Discovering Cities: Sasaki’s Mary Anne Ocampo on Teaching and Practicing Urban Design and the Radical Possibility of Embracing the Margin
By Gail Kutac
Mary Anne Ocampo is a Principal at Sasaki, a multidisciplinary firm with an integrated planning and design philosophy, and an Associate Professor of the Practice of Urban Design and Planning in the Department of Urban Studies and Planning at Massachusetts Institute of Technology. She practices as an urban designer, working on international and domestic institutional and urban projects, leading teams with strategic planning, inclusive processes, and a commitment to design excellence. Mary Anne’s research focuses on urban design and cultural identity, socio-ecological urban design approaches to resilience, and planning and design for higher education.
In her interview with Gail, Mary Anne discusses her dual passions for architecture and urban design, and embracing her academic and professional pursuits simultaneously, advising new designers to keep an open mind and take on new challenges.
GK: How did your interest in architecture and urban design first develop? I see that you studied both disciplines, which are naturally intertwined.
MAO: I developed an interest in architecture and urban design at a young age. My father loved to travel, and those childhood trips provided an opportunity for me to experience and appreciate the beauty of art and architecture. Visiting different cities planted the seeds for a career in design early on. We would drive to Chicago, New York, and other major cities within a day’s drive to explore. My sister and I would look out of the car window and watch flickering landscapes of the Appalachian Mountains become farms and then towns and finally city skylines. I loved discovering each place we visited, and I would come home with a handful of postcards and photographs, inspired to sketch what I had seen and to capture those moments.
When I was in high school, I realized that I wanted to pursue architecture in college. I had an exceptional physics teacher who always went the extra mile, inspiring me to be curious—we would construct spaghetti bridges in physics class and discuss design concepts and structural loads—and to find a future career that I was passionate about. At this time, our school was building an addition, and my teacher introduced me to the architect of the project, who offered invaluable insight on design ideas and even brought me books on Le Corbusier and Mies van der Rohe during his site visits. I got to travel around the world looking at those architecture books. Soon thereafter, I looked at architecture schools, and found out I would need to take a design exam that entailed building physical three-dimensional models, creative writing, and drawing. I was hooked! I knew this was my calling.
My interest in urban design stems not just from my immersion in all aspects of architecture, but also from growing up in a small town and from my undergraduate experience at the University of Kentucky. As a Filipina-American living in a coal-mining town called Harlan, Kentucky, I grew up in a multi-cultural environment that was a mix of Filipino and Appalachian customs and rituals. From small picnics with Filipino families eating pancit and bibingka, to the Festival of the Mountain Masters, where the community celebrated craftspeople, I grew up in a place with a strong sense of community. And the built environment—a park with a pavilion, a downtown civic plaza, my neighborhood nested within the hollow—were places designed for these community interactions.
I had the opportunity to travel a lot more while studying architecture at the University of Kentucky, and my world opened up in a new way. Visiting different European cities that were only an hour or two apart by train, but were all very different, piqued my interest in urban design. I wanted to understand how cities developed over time and the forces that influenced their form. I wanted to understand how people experience cities and, in particular, how the built environment shapes those experiences. I find urban history, city morphologies, and everyday rituals—seeing where people live, work, and gather—fascinating, and all of this fed my love and appreciation for urban design.
Mary Anne investigating the waterway systems during a post-Typhoon Haiyan MIT research trip to Metro Manila, Philippines. Photo by B. Sparano.
What did you learn about yourself in this process of traveling and studying?
I learned that I loved discovering cities. When traveling, I would visit significant works of architecture and public spaces, and then I would wander through neighborhoods, following the sights and sounds of things that were interesting to me. In school, I found a sense of community in the design studio and enjoyed the act of making as thinking. What I learned about myself was that I could synthesize different interests through architecture and urban design projects—from a curiosity of how water once shaped Metro Manila’s urban fabric, to studying Native American earthworks out West, to reimagining affordable housing in downtown Louisville—and these interests were tied to meaningful ways that the built environment reflected cultural values and societal needs.
After your studies, how did you get your start in the field?
I went to the University of Kentucky, which has a highly reputed architecture program built on a very experimental and experiential pedagogy of approaching architecture through filmmaking, collage, kinetic sculptures, urban design, etc. The curriculum was radical for me in that it redefined architecture beyond a building, and it opened my eyes to a different way of seeing the world.
