Re for mu la tion Book of Proceedings Conference for Artistic and Architectural Research & Collective Evaluation of Design-driven Doctoral Training Programme Reformulation Book of Proceedings University of Ljubljana, Faculty of Architecture and Academy of Fine Arts and Design Ljubljana and online, 24 28 September 2021 Reformulation Book of Proceedings Publishers and copyright: University of Ljubljana, Faculty of Architecture and Academy of Fine Arts and Design, Ljubljana, 2022 Editors: Tadeja Zupančič, Marko Damiš Design concept, layout and typesetting: Marko Damiš Organizing Team and Scientific Committee: Tadeja Zupančič and Boštjan Botas Kenda (chairs), Matevž Juvančič, Špela Verovšek, Marko Damiš, Ana Belčič, Emilija Meserko, Lucija Sttrojan, Matevž Bedič, Nika Grošelj, Stanka Duša Text and images: the respective authors (individual papers and articles) and editors, except for quotes, figures and where otherwise noted. All texts and images are solely the responsibility of their authors. If any errors or omissions have been made regarding copyrights, we will be glad to correct them in the forthcoming edition. Any reproduction of this book, even partially, is prohibited. Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI-ID 113119491 ISBN 978-961-7032-41-3 (HTML) ISBN 978-961-7032-42-0 (PDF) Conference hosts CA²RE in association CA²RE+ Partners Contents Reformulation Program Position Statements, Keynotes, Workshops Matthias Bal estrem Marjan Hočevar Reformulating without Integration and Words Autonomy of Epistemic Culture and Cognition Styles in Practice-driven Ignacio Borrego Gómez-Pal ete, Architectural Research Ralf Pasel, Jürgen Weidinger Reformulation in a Design-driven Approach Thierry Lagrange, Jo Van Den Berghe Reformulation Roberto Caval o Framing Reformulation Dalibor Miklavčič, ENSEMBLE 1778 Cecilia De Marinis, Dorotea Aspects of Reformulating Ottaviani, Maria Veltcheva within Mozart's Music Reformulation for . . Design-driven Research, Moments, Actions, Emerging from Amadeus' Objectives and Basso Continue and Chal enges in Cadenzas Reformulating the Research Journey Claus Peder Pedersen Matija Svetina How to Plan for the Reformulation and Unimagined Creativity Reformulating the Support for Design Discoveries Primož Vitez In Other Words Alessandro Rocca Menard's Invention Tadeja Zupančič Reformulating Design Edite Rosa, Joaquim Almeida and Artistic Practice- Questions on DDDr driven Research to Reach Reformulation Out Markus Schwai, Bjørn Inge Melaasn Turning Points Artefacts, Extended Abstracts and Papers Yara Aboasfour Ana Belčič, Sara Eloy Identifying Informal The Right to Choose Settlements in Post-War Democratising Older Aleppo and Possible People's Housing Design Applied Solutions trhough Mass Customisation Gino Baldi The Matter of Form in Viktorija Bogdanova Invisible Components Places Built by a Role of Foundations Character Transforming a Literary Tool into a Design- Beatrice Balducci oriented Perspective Safe Spaces Multiplicity Exploring Design Possibilities in Preparing for Emergencies Nadir Bonaccorso Low-cost DIY Upgrade Strategies for Improved Comfort in Poor Brazilian Houses in Hot Climates Process and Results Riccarda Cappel er Mariacristina D'Oria, Gianluca Essayistic Film Croce, Valentina Rodani Fragments with Archrypt Cooperative Architecture The Time-capsule as a Design-driven Method Oljer Cardenas Nino Housing and Innovation Valentina Dal 'Orto Technique and Domestic Rural Habitat at 0° Space in the Residential Latitude Works by Pierre Jeanneret, The Architectural Project a Contemporary Analysis as a Tool for a Critical for Design Housing Investigation on Living Solutions Marianna Frangipane Enrico Chinel ato Narrative as a design tool Narrating the City in fragile contexts A Narrative Typology of Place-making Process Through Script, Pablo Gamboa Storytel ing and University Campus Performance between Urban Resilience and Typological Innovations Research by Design on “Ciudad Universitaria” of the Universidad Nacional de Colombia in Bogotá Alberto Geuna Dan Hu Learning from Dementia Design Method of Low- Vil ages tech Ecological Rural Examining End-of-life Settlement in China Care Spaces as XXI Qiang Vil ages as an Century Col ective Living example (Early Stage of Types Research) Francesca Gotti Pepa Ivanova The Ecology of Autotrophic Economy Coexistence in An example economy Groundscapes echoed by the sun Jakob Grelck Sarah Javed Shah Enabling Systems for The Interpretation of Open Transformations “Interiority” through within the Existing Built Research in Design Context Context of Public Space Reformulation of Hypothesis Or Haklai, Enrico Chinel ato How to Use a Monument Reformulating the Role of Lieke Lenaerts, Niels Hendriks, Monuments in Today’s Andrea Wilkinson Cities Development of a Handover Approach in Design for Dementia Jiaxi Li Tim Simon Meyer Adaption through Design The Potential of a Coastal Ecological Tectonic Approach for Corridor as a Nature- the Experiential Qualities based Defense to Tackle of Architecture Rising Sea Level Rose-Ann Mishio Alessia Macchiavel o Healing Homes The Housing Issue in A Search for a Future Global South Countries Home that Fosters Holistic A methodological Wel being Approach to Define Innovative Housing Solutions and Policies in Silvia Maria Mundula Informal Urban An Investigation of the Settlements in Sub- Significance of Saharan Africa Wilderness in Western