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Janine Shea

Strategies for Unemployed Architects | Recession & Recovery | Architectural Record - 0 views

  • finessing her resume and portfolio, scouring the Web for job openings, networking at full-throttle. She even printed her own business cards.
  • letter of recommendation
  • assemble their portfolio and resume immediately. The longer one waits, the more difficult the task becomes. “Do it the minute you get laid off
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  • a standout resume is vital.
  • “You need to separate yourself from the pack.”
  • Job hunters should also reach out to everyone they know—friends, former coworkers, old classmates, consultants, contractors.
  • spending up to 10 hours a day hunting for a position
  • The occasional job opening she does spot typically requires five-plus years of experience. “Getting a job is harder and harder,” she says. “There are fewer and fewer jobs.”
Janine Shea

My Beautiful City: An Architect in Austin: Places: Design Observer - 0 views

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    "Barton Springs. [Photo by Wally Gobetz]"
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The trouble with green building | GreenBiz - 9-20-2012 - 0 views

  • So my first-hand experience with trying to build a greener home and office space is this: We’re relying way too much on the end consumer to move the market forward.
  • ’m not saying you should stop marketing to the end consumer -- we must normalize green building for them so they can comfortably adopt it. But we can’t rely on the consumer to push the architect, builder, appraiser and banker to get a green or more-efficient home or building built. It’s just too hard. And at the end of the day, our ongoing research has proven time and again that consumers will choose the more convenient, comfortable option. They simply don’t want to do battle with the construction industry to get a greener home.
  • So if you’re responsible for marketing an energy efficient or green building product, take a chunk of your marketing dollars and spend them on an out of the box campaign to show everyone in the value chain what’s in it for them. When we stop relying on consumers to tilt at windmills, we’ll quickly make green building the new normal.
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    Highlights specific problems facing green buildings.  Recommendation to move away from end consumer demand because process is still too difficult. 
Janine Shea

Creative class - Wikipedia, the free encyclopedia - 0 views

  • It is composed of scientists and engineers, university professors, poets and architects, and also includes "people in design, education, arts, music and entertainment, whose economic function is to create new ideas, new technology and/or creative content”
    • Janine Shea
       
      Customer segmentation variables
    • Janine Shea
       
      Demographic - Occupation, Education, Location, Income, Social class Psychographic (LIFESTYLE) - Activities, Interests, Opinions (AIO Survey), Values, Attitudes Behavioral (towards PRODUCTS) - Benefits sought, Usage rate, Brand loyalty, Readiness to buy
  • Employers see creativity as a channel for self-expression and job satisfaction in their employees. About 38.3 million Americans and 30 percent of the American workforce identify themselves with the Creative Class.
  • cities which attract and retain creative residents prosper, while those that do not stagnate. This research has gained traction in the business community, as well as among politicians and urban planners. Florida and other Creative Class theorists have been invited to meetings of the National Conference of Mayors and numerous economic development committees, such the Denver mayor's Task Force on Creative Spaces and Michigan governor Jennifer Granholm's Cool Cities Initiative.[1]
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  • members of the Creative Class value meritocracy, diversity and individuality, and look for these characteristics when they relocat
  • For a city to attract the Creative Class, he argues, it must possess "the three 'T's": Talent (a highly talented/educated/skilled population), Tolerance (a diverse community, which has a 'live and let live' ethos), and Technology (the technological infrastructure necessary to fuel an entrepreneurial culture)
  • “the Creative Class share of the workforce; innovation, measured as patents per capita; high tech industry, using the Milken Institute's widely accepted Tech Pole Index…; and diversity, measured by the Gay Index, a reasonable proxy for an area’s openness"
  • Creative workers are looking for cultural, social, and technological climates in which they feel they can best "be themselves".
  • active participation in a variety of experiential activities.
  • Street Level Culture
  • hard to draw the line between participant and observer, or between creativity and its creators”
  • interest in being participants and not spectators
    • Janine Shea
       
      Don't be a tourist. Find the local in you.
  • 40 million workers—30 percent of the U.S. workforce
  • Super-Creative Core: This group comprises about 12 percent of all U.S. jobs. It includes a wide range of occupations (e.g. science, engineering, education, computer programming, research), with arts, design, and media workers forming a small subset. Florida considers those belonging to this group to “fully engage in the creative process” (2002, p. 69). The Super-Creative Core is considered innovative, creating commercial products and consumer goods. The primary job function of its members is to be creative and innovative. “Along with problem solving, their work may entail problem finding”
  • knowledge-based workers
  • Florida argues that the Creative Class is socially relevant because of its members' ability to spur regional economic growth through innovation (2002).
  • these usually require a high degree of formal education
Janine Shea

creative class struggle - 0 views

    • Janine Shea
       
      Serve the Creative Class and the cities looking to attract them, but through SUSTAINABLE development so you don't create these mutually exclusive, inequitable scenarios that are not only morally conflicting with our values & brand ideal but also potentially obstructive to our business goals
  • Creative People? Collaborative Spaces? Innovative Places? According to the event’s website – politicians, private consultants, architects, community development advocates, culture workers, and public space activists are meeting to plan the future of urban policy.
  • Hamilton Joins the Fight Against the Creative City!
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  • Check out the great new flyer from Hamiltonians Against Neighborhood Displacement (HAND) about how creative city policies are causing displacement in Hamilton, Ontario.  If you are interested in contacting them please let us know.
Janine Shea

Project for Public Spaces | Place Capital: Re-connecting Economy With Community - 0 views

  • To put public space at the heart of public discourse where it belongs
  • tying culture change to economics
  • “We can shift the paradigm of how we build our cities; thinking about economics is a great way to do that because it cuts through the political divide.”
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  • Place Capital, which posits that the economic value of a robust, dynamic place is much more than the sum of its parts.
  • Great places are created through many “investments” in Place Capital–everything from individual actions that together build a welcoming sense of place, all the way up to major physical changes that make a space usable and accessible.
  • Project-driven processes generally lead to places that follow a general protocol without any consideration for local needs or desires.
  • public space projects
  • tend to fall into one of four types of development
  • project-driven processes; top-down, bureaucratic leadership
  • At its core, Place Capital is about re-connecting economy and community.
  • design-led process.
  • eliance on the singular vision of professional designers and other siloed disciplines can often make for spaces that are lovely as objects, but not terribly functional as public gathering places.
  • place-sensitive. Here, designers and architects are still leading the process, but there is concerted effort to gather community input and ensure that the final design responds to the community that lives, works, and plays around the space.
  • Finally, there are spaces that are created through a place-led approach, which relies not on community input, but on a unified focus on place outcomes built on community engagement. The people who participate in a place-led development process feel invested in the resulting public space, and are more likely to serve as stewards.
  • They are involved meaningfully throughout the process
  • turn proximity into purpose
  • concept of Place Capital is ideally-suited to guide the cooperation of so many individual movements that are looking for ways to work together to change the world for the better. Place Capital employs the Placemaking process to help us outline clear economic goals that re-frame the way that people think not only about public space but, by extension, about the public good in general.
  • surge of interest in Placemaking in the United States over the past few decades.
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