While at UK, I knew that I wanted to eventually practice, but I had also always thought I might enjoy teaching. So I attended Cornell for a master's degree and studied alongside amazing and talented peers and faculty. I was lucky to have Lily Chi and Andrea Simitch as my professors because they are remarkable design teachers. Plus, I got to be in Ithaca. I was a teaching associate at Cornell, and through this experience, I discovered that I did, indeed, love academia. I went on to teach at Syracuse University in the School of Architecture for three years, and a good portion of my work there pivoted towards urbanism. My interests were moving into larger city-making ideas. With this new focus, I decided to go back to school again. I went to Harvard Graduate School of Design for an urban design degree to learn more about planning. At the GSD, I met some wonderful people from Sasaki who were on my reviews, and that launched my professional practice as an urban designer.
“. . . remember to reflect on the relevancy of your design work and how it may serve a greater purpose within current societal needs.”
Do you have peers who went that route, who started out in academia and then moved to private practice?
I have not had many peers who have done that. It is challenging to make the move from the academic world to the world of private practice, so I’m truly fortunate today to live in both realms. I think as an academic, you are balancing teaching and research. Observing my friends who are academics, you are immersed in your research, contributing to design discourse through scholarship. I have found that in urban design practice, I was quickly humbled by the complexity of working with clients and communities, reviewing timelines and budgets, and being aware of the historical and political context of any given project. When I transitioned into practice from academia, I got a good, healthy dose of working in the real world [laughs]. In my experience, I have seen more people make the transition from practice into teaching. I don’t see a lot of academics moving into practice, although some build their personal practice within their academic work and maintain both.
How did your colleagues from Sasaki convince you to make the leap and join them?
Simply put, I saw the work they were doing! I was comfortable and confident that I would fit into the environment and culture of this progressive firm. Sasaki sought out these compelling and dynamic projects, and their people were working in different parts of the US and around the world. I was inspired by several of the people I met who had gone back to teaching to some degree, so I could see that it was possible to succeed in both worlds. The practice melded the right balance for me of thinking idealistically but realistically, and challenging the norms and the status quo in a way that was visionary but also grounded. I had been impressed with the critics from Sasaki who were on my student reviews, and then I saw that the young professionals who were coming out of the firm possessed an appreciation and a passion for what they did. That’s all I needed to know to determine that Sasaki would offer me the best opportunity to grow and to embrace both my academic and professional urban design pursuits.
Design work session at Sasaki. Photo by M. Arielly.
Teaching an MIT urban design workshop in Venice, Italy. Image: R. Ocampo.
It’s a firm with an incredible legacy that is still doing great work. Where are you in your career today?
I am currently an Urban Design Principal and have been with Sasaki for twelve years. I am also an Associate Professor of the Practice of Urban Design and Planning at MIT, so I teach part-time in the Department of Urban Studies and Planning. My urban design classes are geared toward planning students who are interested in design but who may or may not have a background in design. My third role is focused on the nonprofit world with the Hideo Sasaki Foundation. This organization is centered on amplifying and uplifting historically underrepresented voices in the design of the built environment, specifically looking to cities within the Greater Boston area. The organization supports community leaders who work tirelessly for their neighborhoods and cities. I am the Chair of the Board for the Foundation and have been fortunate to work with Alexandra Lee, who, as Executive Director, helped create a new vision for the Foundation as a proactive design organization about five years ago, and with Jennifer Lawrence, who is the new Executive Director with a wealth of knowledge on city planning and community engagement.
Working across these three roles can be challenging and exhausting at times, but the rewards far outweigh the obstacles. I feel extremely fortunate to have an opportunity to experience the world of architecture and urban design through all three of these avenues.
What have been some of the biggest challenges of your career so far?
The last couple of years, like for many people, have been a time for deep reflection for me, of understanding my role as an urban designer amid systems of oppression across the US. Oppressive policies and practices have been translated into the design of the built environment historically through redlining, the erasure of whole neighborhoods with urban renewal, and so on. One question I ask myself again and again is, "What are we, as designers, doing to help contribute to a more just world?” I have been grappling with a larger, existential personal reflection in trying to answer that question. I believe that my personal values should be intricately connected to my professional approach to urban design. For me, that requires interrogating existing systems of power, a radical approach to inclusion that empowers people in planning processes, and designing physical frameworks that are tackling some of the most significant challenges of our time: climate change and diversity, equity, and inclusion.
“. . . the impact I would like to have in this world is creating strong collaborations that promote inclusive and resilient design visions.”
What are some highlights of the work you’ve done and your career?
