This article explores the establishment of new commons initiatives from an integrated design perspective. Such a deeper understanding of the initial phase of becoming a commons -i.e. becommoning- and its design is crucial as members embark on a laborious, time-consuming and uncertain process in which they need to make critical design choices for their future commons. The design perspective is brought forward by the collective creation through which group values are explicated, the communal resource and its governance take shape and conditions are forged for the commons to emerge. So, the study presents the ‘becommoning’ framework as a first exploration for such a designerly approach to identify the steps and activities communities need to make at the very begin to start unfolding their initiative. The framework is applied in a case study, namely, for exploring the design of housing commons and related genres like cohousing, residential communities that are recognized as microlaboratories offering general insights for pursuing alternative societal models.
MULTIFILE
The Sport Empowers Disabled Youth 2 (SEDY2) project encourages inclusion and equal opportunities in sport for youth with a disability by raising their sports and exercise participation in inclusive settings. The SEDY2 Collection of Inclusion Best Practices report contains good examples of inclusion on youth with a disability in sport at the community and institutional level. This report includes a detailed description of the process of building and using the SEDY2 approach for collection international best practices in sport, the criteria and template used to collect the SEDY2 best practices and the list of SEDY2 international best practices on inclusion in sport for youth with a disability.
In my PD research, I want to focus on how collectivity is practiced in the arts, by learning from the Indonesian multidisciplinary art collective ruangrupa’s use of [the international art exhibition] ‘documenta’ as a tool, and the potential of continuing the experiences outside this group and context. The art practices programmed by ruangrupa can be understood as complex and ambiguous where art is not at the center of attention but part of a larger communal productivity. And where it is not sufficient to be merely critical, and merely voice opposition, but to engage, and create alternatives in everyday life [without being problem-solving or social design]. My research concerns the potential of continuing these practices and experiences outside this particular artist group and exhibition context. Ruangrupa’s work reveals problems of the current Western art system, how it is (hierarchically) organized, the implicit rules, norms and values it is based on. Ruangrupa's practice thus serves as an exercise and point of departure to answer questions about forms of self-organization within the art field. Its collective and multidisciplinary art practice implies the question whether it also can serve as a model for living together on a larger scale (also outside the arts), beyond hierarchies of social and professional structures. There is currently a lack of research on these particular art practices, so that they are not easily accessible for non-participants. For the art field in particular, this concerns the question whether contemporary art can and needs to take place outside established Western gallery/museum, art/curatorial paradigms and what can be learned from ruangrupa's and documenta fifteen's blending of art practice with daily life practice. This is also an urgent practical issue for art schools (including my school Willem de Kooning Academy) that increasingly develop art study programs outside the studio and gallery art paradigm.