Culture through Garden Design Rita Machado Lima, Nuno Valentim Lopes Bolhão Market Mar Muñoz Aparici Rehabilitation project: Makerlabs architectural and political Makerspaces in libraries strategies 1990-2020 as modern spaces of urban belonging Miljana Niković Ina Samdal Belgrade on Screens Material Driven Before the War / Before Architecture the Truth (Cut 1) A Framework for Exploring the Role of Material Experiences for Alberto Petracchin Integration of Soil in a Ark Architecture Sustainable Material Space Suspension Culture Strategies Sara Anna Sapone Chiara Pradel Precision wildland The Design of the Designing Third Monumental Grounds Landscape within the Moved by the AlpTransit Smart City Construction Activities in the Swiss Landscapes Wiktor Skrzypczak Systemising Spatial Carla Rizzo Affects House Plans In the Search of the A Society Matter Ontolotical Class Encompassing the Experiences of Movement and Architectural Space Isabel a Spagnolo Paula van Brummelen Sharing Landscape Embedded Movement Beyond the Urban-rural Responsive Shape- Dialectic; New Productive changing Surfaces Soils as a Form of Settlement Resilience Elena Verzel a Water Resilience Berilsu Tarcan Operative Key Concepts A Messy for Climate-resilient Urban Autoethnographic Waterfronts Documentation of Making with the Environment Valeria Wiendl, Silvia Alves School Patios The Influence of Taufan ter Weel, Mariacristina Architecture on Childhood D'Oria Development; The Geometries of Time Concept of the Third Teacher / Vila Nove de Gaia Monica Tusinean Approaching Industrial Ruins in a Post- Maja Zander Fisker communist Landscape Reflexive Practice A design-driven transformative rethinking of industrial heritage in Romania. Scientific Committee Panelists Re for mulation The CA²RE / CA²RE+ LJUBLJANA event is a part of the CA²RE+ Erasmus+ Strategic Partnership. It is the 5t hof 6 Intensive Study Programmes for Doctoral Candidates with in the Strategic Partnership run ning 2019 – 2022. The project is devel oped as a par al el and a trig ger to the con ti nu ity of the CA R 2 E Conferences for Artistic and Architectural REsearch. The Ljubljana event addressed the top ic REFORMULATION. The event built on the top ics: OBSERVATION, SHARING, COMPARISON, and REFLECTION explored at pre vi ous CA R 2 E+ events. It rep re sent ed a first step in build ing an extend ed DDr FRAMEWORK. The event strived to refor mu late and refresh the idea of the doc tor al eval u a tion train ing as an event. It trans lat ed and expand ed the DDr STRATEGIES and EVALUATION process es to increase their rel e vance to relat ed dis ci plines that have pre vi ous ly informed DDr. This step rede fined the expe ri en tial DDr knowl edge expli ca tion through per for mances and dis ‐ cus sions with the broad est pos si ble audi ‐ ence. It aimed to iden ti fy the bound aries of DDr's rel e vance: when is the approach spe ‐ cif ic enough to be engag ing and gener ic enough to be applicable? The event raised the ques tion of what the CA R 2 E com mu ni ty needs to refor mu late to strength en DDr: How can we qual ify the dif ‐ fer ent lev els of obser va tions and reflec tions on the research to eval u ate the qual ity of DDr? How can we address gen er al research cri te ria of rel e vance, rigour and orig inal ity in ways that make them stim u lat ing for researchers and strength en the inter sub jec ‐ tiv ity of DDr? How can we improve our under stand ing of the process es of ongo ing DDr? How can design ques tions be direct ed into research ques tions and aims, and how do we assess the research rel e vance of these ques tions and aims? How can rela tion al and sit u a tion al design activ ities become rel e vant research con tri bu tions out side their spe cif ic con text, and how does this become rel e vant for oth er research approach es? How can the indi vid ual researchers approach their research to make it acces si ble for new pan el ‐ lists? How can we trans late the com mon ground and shared under stand ings that are devel oped through DDr to new audi ences? To rephrase, redraw, recon sti tute, retrans ‐ form, recon struct, regen er ate … are al actions described dur ing the last CA R 2 E/CA R 2 E+ event in Hamburg. What do they refor mu late, why, how and when? The CA R 2 E/CA R 2 E+ Ljubljana dis cus sion wil engage in these type of questions. LJUBLJANA expressed its artis tic and archi ‐ tec tur al research tra di tion through this project step with its sen si tiv ity to del icate and even vul ner a ble places of our con tem po rary archi tec tur al and urban envi ron ments. The archi tec tur al cul ture in Slovenia reflects the smal -scale hybrid land scapes of set tle ments with a very high lev el of vul ner a bil ity of places, due to both nat ur al and cul tur al spa ‐ tial dynam ics. The research cul ture is thus hybrid and inclu sive, open and flex ible to a wide vari ety of DDr research approaches. LJUBLJANA also built on the expe ri ence as the orga niz er of the sec ond in the CA²RE con fer ence series in Autumn 2017. If that event was ori ent ed to the supradis ci pli nary field or the arts and archi tec ture, the CA²RE+ in Autumn 2021 looked to the wider con text of human ities and social sci ences. It took the advan tage of the estab lished research ties between the Faculty of Architecture, the Academy of Fine Arts and Design, and also the Faculty of Arts and the Faculty of Social