Always good to know you are not alone, this has been a relief to read. I copy here:
we need to decolonize/decarbonize (…) the old elitist models need new energy, new insight and new material (…) the school educates, while training is a lifelong process happening after that (…) people in practice are sitting at the table with eight different disciplines, all: talking to each other, not worried about their boundaries and not siloing knowledge production in the way that many universities still insist on (…) How do we invert growth and our relationship to waste? How do we wrestle with the curious paradox that our relationship to technology – hijacked by capital – got us into this mess in the first place, and yet only technology can get us out of it? (…) We may be faced with knowledge we do not recognise (…) generosity pertains to economies of love that undo the transactional. How to decentre the perception of difference is the important question (…) let the perimeter of the discipline dissolve
A new, fully online Profed course on Circular Economy at an advanced level will be available by TU Delft, October 7. Come join us at the “Circular Building Products for a Sustainable Built Environment” online course, register now and enhance your learning on Circular Economy.
The course is suitable for architects, product designers, managers, supply chain actors and other professionals working towards the development of future products used to create sustainable, circular buildings. TU Delft’s Circular Built Environment hub (CBE) has designed and developed this course working with leading industry and research partners, to achieve a higher level of applicability and relevance. It is based on real world case studies and provides you with the tools to create new products and business models. It will help you to fully understand the complexity of the task and to be able to evaluate existing circular approaches. You won’t be alone: a group of highly qualified people will support your learning throughout the course. For more information please visit our page.
After a very successful second re-run, our MOOC has been launched again last Monday! This is a self-paced MOOC, so you can start any time and also follow it in your own time. If you are a student, a working professional in the field of architecture, urban design and engineering and you want to know more about the circular economy, join the course and the instructors from our department will guide you through.
About this course
Building construction is one of the most waste producing sectors. In the European Union, construction alone accounts for approximately 30% of the raw material input. In addition, the different life-cycle stages of buildings, from construction to end-of-life, cause a significant environmental impact related to energy consumption, waste generation and direct and indirect greenhouse gas emissions.
The Circular Economy model offers guidelines and principles for promoting more sustainable building construction and reducing the impact on our environment. If you are interested in taking your first steps in transitioning to a more sustainable manner of construction, then this course is for you!
In this course you will become familiar with circularity as a systemic, multi-disciplinary approach, concerned with the different scale, from material to product, building, city, and region.
Some aspects of circularity that will be included in this course are maximizing reuse and recycle levels by closing the material loops. You will also learn how the Circular Economy can help to realign business incentives in supply chains, and how consumers can be engaged and contribute to the transition through new business models enabling circular design, reuse, repair, remanufacturing and recycling of building components.
In addition, you will learn how architecture and urban design can be adapted according to the principles of the Circular Economy and ensure that construction is more sustainable. You will also learn from case studies how companies already profitably incorporate this new theory into the design, construction and operation of the built environment.
What you’ll learn
At the end of the course you will be able to:
Recognize the principles of circularity and their application to the built environment
Identify the scales of the built environment from materials and products to cities and regions
Identify the life-cycle phases of building products and how they can be circular
Discuss design principles in building of products and key aspects such as stakeholders, incentives, time-frames, business models
Discuss the circular design and development approach for buildings and recognize the impact of a building on society and the environment during its life-cycle
Recognize the flows at different city scales and how they differ depending on the actors and the local context
Reflect on the complexity and variety of possible circular solutions in terms of energy, water and waste management
Analyze and map the different stages and value webs of building materials at the regional level
Reflect on possible environmental impacts of the different building life-cycle stages and activities along the value web
Explore the potential of intervening to steer the value web towards more circularity
You can start learning all about the circular economy by clicking this link right now! Also, if you are interested in the work that is going on in the field of circularity, have a look at the Circular Built Environment Hub.
As we have seen above, the self defining nature is a means of maintaining authority, in the one instance over society, in the other over students. Teachers set the problems and provide the means to solve them. The fact that theories are developed in artificial environments means that their behaviour become entirely predictable. As Argyris and Schön note;
..techniques make self fulfilling prophecies for the professions. These techniques tend to be used to achieve a self-reinforcing system that maintain constancy…The artificial environments are designed to enable the professions to realise objectives as he sees them control the task, render the behaviour of others predictable, and thereby control it.
The same level of control is equally apparent in the profession of the teacher. It may be seen therefore that self-defining rational theory also leads to self-fulfilling theory. Nietzsche is withering in his critique of the rational mind’s pursuit of the truth and its apparent limitations:
If somebody hides a thing behind a bush, seeks it out and finds it in the self-same place, then there is not much to boast of respecting this seeking and finding; thus, however, matters stand with the pursuit of seeking and finding ‘truth’ within the realm of reason.
