
    <title>X Marks the Spots [Studio-X] | Metropolis Magazine</title>
    <dc:date>2012-02-16T22:45:58+00:00</dc:date>
    <link>http://www.metropolismag.com/story/20120214/x-marks-the-spots</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“The X just means we don’t know what’s going to happen,” he adds. This is the spirit of experimentation behind Studio-X, an ambitious global educational initiative currently underway at GSAPP. Equal parts learning space, public forum, and international think tank, Studio-X “affords an enormous bandwidth for thinking about the future of cities,” Wigley says—a mandate that he cites as the core mission of the program, and the reason he first proposed it four years ago... With sister offices now open in Mumbai, Amman, Beijing, and Rio de Janeiro, and more in the offing in South Africa and Japan, Studio-X New York is one spoke in a wheel of architectural activity that is at once international and intensely localized. The overseas branches aren’t intended to be subordinate to either Columbia or the Manhattan pilot office—“not like Starbucks selling some sort of wisdom from New York,” as Wigley puts it. They’re idea incubators in their own right, feeding new knowledge about how cities live and change into a greater community of thought... “It’s about expanding the notion of the university beyond the institution itself,” explains Jeffrey Johnson, the director of the New York–based China Megacities Lab, who has led groups of students on semiannual visits to Studio-X Beijing since it opened in 2009... Situated, like the New York studio, in the very heart of their respective downtowns, each Studio-X satellite operates as a discrete unit, with local directors setting a specific agenda. Yet all of the outposts, following the program’s mission, look to reinvigorate the urban conversation in their particular cities by engaging not just designers but culturally omnivrous thinkers from diverse backgrounds... Gavin Browning, who preceded Twilley and Manaugh at Studio-X New York, admits that the two halves of the Studio-X population are often “operating in separate spheres.”... The space’s social character is part of its appeal. “The potential for the contact there to be informal allows for discussions to take place that don’t take place in a more official setting,” says Jeffrey Inaba, the head of C-Lab, another fixture of Studio-X New York... And then there is the question of how the overseas locales are meant to work in concert with one another, as well as with the university. When they’re not being visited by one of the American student groups (which is to say, the majority of the year), the far-flung outposts operate entirely independently of Columbia. Although that gives them considerable leeway to chart their own course, it reduces the overall coherence of the program. “We all have access to each others’ planning calendars,” says Twilley, referring to her fellow Studio-X directors, “and I check what they’re up to.
But we haven’t translated that information into a coordinated series.”... Some of Studio-X’s satellites are located in places where certain political issues, the kind of things that might be spoken about freely on the campus of Columbia University, simply cannot be addressed. Wigley, who also sees the program as a vehicle for bringing corporate figures into architectural conversations, believes there’s room for healthy debate, but he tends to downplay the potential for outright conflict.  ]]></description>
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    <title>common room</title>
    <dc:date>2009-02-16T20:33:00+00:00</dc:date>
    <link>http://www.common-room.net/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>event_space exhibition space urban_studies</dc:subject>
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