Why I'm an architect that designs for social impact, not buildings | Liz Ogbu | TEDxMidAtlantic
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0:13 - 0:16Hi, I'm Liz, and I'm an architect.
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0:17 - 0:19Whenever I tell people I'm an architect,
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0:20 - 0:22one of the first questions
they often ask me -
0:22 - 0:26is whether or not I have read
or seen "The Fountainhead." -
0:26 - 0:28And for those of you -
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0:28 - 0:30Clearly, some of you have.
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0:30 - 0:32For those of you who are familiar with it
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0:32 - 0:35and have just now silently
asked yourself this question, -
0:35 - 0:36let me just get that out of the way.
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0:36 - 0:39Yes, I have both read the book
and seen the movie. -
0:39 - 0:41No, I didn't really like either of them.
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0:41 - 0:44(Laughter) (Applause)
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0:45 - 0:48And yes, this probably should have been
some indication to me -
0:48 - 0:51that I was well on my way
to an architectural identity crisis, -
0:51 - 0:54which then leads into the second
question that I often get, -
0:54 - 0:56"What kind of buildings do you design?"
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0:57 - 0:59And for me, for the longest time,
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0:59 - 1:01this has been a hard question to answer.
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1:01 - 1:04Usually, I hem and haw,
and then I often say, -
1:04 - 1:06"Oh, I design community centers."
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1:06 - 1:09Partly because a lot of my work
is with communities, -
1:09 - 1:10so it's kind of true,
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1:10 - 1:13and community centers is a typology
that people can relate to. -
1:13 - 1:15So they're like, "Oh yeah! Great! Cool!"
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1:15 - 1:17And then we move on with the conversation.
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1:18 - 1:21But the truth of the matter is
I actually don't design community centers. -
1:21 - 1:24And so what I wanted
to try to do here today -
1:24 - 1:27is to explain to you exactly
what it is that I do. -
1:28 - 1:32I'm an architect
that doesn't design buildings. -
1:32 - 1:35The things that I design,
the things that I build -
1:35 - 1:38are actually opportunities for impact.
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1:39 - 1:42Right now, you're probably
asking yourself one of two questions -
1:42 - 1:44which I can safely say
that my family, friends, -
1:44 - 1:48and even architecture school professors
have asked themselves more than once. -
1:48 - 1:51The first is, "What the heck
is designing opportunities for impact?" -
1:52 - 1:53That's a good question.
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1:53 - 1:57The second is, "What kind of architect
doesn't design buildings?" -
1:57 - 1:58Also a good question.
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1:58 - 2:01By the way, that second question
is often known as, -
2:01 - 2:05"Wow, did she really go $75,000 into debt
at a prestigious architecture school -
2:05 - 2:07only to not practice architecture?"
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2:07 - 2:09I'm still trying to work that one out.
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2:10 - 2:12But let me see if I can explain to you
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2:12 - 2:15what it means to design
opportunities for impact. -
2:15 - 2:18It often means that I'm wearing
one of three hats: -
2:18 - 2:19that of the expert citizen,
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2:19 - 2:21that of the storyteller,
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2:21 - 2:23that of the translator.
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2:23 - 2:25Expert citizen is this great term
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2:25 - 2:29that I came across a couple of years ago
in a book called "Spatial Agency," -
2:29 - 2:32and it so perfectly encapsulated
part of what I do -
2:32 - 2:34that I have used it religiously since.
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2:35 - 2:38An expert citizen, I imagine,
is many of us in this room here today. -
2:38 - 2:41We've been trained
in some type of expertise, -
2:41 - 2:42in my case as a designer.
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2:43 - 2:45What I love about this
is the pairing with the citizen. -
2:45 - 2:48The idea that we're still humans
at the end of the day. -
2:49 - 2:51We have emotions, we have assumptions,
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2:51 - 2:52we have intuition.
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2:52 - 2:55And the idea of expert often means
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2:55 - 2:58people think of it
as we're looking at things -
2:58 - 3:00purely in this objective way,
almost scientifically. -
3:00 - 3:04But I think it's important to remember
that when you combine that human element, -
3:05 - 3:07it's actually a really rich combination.
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3:08 - 3:11Many of the communities that I work with
are considered to be citizen experts. -
3:12 - 3:15Whether I'm working in a poor
African-American community -
3:15 - 3:16in San Francisco
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3:16 - 3:19or a low-income
Kenyan community in Nairobi, -
3:19 - 3:21those people know more
about what it is like -
3:21 - 3:23to live in their communities
than I ever will. -
3:24 - 3:26They know about their needs
and aspirations, -
3:26 - 3:28their successes and their failures.