Sciences. It brought envi ron men tal psy chol o ‐ gists, philoso phers, anthro pol o gists, urban soci ol o gists, geo g ra phers, experts in cul tur al stud ies, experts in human resource man age ment, and oth er relat ed experts into the discussion. Pro gram Friday 24 Sep. : Registration onsite registration desk : Exhibition Setup Fabiani's Auditorium (relevant for presenters: onsite coordinated arrangement in the Fabiani's Auditorium and potential y at other places at the Faculty of Architecture / online individual finalisation) : Coffee/tea break : Exhibition Setup Fabiani's Auditorium (finalisation) : Registration onsite registration desk : Conference Opening Fabiani's Auditorium, Fabiani's Zoom Tomaž Deželan, Matej Blenkuš, Lucija Močnik Ramovš, Urs Hirshberg, Ilaria Valente, Andrea Braidt, Tadeja Zupančič, Boštjan Botas Kenda WELCOME Tomaž Deželan, Advisor to Rector, University of Ljubljana (UL) Matej Blenkuš, Dean of the Faculty of Architecture, UL Lucija Močnik Ramovš, Dean od the Academy of Fine Arts and Design, UL Urs Hirshberg, President of the ARENA - Architectural Research European Network Association Ilaria Valente, Vice-president of the EAAE - European Association for Architectural Education Andrea Braidt, President of the ELIA - European League of Institutes of the Arts MODERATORS / INTRO Tadeja Zupančič, Vice-dean for Research, Faculty of Architecture, UL Boštjan Botas Kenda, Academy of Fine Arts and Design, UL : Lunch break : REFORMULATION FOR. .: Moments, Actions, Objectives and Chal enges in Reformulating the Research Journey Cecilia De Marinis, Dorotea Ottaviani, Maria Veltcheva WORKSHOP : Coffee/tea break : INTEGRATION AND AUTONOMY OF EPISTEMIC CULTURES AND COGNITION STYLES IN PRACTICE-DRIVEN ARCHITECTURAL RESEARCH Marjan Hočevar KEYNOTE : Exhibition Opening and Book Launch Fabiani's Auditorium, Fabiani's Zoom Claus Peder Pedersen Saturday 25 Sep. : Registration onsite registration desk 09:20 Intro 09:30 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Essayistic Film Fragments on An Investigation of the School Patios Cooperative Architecture Significance of Wilderness in Valeria Wiendl, Silvia Alves Riccarda Cappel er Western Culture through S: Rosa P: Valente, Van Den S: Schröder P: Berlingieri, Garden Design Berghe, Buchert O: Schwai De Walsche Silvia Maria Mundula S: Rocca P: Roth-Čerina, Hočevar, McGarry 10:30 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Places Built by a Character Public Thresholds The Interpretation of Viktorija Bogdanova Mar Muñoz Aparici “Interiority” through Research S: Zupančič, Robinson S: Caval o, Harteveld in Design Context of Public P: Gasperoni, Peder Pedersen, P: Robinson, Wiberg, Salema Space Venrooij O: Leveratto O: Berlingieri Sarah Javed Shah S: Muro P: Akin, Bal estrem, Rosa : Coffee/tea break 12:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM The Agency of Nature Water Resilience Sara Anna Sapone Elena Verzel a S: Corradi, Longo S: Massarente P: Juvančič, Aagard, Akin P: Haarmann, Milić, Bovati 13:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM How to Use a Monument Sharing Landscape Enabling Systems for Open Or Haklai, Enrico Chinel ato Isabel a Spagnolo Transformations within the P: Roth-Čerina, Caval o S: Bertel i, Bovati, Oldani Existing Built Context P: Schwai, Hočevar, Lagrange Jakob Grelck S: Borrego Gómez-Pal ete, Pasel P: De Walsche, Correia, Montanari : Registration onsite registration desk : Lunch break 15:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Geometries of Time Narrative as a Design Tool in The Ecology of Coexistence in Taufan ter Weel, Mariacristina Marginal Landscape Groundscapes D'Oria Marianna Frangipane Francesca Gotti S: Caval o, Sohn, Corbel ini S: Di Franco P: Hočevar, S: Postiglione, Briata P: Zupančič, Ginckels, Tel es Schwai, Robinson P: Weidinger, Akin, De Walsche 16:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Reflexive Practice The Design of the Monumental University Campus between Maja Zander Fisker Grounds Moved by the Urban Resilience and S: Oxvig P: Robinson, AlpTransit Construction Typological Innovations Gasperoni O: Caval o Activities in the Swiss Pablo Gamboa Landscapes S: Gritti P: Buchert, Alkan, Chiara Pradel Dombois S: Rocca P: Peder Pedersen, Weidinger, Eeckhout : Coffee/tea break : REFORMULATION AND CREATIVITY Matija Svetina KEYNOTE : Conference Dinner (onsite happening) Sunday 26 Sep. : TYPES AND FACES OF LJUBLJANA The city center of Ljubljana, Fabiani's Zoom Domen Fras WALKING DISCUSSION (CITY TOUR) A type walk leads us through the material, historical, cultural, and linguistic diversity of the letterforms in the center of Ljubljana. The concept of a walk uncovers a crucial skil that is decisive for a typographic education and points out two issues: How to observe the type? How to understand what you are watching? The onsite group of participants, let's meet behind the faculty, under the pergola! : Registration onsite registration desk : Coffee/tea break 12:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Material Driven Architecture Housing and Innovation Low-cost DIY Upgrade Ina Samdal Oljer Cardenas Nino Strategies for Improved S: Ragna Grytli P: Peder S: Pierini, Espegel Comfort in Poor Brazilian Pedersen, Vuga P: Ginckels, Juvančič, Bnin- Houses in Hot Climates Bninski Nadir Bonaccorso S: Carrilho da Graça, Matos Gameiro P: Haarmann, Bovati, Domingo-Calabuig 13:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM A Messy Autoethnographic Safe Spaces Documentation of Making with Beatrice Balducci the Environment S: Rocca P: Botas Kenda, Berilsu Tarcan Dubowitz, Pais S: Nilstad Pettersen, Leigh Edwards, Are Øritsland P: Aagard, Borrego Gómez- Pal ete, Berlingieri : Registration onsite registration desk : Lunch break 15:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Autotrophic Economy Identifying Informal Pepa Ivanova Settlements in Post-War S: Venrooij, Poedts P: Vuga, Aleppo and Possible Applied Wiberg, Zupančič Solutions Yara Aboasfour S: Rosa P: Dubowitz, Pais, Weidinger : Meetings/Discussions Fabiani's Auditorium, Fabiani's Zoom (informal discussions of the participants) : Coffee/tea break : ASPECTS OF REFORMULATING WITHIN MOZART'S MUSIC: Design-driven Research, Emerging from Amadeus' Basso Continuo and Cadenzas Dalibor Miklavčič & ENSEMBLE 1778 KEYNOTE LECTURE-RECITAL Meeting point: 19.45 at the main entrance of the University of Ljubljana buiding, Kongresni trg 12! ENSEMBLE 1778: Tina Zajec, 1st violin, Vivijana Rogina, 2nd violin, Izak Hudnik, violoncel o, Primož Štular, double bass, Annemarie Glavič, 1st flute, Barbara Spital, 2nd flute, Dalibor Miklavčič, piano & conducting LECTURE-RECITAL W. A. MOZART: Sonata for Keyboard Instrument and Ensemble C maj KV278 Sonata for Keyboard Instrument and Ensemble C maj KV336 MOZART'S CONTEMPORARY (name revealed during the lecture): Concerto for Fortepiano and Ensemble D major (Al egro con Spirito/Grazioso/Al egro) Concerto for Fortepiano and Ensemble F major (2nd Mvt: Tempo di Minuetto) Concerto for Fortepiano and Ensemble E-flat major (3rd Mvt. Presto) Monday 27 Sep. : Registration onsite registration desk 09:20 Intro 09:30 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Rural Habitat at 0° Latitude Development of a Handover Bolhão Market Valentina Dal 'Orto Approach in Design for Rita Machado Lima, Nuno S: Gritti, di Campli, Tagliabue Dementia Valentim Lopes P: Van Den Berghe, Pais, Lieke Lenaerts, Niels Hendriks, S: Correia P: Montanari, Venrooij O: Borrego Andrea Wilkinson Rocca, Haarmann Gómez-Pal ete S: Hendriks, Geerts, Wilkinson, Maldonado Branco, Brankaert P: Botas Kenda, Pimlott, McGarry 10:30 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Design Method of Low-tech Ecological Rural Settlement in China Dan Hu S: Bovati P: Caval o, Liekens, Bogalheiro : Coffee/tea break 12:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Archrypt The Right to Choose Ark Architecture Mariacristina D'Oria, Gianluca Ana Belčič, Sara Eloy Alberto Petracchin Croce, Valentina Rodani S: Planišček, Mali S: Marini, Rocca P: Mahal , S: Corbel ini P: Venrooij, P: Bal estrem, Lagrange, Dombois, Correia Rosa, Borrego Gómez-Pal ete Domingo-Calabuig O: Topolčanska 13:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Systemising Spatial Affects Healing Homes Embedded Movement Wiktor Skrzypczak Rose-Ann Mishio Paula van Brummelen S: Bal estrem P: Leveratto, S: Rocca, Leveratto, Bovati S: Borrego Gómez-Pal ete, Pasel, Zupančič, Bnin-Bninski P: Domingo-Calabuig, Sauer P: McGarry, O: Peder Pedersen Topolčanska, Milić Triggianese, Eeckhout O: Mahal O: Ottaviani : Lunch break 15:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Belgrade on Screens The Housing Issue in Global The Potential of a Tectonic Miljana Niković South Countries Approach for the Experiential S: Mahal P: Venrooij, Fras, Alessia Macchiavel o Qualities of Architecture Alkan O: Bnin-Bninski S: Montedoro Tim Simon Meyer P: Heinemann, Domingo- S: Bal estrem, Borrego Gómez- Calabuig, Pimlott Pal ete P: Leveratto, Gasperoni, Wel inger O: Robinson 16:00 Sessions FABIANI'S AUDITORIUM & ZOOM VURNIK'S AUDITORIUM & ZOOM PLEČNIK'S AUDITORIUM & ZOOM Approaching Industrial Ruins in House Plans The Matter of Form in Invisible a Post-communist Landscape Carla Rizzo Components Monica Tusinean S: Biraghi P: Fitzsimons, Gino Baldi S: Borrego Gómez-Pal ete, Eeckhout, Salema S: Muro P: Topolčanska, Weidinger P: Caval o, Roth- O: Heinemann Dubowitz, Correia Čerina, Guilherme O: Bal estrem O: Zupančič : Coffee/tea break : In Other Words Primož Vitez KEYNOTE Tuesday 28 Sep. : Intro Fabiani's Auditorium, Fabiani's Zoom : REFORMULATION OF DESIGN-DRIVEN RESEARCH Fabiani's Auditorium, Fabiani's Zoom, Miro Whiteboard 2 Observers WORKSHOP Discussion of the participants about the meta-level session observations. : Coffee/tea break : Workshop Summary Fabiani's Auditorium, Fabiani's Zoom, Miro Whiteboard 2 Tadeja Zupančič, Boštjan Botas Kenda : CA R 2 E Feedback / Wrap-up Fabiani's Auditorium, Fabiani's Zoom WRAP-UP Al participants MODERATORS Tadeja Zupančič Boštjan Botas Kenda Position St Keyno W tatements otes Workshops Reformulating with out Words Matthias Bal estrem, HCU Hamburg Individual position statement The CA R 2 E+ con fer ence themes have a dou ble nature: They refer to the aim of the CA R 2 E+ strate gic part ner ‐ ship project on the one hand, and to Design Driven Research on the oth er. Thus, the posi tion papers on refor mu la tion can be under stood as an invi ta tion to the CA R 2 E+ part ners to engage in an ef ort to refor mu late their approach to DDr and for mu late a com mon base for DDDr pro grams at their uni ver si ties. But it can also be under stood as a research tech nique in a design- based doc tor al project. This short text wil give an exam ple of the lat ter and reflect on refor mu la