What this points to is the dangers of the closed circuit. Theory guides practice which in turn becomes the basis for theory; at best this a refining process in pursuit of the perfected theory defining a universal truth; at worst it becomes like a dog chasing his tail. This system generates a mirroring effect, whereby the precepts of the theory are reflected in the actions of practice.
Jeremy Till, Contingent Theory: The Educator as Ironist, 1996. Full article available here (highlighting is mine)
The question for the coming autumn is resolutely not how can we recreate the architecture studio online. It is how we can liberate our discipline from the assumption that an ill-defined space, time, pedagogy and culture is the only way to teach design. It is an opportunity to re-construct architecture education in a more critical, inclusive and democratic way. (highlighting is mine)
Last Easter, Yorgos (husband and studio partner) oversaw the construction of a treehouse in Tzoumerka. We have just received this wonderful video from BOULOUKI, the collective responsible for the workshop, and we are very proud and happy to share it with you all. Design-build workshops -once well planned- can become incredible tools for learning. Well done BOULOUKI and well done to all the students and craftsmen who participated.
“Shelters” project combined two workshops in tandem in the neighboring mountain refuges of Tzoumerka, during 1-6 of May 2019. The first one titled “Rearranging the traditional wood-fired oven” was about constructing an oven in the mountain refuge of Melissourgoi, using local stone, bricks, clay, pumice stone, lime and salt, as building materials. In the mountain refuge of Pramanta, the workshop was about using timber as the main material in order to “Introduce a tree-house in Tzoumerka”. During both workshops, apart from the site work and hands-on experience guided by 4 experienced masons, the 20 participants had the opportunity to attend a series of lectures and presentations given by reputable professors and teams related to the field of construction and commons.
(…) alternative teaching model called Studio One (Offered at University of California (UC) Berkeley’s Department of Architecture in the College of Environmental Design), which seeks to facilitate new dynamic links between architecture and other disciplines based on the interplay between fundamental research, design exploration, and practical application (…) At the core of this class is the study of biological structures and the development of bio-inspired construction principles for architectural design(…) he curriculum itself is designed to mediate between education and research. Aside from gaining basic knowledge within their own fields, the students also gain experience outside of their comfort zones by learning from other disciplines (…) In the first semester, students work individually or in small groups. In the second semester, the students join forces and build one project together as a team (…) the class is also supported by a wide network of academic research institutions as well as professionals inside and outside the building industry (…) With its partners, Studio One is contributing to a newly-formed, campus-wide teaching and research initiative called Design Innovation from Nature (…) the key idea behind biomimetics or bio-inspiration is not the imitation of natural forms and shapes but the transfer of functional principles to technological applications (…) To implement these biomimetic concepts, the students approached the work in the class from two directions as defined (…) The first, called “biology push”, relates to a bottom-up approach. The second is referred to as “technology pull” and describes a top-down process. While the term “biology push” describes a development that is initiated from basic knowledge in biology, “technology pull” refers to the aim of solving a certain technical problem in order to improve an already existing design solution or process.
Students worked on 4 separate case studies drawing from the study of natural forms: an Insect-Inspired Lightweight Facade; a Plant-Inspired Kinetic Facade Shading System and two research pavilions (2017, 2018)
Schleicher, S., Kontominas, G., Makker, T., Tatli, I. & Yavaribajestani, Y. (2019). Studio One: A New Teaching Model for Exploring Bio-Inspired Design and Fabrication. In Biomimetics (Basel) 4(2), 34. doi: 10.3390/biomimetics4020034
This is an experiment in the framework TU Delft led Horizon 2020 Project called REPAiR: two MSc courses were transformed to integrate aspects of different fields of expertise. Students were introduced to two resource flows that were previously identified as key flows by the local stakeholders: food waste, and construction and demolition waste and were expected to show a deep understanding of CE and its spatial implications
(…) incorporating the concept of CE in an integrative manner in urban design and planning courses is challenging because of its metabolic and complex nature (…) (1) the city is a complex, self-organizing system, where economy is an important factor, but not the dominant one; (2) the focus of CE approaches on the production side of the value chain and the under-representation of the need for sustainable consumption patterns as crucial aspect for the transition towards a CE; (3) the exclusion of land as a resource although it is one of the most valuable resources of regions; (4) the neglecting of infrastructure, both as a resource, but also as an instrument to steer circular policies; and (5) that the dominant approach ignores the importance of different scales for closing resource loops (…) overcoming these inadequacies requires the integration of expertise on resource flows and industrial processes.
Challenges of integrating practices of circular economy in education were overcome by collaboration with researchers in a situated environment that allowed: “an enhanced problem definition, a substantial participation of societal partners in education and an enhanced valorisation of student work via partner institutes.” Supporting course elements were also integrated such as lectures; workshops and tutor preparation. An overall of 200 students participated in the courses whose work was later evaluated as to the integration of CE principles and resources flows.