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3:28 - 3:30And what I need to do
as the expert citizen -
3:30 - 3:32is to create space at the table for them
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3:32 - 3:34to be able to come
and share that knowledge. -
3:34 - 3:36Because oftentimes
they have not been empowered -
3:36 - 3:38to see that knowledge as expertise.
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3:38 - 3:42And so I try, as much as possible,
to issue out an invitation -
3:42 - 3:44in which they feel comfortable doing that.
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3:44 - 3:47I can best describe this
through the story of Mama Sama. -
3:48 - 3:50Mama Sama and many women
throughout the global South -
3:50 - 3:53face a problem when it comes to cooking.
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3:53 - 3:57The traditional technology
is actually a three-stone fire. -
3:57 - 3:59And it actually creates a lot of issues
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3:59 - 4:01including health,
from the smoke inhalation, -
4:01 - 4:02and environment,
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4:02 - 4:05from the deforestation and air pollution,
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4:05 - 4:08and then also safety,
when people go out to fetch wood. -
4:09 - 4:11Cookstoves, particularly
improved cookstoves, -
4:11 - 4:14is something that has been around
for over 30 years -
4:14 - 4:19as an effort to try and alleviate
the issues that come up with the fire. -
4:19 - 4:22And there has been a huge push
from many governments and NGOs -
4:22 - 4:25to try and rapidly increase
the adoption of the cookstoves -
4:25 - 4:27by the year 2020.
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4:27 - 4:31Last year, when I was a fellow at ido.org,
my colleagues and I were hired -
4:31 - 4:33by the Global Alliance
for Clean Cookstoves -
4:33 - 4:34to try and investigate a way
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4:34 - 4:37to close that gap
between the adoption of the stove -
4:37 - 4:40and the potential
that it could still have. -
4:40 - 4:44And so we spent three weeks in Tanzania,
which was one of the target countries. -
4:44 - 4:45We went into many homes,
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4:45 - 4:48talked to many citizen experts,
like Mama Sama. -
4:49 - 4:51And we even cooked with them.
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4:51 - 4:53And what we found
is that many of the women -
4:53 - 4:56actually were familiar
with the idea of the cookstove. -
4:56 - 4:57They even understood its benefits.
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4:57 - 5:00The problem was that when it came time
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5:00 - 5:03to cooking a lot of food
for their extended family, -
5:03 - 5:05a single cookstove was not enough.
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5:05 - 5:08When they wanted to cook ugali,
which is a traditional dish, -
5:08 - 5:11it is just as hard to cook
on a cookstove, if not harder, -
5:12 - 5:13than cooking on a woodfire.
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5:14 - 5:18And when it came to the cost of fuel,
particularly if they were using charcoal, -
5:18 - 5:20the cost of a month's supply of fuel
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5:20 - 5:23was equal to 10 times
the cost of a single stove. -
5:23 - 5:26In that case, the benefits
of a cookstove were not enough. -
5:27 - 5:29So we were sent into the field
to answer the question of -
5:29 - 5:33"How could we use design to increase
the adoption of the cookstove?" -
5:33 - 5:36But what we found was
that adoption really wasn't the problem. -
5:36 - 5:37Many of them owned cookstoves,
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5:37 - 5:40they just couldn't afford
to be able to use it often. -
5:40 - 5:42And if you don't use it often,
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5:42 - 5:44you actually can't get
the benefits from it. -
5:44 - 5:46So by taking the time
to listen to Mama Sama -
5:46 - 5:48and the other citizen experts,
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5:48 - 5:52and really understand their needs
and aspirations of their daily life, -
5:52 - 5:54what we found is that in order
to generate design solutions -
5:54 - 5:56that would be appropriate,
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5:56 - 5:58we had to actually design
from this question, -
5:59 - 6:01"How might we design for the cook
and not the cookstove?" -
6:02 - 6:06It wasn't about improving
the actual technology of the stove, -
6:06 - 6:08it wasn't about increasing
access to markets. -
6:09 - 6:10It was about designing things
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6:10 - 6:12that actually responded
to the women themselves. -
6:13 - 6:16And so we came up with a bunch
of different design solutions, -
6:16 - 6:19everything from implements
that could be added to the stove -
6:19 - 6:20to make it easier to cook
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6:20 - 6:22to actually creating
fuel-saving initiatives, -
6:22 - 6:25something the Global Alliance
had not previously looked at. -
6:26 - 6:29Next, I want to talk to you
about being a storyteller. -
6:29 - 6:33And through that, I'm going to tell
a little bit about the story of Roberto. -
6:34 - 6:36Roberto and his colleagues
are many things: -
6:36 - 6:39they are artisans, they are craftsmen,
they are tradesmen. -
6:39 - 6:41They're also day laborers.