One of the most rewarding highlights of my career so far has been working alongside a great group of talented people at Sasaki, the Sasaki Foundation, and at MIT. Collaborating with these colleagues and friends has made me a better designer because we each bring to the table unique gifts and ideas to share with one another.
Some of the most gratifying work for me was creating an urban design vision for Kabul, Afghanistan, about five years ago when there was optimism and hope for societal change. Working with President Ashraf Ghani, our Sasaki team spent multiple years planning and designing. A significant project within this urban design vision was focused on building a more inclusive city for women, where we integrated listening sessions with many courageous and inspiring Afghan women sharing their experiences and ideas. We developed design strategies to reimagine the services, mobility options, and open spaces needed for women in the city. Though a lot has changed since 2017, it was one of the most profound projects for me because of the women involved, the geo-political context, and scale of the plan.
I’ve also had great experiences working with the University of Kentucky, my alma mater, on a Diversity, Equity, and Inclusion Facilities and Spaces Plan. This was another challenging and fulfilling project because it required a new approach to campus planning that focused on the barriers to inclusion and who is impacted by these barriers. The plan acknowledges the many urban and campus histories that make up the past while looking to the future of the campus. It embraces intersectional thinking, recognizing that academic excellence is tied to diversity, equity, and inclusion, and that the campus should be a place where people can bring their full selves, and thrive while doing so. Deepening the understanding of inclusion and how institutions participate in building more equitable cities is one of the more meaningful aspects of the opportunities I’ve had as of late.
Another major highlight in my career was a MIT design studio in Metro Manila, working with students and the World Bank on a socio-ecological approach to building resilient communities. Urban design recommendations integrated landscape, hydrology, infrastructure, and development strategies for informal communities residing within a low-lying flood-prone area. Of course, that work has been exciting professionally, but it has also been fulfilling on a personal level as well. Many of my father’s family members still live in the Philippines, so learning more about Filipino customs and especially the rituals associated with water there sparked my desire to focus on this project. Peeling back the colonial histories of the Philippines and understanding the climatic conditions of living within an archipelago with a growing population has continued to be an important part of my research as well as part of my professional practice.
Who are you admiring right now?
That’s a hard one because there are so many inspiring people doing wonderful things! I’m reading quite a bit of the work of Bell Hooks. As a Black feminist from Kentucky, my home state, she challenged the norm on so many levels—the way that we think about space, race, gender, socioeconomics, and even teaching. I’m currently reading her book Teaching to Transgress, which examines how teaching and learning can be radical. She advocates resisting the status quo, which I admire greatly. This work has been around for more than twenty years, so its influence has a long reach for addressing the way that we’re confronting some of the social injustices happening in the world, specifically in design and academia. In her work, she covers all the tenets that I hold dear: teaching, intersectional thinking, space, power, and embracing the margin as a condition that holds radical possibility. I love that hooks spatializes power.
Meeting with Sasaki Foundation Design Grantee, Bridgette Wallace at the G{Code} House, a renovated living and learning space for women and non-binary people of color in Roxbury. Image by R. Ocampo.
There is certainly relevance to urban design in that concept of “embracing the margin!” What is the impact you’d like to have on the world, and what would you say is your core mission?
I’m continually reflecting on my personal philosophy and my approach to urban design. I would say the impact I would like to have in this world is creating strong collaborations that promote inclusive and resilient design visions. Part of this work is amplifying and uplifting diverse voices so that those perspectives are shaping the design of cities and neighborhoods. The other part I really think is important is translating ideas and values into a spatial strategy composed of dynamic systems-thinking with buildings, public space, environmental systems, mobility, and infrastructure. So to me, there’s this combination of understanding design as a process, and design as a commitment that helps us to recognize the ways we value our environment and people.
What advice would you have for someone starting their career and would that advice be any different for women?
The best advice that I would have given myself as a young woman embarking on a new professional journey twenty years ago is to stay true to yourself, your convictions, and your values. Make sure that you love what you do, and always keep a very open mind as you pursue your interests. Never lose your passion for learning. And don’t be afraid to tackle new challenges while also keeping sight of the goals you set for yourself. Be prepared to find ways to intertwine all aspects of the profession, from technical skills to communication and collaboration.
I would say to everyone, but especially those who identify as women, there’s a level of being brave and interrogating the systems and the forms of bias that happen within our profession and that happen day to day. Find a network of people and colleagues that share your values and can support you. Be part of the change you want to see by how you collaborate and the work you take on. Last, I think it is important to remember to reflect on the relevancy of your design work and how it may serve a greater purpose within current societal needs.