tion as a means of point ing at, under stand ing and mak ing vis i‐ ble what is hid den in the mul ti-dimen sion al pres ence of an archi tec tur al project. In her projects, Helga Blocksdorf encoun ters these moments “in the design process where the idea, bear ‐ ing in mind al ana logue and dig ital design tools with the oblig a tion to build accord ing to the state of the art, over laps with plan ning law, build ing physics and fire pro tec tion require ments and above al with struc tur al- con struc tive ques tions and con dens es into a seem ing ly unsolv able prob lem” 1 . These moments and the result ‐ ing spa tial sit u a tions in the projects, she cal s “seis mic points” or “fault lines”, as she iden ti fies them as the moments that wil decide over the archi tec tur al qual ity of the project. “If one suc ceeds in solv ing this seis mic point — poten tial y qua si in pass ing — an imag inary reduc tion of com plex ity emerges, which can point beyond itself and man ifest the pre cious moment between think ing about archi tec ture and the every day use of things” 1 . This also means that suceed ing in solv ‐ ing these seem ing ly unsolv able prob lems wil make them invis ible as such. The solv ing “in pass ing” express es Helga’s demand that a solu tion should result in an ele gant, casu al, almost nor mal situation. Figure 1: Helga Blocksdorf: Seismic Point in Project Rieckshof (Copyright Ruben Beilby) Fig. 1 shows the seis mic point in her project „Rieckshof“. Here, in an oth er wise less com plex build ‐ ing, a num ber of ele ments col ide: The old out er mason ‐ ry wal made of irreg u lar field stones is cut open to form a large open ing. The con se quent ly nec es sary new lin tel inter feres with the ring beam. Right next to this, from its col umn, a con crete beam projects into the inte ri or. And final y, the stair from above that is run ning along side the beam, bends here to open up into the large ground floor space and ends in a large almost pedestal-like last step. Al this comes togeth er in a con crete, par tic u lar and sin ‐ gu lar phys ical mate ri al isa tion: A sit u a tion that phys ical ‐ ly embod ies the nego ti a tions between an old exist ing struc ture, its archi tec tur al refur bish ment from a barn into a foto stu dio, and sud den client deci sions late in the con struc tion process. If you know where to look, the process of nego ti a tion is made vis ible through an archi tec tur al lan guage of slight of sets between the ele ments: They work togeth er, but they remain strangers to each oth er. They com ple ment each oth er, but they don’t ful y fit togeth er. Helga uses an archi tec tur al lan guage that does not ful y smooth out the coun ter act ing agen das, but sub tly gives them a remain ing nar ra tive pres ence in the space. In order to make such sit u a tions vis ible and read able as a con tri bu tion and cre ation of new knowl edge in archi ‐ tec ture, Helga devel oped a spe cif ic mod el ing tech ‐ nique: white foam mod els that reduce the project to the ele ments that con struct the seis mic point (Fig. 2). These mod els are refor mu la tions. They are say ing the same thing in a dif er ent way and thus, they are lift ing and expli cat ing what might not be obvi ous oth er wise. They func tion like a dia gram inso far as they overem pha size a par tic u lar aspect in the com plex project. They func ‐ tion as point ers that focus the atten tion on the seis mic point and under stand the solved dilem ma in it. Hil e von Seggern points out that “under stand ing is also a form of dia logue, a way of find ing a new lan guage” 2 . The lan guage of these refor mu la tions is spa tial, the prac tice is mod el ing, and its media is mod els. Even though the foam mod els are refor mu la tions, they remain in the lan ‐ guage of arte facts to pro duce an access to the knowl ‐ edge cre at ed through and embod ied in the archi tec tur ‐ al project. Figure 2: Reformulation of the Seismic Point in a white foam model. (Copyright Helga Blocksdorf Architektur) 1 Blocksdorf, Helga (2020): “SEISMIC POINTS/FAULT LINES—fathoming the tension field between construction and design”, https://www.helgablocksdorf.de/downloads/abstract_HelgaBlocksdorf.pdf, from June 22, 2021. 2 Seggern, H. von (2019). “Crossing Fields: Designing and Researching Raumgeschehen”, In M. Prominski & H. von Seggern (Eds.), Design research for urban landscapes: Theories and methods. Abingdon, Oxon, New York, NY: Routledge (pp. 8–32), p.14. Reformulation in a Design- dri ven Approach Ignacio Borrego Gómez-Pal ete, TU Berlin Ralf Pasel, TU Berlin Jürgen Weidinger, TU Berlin Group position statement Reformulation is an pro duc tive action that ques tions the pre lim inary con clu sions and enables, after an iter a tive process, to reach a high er and unex pect ed knowl edge. To tran sit again along a known path with fresh eyes, with a recon struc tive atti tude, lets the uncer tain ty get inside the method, but at the same time makes it pos si ‐ ble to proof the results and acces to new discoveries. We under stand the refor mu la tion for design-dri ve research in CA2RE Ljubljana 2021 in two dif er ent lev ‐ els: the first and more inher ent to the design-dri ven research is the refor mu la tion of the research itself, and the sec ond lev el appears in the frame of the doc tor al train ing itself, and it would refer to the nec es sary recon ‐ fig u