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6:42 - 6:45They're some of the over
115,000 men and women -
6:45 - 6:46who look for a day’s work
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6:46 - 6:49for a day’s wages
in cities across the US every day. -
6:49 - 6:52And the vast majority of the sites
that they do it at -
6:52 - 6:53are informal sites,
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6:53 - 6:56meaning that they were
designed for other uses. -
6:56 - 6:58They are the street corners,
the gas stations, -
6:58 - 7:00the Home Depot parking lot.
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7:01 - 7:05And usually at those sites, they lack
even the most basic of human necessities. -
7:05 - 7:07There's no shelter,
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7:07 - 7:09there's no water, there's no toilets.
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7:10 - 7:11A few years ago,
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7:11 - 7:14I was the design director at a non-profit
called Public Architecture, -
7:14 - 7:17and my colleagues and I felt
that there was something -
7:17 - 7:18that we could do about this.
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7:18 - 7:21But it wasn't like a day laborer
was ever going to walk into our office -
7:21 - 7:25and say, "Hi, I'm Roberto,
and I'm having a problem at the corner. -
7:25 - 7:26I could really use your help."
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7:27 - 7:29So we actually, had to go
out into the streets to them. -
7:30 - 7:33And we treated them
both as our clients and our co-designers. -
7:33 - 7:36And the product of those conversations,
several years of conversations, -
7:36 - 7:38resulted in this -
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7:38 - 7:40the Day Labour Station.
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7:40 - 7:42This is a prototype,
a semi-permanent structure -
7:42 - 7:44that can be deployed
at informal hiring sites. -
7:44 - 7:46It's based on an idea of a kit of parts
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7:46 - 7:49so you can reconfigure it
to meet the needs of a given site. -
7:49 - 7:52In this case, what you see
is a rather large station -
7:52 - 7:55because it was supposed to be
a proposal for a site in Los Angeles -
7:55 - 7:58that was going to house over 150 workers.
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7:58 - 8:00But the central elements
were always the same: -
8:00 - 8:04a seating area and pods
that could house a bathroom, -
8:04 - 8:06an office for a work site coordinator,
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8:06 - 8:10or even a kitchen so that you could have
an income-generating food business -
8:10 - 8:11that could help to sustain the station.
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8:11 - 8:13It's flexible in use,
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8:13 - 8:15everything from an employment
center to a classroom -
8:15 - 8:18so you could teach
additional skills to the workers. -
8:19 - 8:22I often get asked if by building this,
was I not making it worse -
8:22 - 8:25for Roberto and others like him.
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8:25 - 8:28But the fact of the matter
is that many of these hiring sites -
8:28 - 8:30have been around for years if not decades.
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8:30 - 8:32If you think of most cities
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8:32 - 8:35when you go around and you're looking,
there are no giant signs saying, -
8:35 - 8:36"Day laborers here!"
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8:37 - 8:40But if you were to ask anyone,
they would be able to tell you, -
8:40 - 8:43"Oh, yeah. You go to that corner,
and that's where you pick them up." -
8:43 - 8:45The fact that there is nothing there
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8:45 - 8:48belies the fact that they're
actually rather permanent. -
8:48 - 8:51I recall Juan, who was a day laborer
that I met in Houston -
8:51 - 8:53when we were looking
at building one of these there, -
8:53 - 8:57and he said to me, "I've been coming
to this site for many years. -
8:57 - 8:59It is a place in which I earn my living.
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8:59 - 9:00It is sacred to me.
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9:01 - 9:04But because there is nothing here,
no one else sees that." -
9:05 - 9:07And so for Juan and others like him,
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9:07 - 9:09building this wasn't
about trying to create something -
9:09 - 9:12that would bring
unwanted attention to them. -
9:12 - 9:13It was about trying to create something
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9:13 - 9:16that is actually emblematic
of the permanence of their site -
9:16 - 9:19and that could help actually
bring dignity to them. -
9:19 - 9:23In terms of an architectural project,
this was actually a bit of a failure. -
9:23 - 9:25We launched it right before
the economic collapse, -
9:25 - 9:29and although I flew all around the country
at the invitation of cities -
9:29 - 9:31who were really interested
as this is a novel solution, -
9:31 - 9:33when the collapse hit,
-
9:33 - 9:35as you're closing schools
and cutting services, -
9:35 - 9:38it simply was politically untenable
to spend money on illegals. -
9:39 - 9:41But that actually forced us to think
-
9:41 - 9:44about what were some of the other
outcomes that came out of this. -
9:44 - 9:46We treated this project
not as a design exercise -
9:47 - 9:49but as an opportunity
to create transformation -
9:49 - 9:52of the way in which people
saw a particular type of space -
9:52 - 9:54and saw a particular type of people.
-
9:54 - 9:56And to that end,
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9:56 - 10:01we tried to tell the stories of Roberto,
Juan, Gabrielle, Leobardo -
10:01 - 10:02and others like them.