One clear effect of the integration of the CE concept into teaching was that the students understood that they needed to address challenges from a systemic perspective rather early into the design process.
References: Wandl, Alexander, Verena Balz, Lei Qu, Cecilia Furlan, Gustavo Arciniegas and Ulf Hackauf. “The Circular Economy Concept in Design Education: Enhancing Understanding and Innovation by Means of Situated Learning.” Urban Planning 4, no. 3, (2019): 63-75. DOI: 10.17645/up.v4i3.2147, full article available here
I am so delighted to have been part of this book my dear friend and collaborator Christos P. Kakalis has edited so beautifully. The chapter we co-authored (Chapter 7), discusses silence in architectural education. I hope you’ll like it as I am very proud of this work and the people who made this happen.Thank you Christos for trusting me with this!
This book explores the role of silence in how we design, present and experience architecture. Grounded in phenomenological theory, the book builds on historical, theoretical and practical approaches to examine silence as a methodological tool of architectural research and unravel the experiential qualities of the design process.
Distinct from an entirely soundless experience, silence is proposed as a material condition organically incorporated into the built and natural landscape. Kakalis argues that, either human or atmospheric, silence is a condition of waiting for a sound to be born or a new spatio-temporal event to emerge. In silence, therefore, we are attentive and attuned to the atmosphere of a place. The book unpacks a series of stories of silence in religious topographies, urban landscapes, film and theatre productions and architectural education with contributed chapters and interviews with Jeff Malpas and Alberto Pérez-Gómez.
Aimed at postgraduate students, scholars and researchers in architectural theory, it shows how performative and atmospheric qualities of silence can build a new understanding of architectural experience.
Abdullah, 2011: separation of design and building could be the philosophical difference between thinkers (designers) and doers (builders)
Harriss & Widder, 2014: Design build projects exist between the two tectonic plates of learning in academia and practice
Vlahos, 2000: Conventional studio projects present a disconnect from the needs of people and places and the understanding of different cultures. The outcomes of the theoretical studio projects are strongly developed, controlled, formal solutions with little understanding of the architectural intervention in communities. Students engage predominantly with theoretical, fictional projects.
Nepveux, 2010: Being involved physically in building allows students to reconcile their drawings with real structures they can build, weld, wire and plumb
Delport, 2016: Design-build projects have as outcome a physical product made through a process that can vary greatly in scope, focus and intent. They bring in tacit knowledge to the curriculum. The object contributes to social change and improving the lives of others
Van der Wath, 2013: it is an oscillation between the abstract to the concrete that allows students to develop the intellectual agility to tackle the complexities of arch innovation and experimentation that they will use in prof. practice
Brown, 2014: Live Projects’ greatest opportunity is not that it is a place to reflect on one’s own learning but, that it is a place to share that learning and reflection with others (Engestrom: a collective activity system is driven by a deeply communal motive)
Erdman, 2002: hands-on built projects in attempting to close the gap between designing and building replace the reflective process of design with the active process of building (-) they resist theorizing and critical discourse (-)
Chiles & Till, 2004: balance between practice and education encourages students to position themselves politically (+) prevarication is also not possible as the luxury of long-term studio development is removed (+)
Christenson & Srivastava, 2005: Focus on completion within a specific time frame overrides the value of process
Foot, 2012: where the completion and the focus on the end product are taken out of the equation, the notion of reflection, open-endedness and non linearity allows students to discover a variety of possible solutions
Hermie Elizabeth Delport, 2016, Towards Design-Build Architectural Education and Practice: Exploring Lessons from Educational Design-Build Projects, PhD Thesis, Prof Johannes Cronjé, Faculty of Informatics and Design at the Cape Peninsula University of Technology
This is something I bumped into today and I am really, really impressed. This woman has indeed re-conceptualized design education in such a simple and subtle way that makes me wonder, why didn’t anyone think of this before. Genius, bravo!
Stacie Woolsey approached four practising designers she admired: Thomas Thwaites, Alexandra Daisy Ginsberg, Seetal Solanki and a contact at Room Y, the innovation arm of UK department store John Lewis. She asked each of them to set her design briefs to complete in her own time – an idea she describes as “freelance learning” – and completed all four briefs over 18 months of self-directed study (…) Woolsey didn’t feel that she could burden the designers with every question, so she started approaching industry professionals with different skills and asked them to be mentors, for project-specific help. She built her own network of peers – one of the benefits of attending an established institution – by approaching people her age across a variety of fields and asking them to follow her progress and be her first port of call. She hosted meetings as a way to set deadlines and present her projects (…) Rather than try to get her course of study accredited, which “felt a bit irrelevant” and would be “almost cheating on the idea a little bit”, Woolsey searched for a means to “validate it in a different way”. Instead, each of the designers who set briefs are writing a statement to say how well they think she answered it – more like a reference than a grade.