ra tion of the struc ture of the CA2RE event under the light of the expe ri ence and con clus sions of the series of events in the last five years. The method ol o gy for design-dri ven research that is devel oped in the design-based doc tor ate pro gram [PEP- Programm Entwurfsbasierte Promotion] at the Technical University of Berlin focus es on dif er ent phas ‐ es which pro mote the refor mu la tion of the research question. The design-based doc tor ate pro gram [PEP] is orga ‐ nized and exe cut ed by Prof. Dr. Ignacio Borrego, Prof. Ralf Pasel, Prof. Jürgen Weidinger (TU Berlin); Prof. Donatel a Fioretti (Kunstakademie Düsseldorf) and Prof. Dr. Matthias Bal estrem (HCU Hamburg). It is ded i‐ cat ed to the design dis ci plines, in par tic u lar archi tec ture and land scape archi tec ture. The design-based doc tor ‐ ate cre ates a direct ref er ence to archi tec tur al prac tice and oth er design prac tices, which dri ves the fur ther devel op ment of research meth ods, espe cial y through the inter ac tion of the o ry and practice. Design is a means of acqui si tion sci en tif ic knowl edge espe cial y spe cif ic to prospec tive dis ci plines such as archi tec ture and land scape archi tec ture. The goal is to use this capac ity as a research tool. PEP pur sues an inte gra tive approach to design, edu ca tion and research, in which the design process pro vides a new access to knowledge. In design-based research, the implic it knowl edge that is inher ent in the cre ation process of design, which is most ly based on prac tice, is made explic it. Design- based research reflects on self-design prac tice as such and is reflect ed on the basis of one's own projects and design process es. Both design-based and the more spe cif ic prac tice-based approach es are suit able to pro ‐ duce knowl edge. The mate ri al iza tion implied in a prac ‐ tice-based research intro duces a deep er immer sion in the design process, but the core of the knowl edge pro ‐ duc tion is sit u at ed at any design level. This design-based doc tor ate is ulti mate ly about iter a ‐ tive ly encir cling a top ic area through con tin u ous design and through the design process to such an extent that a con crete and wel -found ed dis course result becomes explic it. This iter a tive process, where the research ques tion is analysed once and again is the core of the refor mu la tion of the research til the final def in ition of the spe cif ic con tri bu tion. The action of design ing is the tool, the design is the research object, and the sci en tif ic inter pre ta tion of both, design and result, is the outcome. The action of design is intu itive and the project as a result is a com plex sub strate with end less inter pre ta ‐ tions. It os only when the design er ana lyzes and makes explic it the acquired knowl edge, when this process becomes valu able from a sci en tif ic point of view. The knowl edge must be uni vo cal y trans fer able. In order to bridge the gap between this intu itive process and sci ‐ en tif ic knowl edge, the audi ence must be able to per ‐ ceive and under stand the same mes sage that the author is pro duc ing. There should not be space for exter nal interpretations. The fun da men tal ques tion of a research work, i.e., the actu al doc tor al top ic, con se quent ly results from pre cise ly this com pres sion process of cre ative work, which is car ried out, test ed, sim u lat ed and, if nec es sary, imple ment ed based on the devel op ment of new and the mat ical y rel e vant design projects. It is cru cial that the design-based doc tor ate goes beyond the sub jec tive approach to knowl edge and makes a con crete con tri ‐ bu tion to the respec tive research field. In our case of design-based research in PEP, Doctoral can di dates must have already pro duced a body of work, i.e., a suf i cient num ber of designs or real ized projects, which al ow the PhD can di date to start the process of extract ing knowl edge out of them. A design- based doc tor al project with in the frame work of PEP con sists of two inter twined and inter de pen dent parts, i.e., a design part and a writ ten part. The design com po ‐ nents of the design part are not only il us tra tive, but rep re sent inde pen dent research results. Besides this iter a tion around self devel oped designs, PEP has for mu lat ed a pro ce dure that struc tures the process of extrac tion of knowl edge from design prac ‐ tice, and demands a refor mu la tion on sev er al phases: To enter the PEP doc tor al pro gram at TU Berlin, appli ‐ cants present the out line of their pro posed doc tor al stud ies, based on their own projects. The pre sen ta tion of their port fo lio is based on a refor mu la tion on their prac tice ori ent ed on a research question. After that, new projects con tribute to the clar ifi ca tion of the research ques tion. Reflections on the new projects sharp en the argu men ta tion and form the basis for those ques tions that wil be inves ti gat ed through the next projects. The addi tion of new designs forces the refor ‐ mu la tion of the approach. In the mid dle of the process, when the research ques ‐ tion is out lined, they are required to ana lyze the state of the art. Search for archi tects and design ers in gen er al who are involved with a sim ilar approach to design to learn from it and refor mu late the rel e van cy of their design-dri ven research. Close to the end of the doc tor al research there is a mile stone pre sen ta tion that has the struc ture of approx. 