ARTS-E1000 - ARTS Summer School, Lecture, 6.8.2023-21.8.2023
This course space end date is set to 21.08.2023 Search Courses: ARTS-E1000
Concepts
Aim:
The aim of the assignment is to produce background information for the summer school based on the concepts relevant to the theme. The students will work on the assignment in groups based on their institutions. Each group will be assigned one concept to study.
Present the concept assigned to your group using case examples such as construction projects, products etc. The groups should study 2-4 case example projects and study how successful they are in implementing the concept under investigation.
The case examples can vary depending on scale from products to urban plans. The amount of case example projects should be based on the complexity of the case studies in question. The case example projects should be compared to each other.
Output:
The group members can contact each other on the MyCourses platform and if necessary, the home institutions of the group can facilitate a kickstart for the group work.
The findings will be presented in a 10-minute-long presentation during the first week of the summer school. The presentation slides should be submitted by July 31st in MyCourses as a PDF -file. Please practice the presentation beforehand and make sure you can stay within the time limit.
The presentation slides should be self-explanatory so that the other students can return to them during the summer school. Please keep this in mind when balancing the amount of text and images on the slides.
When using photographs or material from outside sources please remember to site the sources in the slides. Graphs and diagrams illustrating the concept should be preferably produced by the group members.
Group work:
Students will work in groups based on their home institution. The groups will study the following concepts:
Group 1. Aalto: REGENERATIVE DESIGN
How can architecture and design contribute to repairing environments disturbed by human or natural activity? Could synthetic restorations function as architectural prosthetics, serving as temporary support until the targeted site or landscape can maintain itself again? Provide clear examples of design projects that successfully regenerate environments.
Group 2. Aalto: BIODIVERSITY AND ECOSYSTEM SERVICES
How could spatial and structural interventions maintain, transform and develop existing or novel ecosystems? How could architecture, flora and fauna co-exist and improve the quality of each other? Provide clear examples of design projects successfully contributing to a richer local and/or global biodiversity.
Group 3. Versailles: POSTHUMANISTIC APPROACH IN DESIGN
How can a non-human-centric architecture be manifested? Instead of developing architecture as sheltering devices, insulating humans from so called “nature”, could architecture consider other species as well? Provide clear examples of design projects successfully using posthumanistic approach.
Group 4. AHO: NO NET LOSS CITY - ECOLOGICAL COMPENSATION
How can urban developments compensate for their physical footprints and disruptions to natural environments. Does the presence of humans automatically degrade the quality of local natural values or could a city develop while supporting the already established ecosystems? Provide clear examples of design projects successfully compensating for the loss existing natural infrastructure.
Group 5. Monterrey: CRADLE TO CRADLE/GRAVE
How can life cycles of products and materials move from linear to circular systems? Could construction materials and architectural elements be refitted, rearranged and processed to obtain a new life? Provide clear examples of design projects successfully being included in a circular resource system.
Group 6: Parsons: REVERSIBLE DESIGN & DESIGN FOR DISASSEMBLY
How can structural arrangements function as reversible assembly systems? Does a building necessarily only have to be built once, or can it be given an extended life through disassembly? Provide clear examples of design projects that are designed with disassembly in mind.
Group 7. SUTD: URBAN MINING / MATERIAL PASSPORT / RESOURCE EFFICIENCY
Can the existing built environment be seen as a material bank? How can structural elements in a building contain information, allowing individual parts to be identified within a larger composition? Could specific architectural components within a building be identified within a database, located and later utilized in new arrangements? Provide clear examples of design projects successfully labeling physical components with an associated digital database.
Group 8. RCA: SUSTAINABILITY CERTIFICATES
How can a contemporary building system gain value from conforming to established sustainability standards? What certificates exist today and could these encourage designers to look beyond conventions, generating new frameworks for architecture? Introduce the most relevant certificates and provide clear examples of design projects successfully meeting the standards. Produce a list of certificates you can find and select 5 for closer inspection. Include building, forest and wood material certificates.
Group 9. Delft: CASCADING / MAXIMIZING MATERIAL FLOW STEPS / RE-, UP-, DOWNCYCLE
How can the life of construction materials be extended beyond their first implementation? Could processing of building components retrieve value and store carbon for longer? Provide clear examples of design projects successfully utilizing materials processed from other products.
Group 10. Warsaw: BIOFILIA, NATURE BASED SOLUTIONS
How can designers implement the knowledge retrieved from systems found in nature? Could the intelligence of flora and fauna be interpreted and transcribed into patterns and logics for construction systems and urban infrastructure? Provide clear examples of design projects successfully informed by systems identified in nature.
Group 11. Polimi: LIFE CYCLE ASSESSMENT
How can designers identify the environmental impact of a material or used in a project? Every product is a result of a complex chain of events and could this information support decision-making in a creative process? Provide clear examples of design projects successfully implementing LCA and identify its intrinsic categorizations.