-
10:02 - 10:05We tried to tell the stories of them
and their American dream, -
10:05 - 10:08their desire to come here
for a better life for themselves -
10:08 - 10:09and for their families.
-
10:09 - 10:12And we tried to tell the stories
of their sacred spaces, -
10:12 - 10:15the places in which they earned a living
which would support that dream. -
10:15 - 10:17And we took that story far and wide.
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10:17 - 10:19We took it to The Los Angeles Times,
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10:19 - 10:22the Cooper-Hewitt,
National Design Museum, -
10:22 - 10:23the Venice Bienalle.
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10:23 - 10:27And what you see here is actually
a poster from a big international award -
10:27 - 10:28that we won for this project.
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10:28 - 10:31And on this poster are actually
quotes from emails -
10:31 - 10:33that I received over the years
from doing this project, -
10:33 - 10:35both good and, actually, a lot bad.
-
10:35 - 10:38And the thing that we felt
really important -
10:38 - 10:40was that this was a catalyst
for a conversation. -
10:41 - 10:43No one was talking
about these sites before, -
10:43 - 10:45and by opening up the conversation
-
10:45 - 10:47we were talking both
about what they are now -
10:47 - 10:49and what they have the potential to be.
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10:49 - 10:53It was also really important to tell
the story not only to the wider public -
10:53 - 10:55but also to the workers themselves.
-
10:56 - 10:58One of my favorite moments
from this project -
10:58 - 11:00was that I had the opportunity
-
11:00 - 11:02to present it to a convention
of day laborers - -
11:02 - 11:03and yes, there is such a thing.
-
11:03 - 11:06And I only spoke
for a short period of time, -
11:06 - 11:08but after I did,
many people came up to me, -
11:09 - 11:11and I was truly touched
by how touched they were -
11:12 - 11:14at being able to see up there
on that big screen -
11:14 - 11:17something that acknowledged
that they had been seen, -
11:17 - 11:20that they had been heard,
and that they had been valued. -
11:21 - 11:23And that's the power
of being a storyteller. -
11:24 - 11:26As for the translator hat,
you have actually seen that -
11:26 - 11:29over the ten plus minutes
that I've been talking. -
11:29 - 11:32It's basically taking the things I hear
when I listen at the table -
11:32 - 11:36and the stories that I know
that I need to tell to create impact -
11:36 - 11:39and combining them
into something that is tangible - -
11:39 - 11:41a reflection of all of that.
-
11:41 - 11:44And that allows us to move forward
on whatever the social issue is -
11:44 - 11:46that I'm trying to address.
-
11:46 - 11:50And so, that is what it means
to design opportunities for impact. -
11:50 - 11:52It means that I'm an expert citizen
-
11:52 - 11:54who creates space at the table
for citizen experts. -
11:55 - 11:57That I'm a storyteller
that tries to tell authentic stories -
11:57 - 12:00of the people I meet and design with.
-
12:00 - 12:02And that I'm a translator
-
12:02 - 12:05who tries to bring tangibility
to a vision of places and services -
12:05 - 12:08that speak to the needs and aspirations
of the human experience. -
12:09 - 12:12And so I hope that if you take
anything away today from my talk, -
12:12 - 12:14well, there is sort of three things.
-
12:14 - 12:17The first is never really ask that
Fountainhead question to an architect. -
12:17 - 12:19We don't like it.
-
12:19 - 12:21The other thing is that I hope
-
12:21 - 12:24that you think about architecture
and design a little bit differently: -
12:24 - 12:27about what it is and what it has
the potential to impact. -
12:27 - 12:30And the third is that the things
that I have shown you -
12:30 - 12:32are about the combination
of both the hard skills of design -
12:32 - 12:34and the soft skills of humanity.
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12:35 - 12:39But those soft skills are not the domain,
the exclusive domain of design. -
12:39 - 12:41They can be used by all of you
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12:41 - 12:45in anything that you are trying to do
in your own lives and in your own crafts. -
12:45 - 12:47And so I hope that you move on today
-
12:47 - 12:49trying to figure out exactly
how to do that. -
12:49 - 12:50Thank you.
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12:50 - 12:53(Applause)
- Title:
- Why I'm an architect that designs for social impact, not buildings | Liz Ogbu | TEDxMidAtlantic
- Description:
-
How can we combine the hard skills of design and the soft skills of humanity? How can we be expert citizens, but also citizen experts?
A designer, social innovator, and academic, Liz is an expert on sustainable design and spatial innovation in challenged urban environments globally. From designing shelters for immigrant day laborers in the U.S. to a water and health social enterprise for low-income Kenyans, Liz has a long history of engagement in the design for social impact movement.
This talk was given at a local TEDx event, produced independently of the TED Conferences.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDxTalks
- Duration:
- 12:54