75 % of the doc tor al stud ies, includ ing pre lim i‐ nary stud ies through the candidate’s own body of work, work ing out the top ic of the doc tor ate (research ques ‐ tion), exam ina tion of the doc tor al top ic by means of at least three projects devel oped in the process of the doc tor al stud ies and reflec tion on the projects until the research ques tion has been clar ified and com par ison of the results with relat ed posi tions of the dis course in the o ry and prac tice. In this pre sen ta tion a new refor mu ‐ la tion of the research is expect ed before the final presentation. With this research-by-design approach, the design projects serve as case stud ies and sources at the same time, with your own design work being con stant ly com ‐ pared to exist ing ref er ences and prac tices and using meth ods that go beyond that that are suit able for locat ‐ ing the project the mat ical y and in the con text of the state of the question. The oth er way round, the find ings out of design-based research can have an impact on the design prac tice and, in turn, pro mote a rec ip ro cal sharp en ing of archi ‐ tec tur al creativity. It is par tic u lar ly il u mi nat ing that this form of knowl edge pro duc tion through research-by-design com ple ments estab lished sci en tif ic prac tices and that expand ed knowl edge can be achieved through this form of knowl ‐ edge. The poten tial of cre ative and design-based or prac tice-based research that emerges here impres sive ‐ ly shows the extra or di nary pos si bil ities that can be com bined with this young form of knowl edge gen er a ‐ tion in the future. Until this point we have expressed the refor mu lat ing prop er ties of the design-dri ven process at our pro gram in Berlin but there is anoth er impor tant lev el of refor mu ‐ la tion in the frame of CA2RE to improve our under ‐ stand ing of the process es of ongo ing design-dri ven research. This new refor mu la tion could af ect not just the diverse research es tak ing part in this events, but the focus and clas si fi ca tion of them. The CA2RE events are out stand ing for their diver si ty. This rich ness spans dif er ent dis ci plines around art and archi tec ture, and also dif er nts cul tures around Europe. Besides this scope each researcher is focus ing on a spe cif ic con tent. We are in a nat ur al way tend ing to group pre sen ters and peer review ers accord ing to con ‐ tent and it would be inter est ing to clas si fy research es just from a method olog ical point of view with out regard to the con tent. This mul ti plic ity of top ics demands a method olog ical man age ment beyond the spe cif ic con tent, and a tax on o my of design-dri ven research method ol o gy could be an inter est ing refor mu la tion of our mas sive sci en tif ic interchange. Berlin, 7. 4. 2021 Prof. Dr. Ignacio Borrego, Prof. Ralf Pasel, Prof. Jürgen Weidinger Framing Reformulation Roberto Caval o, TU Delft Individual position statement In con tra dic tion to hard sci en tif ic dis ci plines, Architecture is char ac ter ized by an epis temic culture (Knorr Cetina, 1999) encom pass ing var ious fields of knowl edge. Design, man age ment, his to ry, plan ning, the o ry, tech nol o gy, to men tion a few, al have their own area of exper tise, own meth ods and inquiry tools as wel as their own ways of rea son ing and prov ing. Specific knowl edge is defined in each area (Kurath, 2015) along with spe cif ic ways of study ing. Nevertheless, even though this rich ness of sub jects and posi tions is real y fas ci nat ing, it doesn’t pro vide unequiv o cal dis ci pli nary ways of con duct ing research and pro duc ing knowl edge. This is par tic u lar ly true in the case design is involved. Architectural design is a com plex and com mon ly a cycli cal activ ity, depend ing in fact on a large num ber of exter nal fac tors, some of them being even rapid ly shift ing. As mat ter of fact design itself typ ical y deals with wicked prob lems (Rittel & Webber, 1973), which are nowa days not any more excep tions but part of the ‘new nor mal’ we have to face every day. When it comes to the built envi ron ment chal ‐ lenges of today and tomor row, no doubt that com plex ity and uncer tain ty have the upper hand while, at the same time, are dif i cult enti ties to get a grip on due to the intri cate and vary ing nature of the con tro ver sies that the world is made of (Latour, 2005). Complex and some times con flict ing argu ments or require ments stem ming from dif er ent dis ci pli nary realms or com pe ‐ tences need to be joined togeth er through a process of nego ti a tion in which design ful fil s a cru cial syn er getic role. Therefore, design ing is get ting more and more a tan gled but at the same time also a nec es sary mat ter. However, although being par excel ence a syn thet ic act, with its often unique and not replic a ble out comes is design the field where the epis temic cul ture of Architecture is most pre dom inant. Moreover, one must deal with the many facets of design, such as tac it knowl edge, unspo ken per son al motives and actions that are an intrin sic part of the process of design ing but are often hid den despite being fun da men tal to cope with shift ing and con tra dic to ry con di tions (Cross, 2007). With this pre am ble in mind, in