Études de cas
Justice réparatrice
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Author of case study: Marcela Torres Molano
Geopolitical location of space:
601 Tully St
Syracuse, NY
Extant? Yes
Architect:
Deanna Van Buren
Start date: 2004; project officially opened in 2015
End date: ongoing
A peace-building centre that uses a traditional Native American approach to justice, focuses on healing and community restoration rather than punishment.
Participation in the peacemaking program is voluntary. In cases that involve victims, the prosecutor is responsible for explaining the process to the victim and obtaining their consent. Prior to the sessions, the NWSPP staff meets with the defendant and the victim if desired, to explain the peacemaking process.
Yes, The NWSPP takes referrals from the police, courts, and schools to address numerous crimes and conflicts, including disputes between neighbours, landlords & tenants, and families.
The meetings are facilitated by community members trained peacemakers to allow the affected parts to communicate and reach agreement about restitution and/or repair. With the court referred cases, the agreement is put on a legal record.
Yes, the centre is designed for safe listening for both individual and group sessions, moreover the NWPP service is free and confidential.
Victims, defendants, family members, friends, and others who were affected by the dispute. All participants have an opportunity to speak out about how the dispute affected them.
This is a private house that belongs to the NWSPP. The space is managed by the organisation to serve the community.
The house was vandalized by some youth and as a consequence they have had to lock the doors, which were open before.
The NWSPP is located in a two floor house. When the Center was designed, community input was included in every step of the process. There is a main meeting space located on the second floor; it includes a big empty space for group meetings, a seating area, a desk space and a small kitchen with a dining bar. This space benefits from good natural lighting and ventilation. It is predominantly white, with soft calming colours used for the furniture and decoration.
In the meeting space, participants generally sit in a circle, focusing on the center where symbolic objects can be placed to be a reminder of the shared values among those in the circle. A talking piece is used as a way to ensure respect. As usual, the talking piece is passed within the circle and only the person holding it can speak.
The centre has a community organized food garden, located within a four minute walking distance from the house.
“Originally, it was originally a family home that was no longer in use, and had been taken over by a school of education professor at Syracuse University, and that they had made it into a commercial space. So you’re no longer allowed to live there. The space has been turned over into a commercial space. So something so it can’t be used residentially but when you look at it from the outside, it is obviously a two story home.”
The centre is located in a high crime neighbourhood in Syracuse, and during the first year of functioning, it provided help to over 75 residents in the Near Westside. Moreover, it was the first facility of its kind in the entire country.
The Syracuse Peacemaking Project addresses crimes and social disorder through restorative justice, community justice, and people power. It uses a peacemaking approach, a traditional Native American method, that focuses on healing and restoration instead of punishment.
The centre services such as RJ to solve community-based conflicts are free of charge. In addition, the centre organises place-based projects created and implemented by community members, such as the food garden.
est auteure, conférencière, chroniqueuse et podcasteuse dans les domaines de l'architecture et des arts décoratifs. Elle termine sa maîtrise en histoire de l'art à l'Université Concordia, à Montréal, et détient un baccalauréat en commerce avec une majeure en marketing de la John Molson School of Business. Elle a étudié la psychologie industrielle à Los Angeles, en Californie. Sicotte est l'auteure de deux ouvrages publiés sur le design (2015, 2018) aux éditions Cardinal.
est candidate colombienne au doctorat au Département d'histoire de l'art de l'Université Concordia. Elle a une formation en design architectural et en activisme communautaire et détient une maîtrise en bâtiment et design urbain de la Bartlett School of Architecture à Londres, en Angleterre. Ses intérêts se concentrent sur l'art socialement engagé, les mouvements sociaux, l'activisme collaboratif dans des scénarios post-conflit, l'art produit collectivement et l'art produit en relation avec le cadre bâti.
est candidat au doctorat en sciences humaines à l'Université Concordia. Ses recherches portent sur l'agentivité spatiale, l'esthétique sociale, les récits des jeunes et les représentations graphiques de la mémoire urbaine. Il a publié sur la relation entre les enfants, le jeu et l'espace public à Carthagène, en Colombie. Il a également travaillé comme éditeur sur des projets littéraires, dont Territorio Fértil, qui a reçu le prix María Nelly Murillo Hinestroza pour la littérature afro-colombienne.
est professeure agrégé et Chaire de recherche du Canada en architectures de justice spatiale (niveau 2) à l'École d'architecture Peter Guo-hua Fu de l'Université McGill, Montréal, Québec, Canada. Ses intérêts de recherche comprennent le logement à loyer modique et le design participatif, la protestation civile et le design urbain, ainsi que les paysages des campus et la race. Ses publications incluent le livre co-édité, Orienting Istanbul (2010) et le livre (auteure unique), Istanbul Open City (2018).
est artiste et professeure d'histoire de l'art à l'Université Concordia. Ses travaux portent sur les femmes et l'histoire du cadre bâti, les paysages urbains, la recherche-création et l'histoire orale. Elle a publié sur l'histoire spatiale du mouvement pour le suffrage des femmes, l'art public, les jardins et les politiques du changement urbain. En plus de ses recherches sur les espaces de justice réparatrice et transitionnelle, elle dirige un projet d'histoire orale sur les mémoires urbaines des montréalais et montréalaises.
est un ancien titulaire de la Chaire de recherche du Canada en interprétation de l'histoire orale (2016-2021). Il est professeur agrégé au Département de théâtre de l'Université Concordia et codirecteur du Centre d’histoire orale et de récits numérisés (CHORN) de Concordia. Sa subvention de la Fondation canadienne pour l'innovation en infrastructure lui a permis de créer le Laboratoire d'écoute active (ALLab) en 2018. Basé au CHORN, l'ALLab est un centre de recherche-création de premier plan pour le pouvoir transformateur de l'écoute.