the frame work of the next CA2RE+ project step ded icat ed to Reformulation, thoughts and con sid er a tion are link ing back to the last con fer ence orga nized by the col eagues of the Hafen City University in Hamburg. An issue to point out would be that reflec tion and refor mu la tion are going some how hand in hand. Part of the input for the refor mu la tion is like ly to stem from a ‘reflec tion on action’ (Schön, 1983) about the way the design has been tak ing place, and on what could have been done dif er ent ly in rela tion to the research premis es and / or ques tions. While such a step would cer tain ly be ben e fi cial, dur ing the last CA2RE+ con fer ence I got extra trig gered by Pierre Bourdieu’s con cept of ‘reflex iv ity’ men tioned by Margitta Buchert dur ing her lec ture. The inter est ing issue here is that in Bourdieu’s work the notion of ‘epis ‐ temic reflex iv ity’ (Bourdieu & Wacquant, 1992) is cen ‐ tral. Although relat ed to social sci ences the o ry, the idea of bring ing into ques tion actions and rela tions strength ‐ en ing an ‘own posi tion’ is con sid ered by Bourdieu not mere ly indi vid u al is tic or per son al but rather a col ec tive mat ter. It is the struc ture and posi tion of the field that need to be ana lyzed, and its rela tions with the object of study shape knowl edge claims (Bourdieu & Wacquant, 1992). Considering this view point, in a design-dri ven PhD the refor mu la tion can become more than a cru cial moment. It goes almost with out say ing that refor mu la ‐ tion is a phase in which the researcher looks back to the ini tial state ments and research ques tions, pon der ‐ ing about the motives, approach and results so far. In the case of a design-dri ven research, the addi tion al log ‐ i cal ques tions would then be about the role of design, the rea sons behind that spe cif ic design or designs, but also about the process of design ing and the con tro ver ‐ sies and uncer tain ties that need ed to be faced along the way. Meanwhile, one should try to uncov er the fea tures inher ent to the per son al design research jour ‐ ney con nect ing them to more gen er al iz ing, sharable, and debat able mat ters rec og niz able as pecu liar char ac ‐ ter is tics or con no ta tions of the knowl edge field of design. This addi tion al line of thought can be help ful to posi tion and refine the spe cif ic design-dri ven research project, simul ta ne ous ly sup port ing the clar ifi ca tion of its knowl edge con tri bu tion and the terms for its transferability. Figure 1: Landing Studio / Infra-Space 1: Underground at Ink Block, Boston-South. Photograph by Roberto Caval o Literature Bourdieu, P., Wacquant, L. J. D. (1992). An invitation to reflexive sociology. Cambridge, UK: Polity Press. Cross, N. (2006). Designerly Ways of Knowing. London: Springer. Knorr Cetina, K. (1999). Epistemic Cultures: How the Sciences Make Knowledge. Cambridge MA: Harvard University Press. Kurath, M. (2015). Architecture as a Science: Boundary Work and the Demarcation of Design Knowledge from Research. Science & Technology Studies, 28, 81-100. Latour, B. (2005). Reassembling the Social. An Introduction to Actor-Network-Theory. Oxford: Oxford University Press. Rittel, W.J., Webber, M.M. (1973). Dilemmas in a general theory of planning. Policy Sciences, 4, 155–169. Schön, D. A. (1983). The Reflective Practitioner: How Professionals Think in Action. New York: Basic Books. Reformulation for … Moments, Actions, Objectives and Chal enges in Reformulating the Research Journey Cecilia De Marinis, Deakin University Dorotea Ottaviani, University of Johannesburg Maria Veltcheva, Independent researcher Workshop What is the role of Reformulation in DDDr? What does Reformulation mean for the researcher? And what does it mean to refor mu late for the super vi sor, pan el mem ‐ ber, observ er, and exter nal audi ence? What are the chal enges, objec tives, moments, and actions that af ect and shape the refor mu la tion process? This work shop aims to answer those ques tions by explor ing the con cept of “Reformulation” from the per ‐ spec tive of the mul ti ple audi ences inside and out side of the CA2RE+ community. The goal is to col ect insights, red threads, com mon al i‐ ties, doubts, and ques tions revolv ing around this piv otal aspect in DDDr. Integration and Autonomy of Epistemic Culture and Cognition Styles in Practice-dri ven Architectural Research Marjan Hočevar, University of Ljubljana Keynote The entire CA2RE enter prise wel reflects the dilem mas and pos si ble direc tions of trans for ma tion of (aca d e m ic) research caused by major soci etal changes. Within grow ing social com plex ity, there is a cor re spond ing diver si ty in research styles that are dif i cult to bring into the clas si cal frame work of sci en tif ic umbrel a. In its speci fici ty, CA2RE address es broad er issues of knowl ‐ edge pro duc tion and uti liza tion, which includes inter alia, con tem po rary dis cours es about per me at ing sci ‐ ence with art (Leavy, 2020), pecu liar ities of epis temic cul tures and cog ni tions (Sandoval and Bråten, 2016), use of tech nolo gies, and hybrid research prac tices (Clark et al, 2017). Buzzwords such as “respon si ble” and “immer sive”, or imple men ta tion of trans dis ci pli nary, par ‐ tic ipa to ry and cit izen sci ence research prac tices are just some vivid ly dis cussed but stil not wel thought out cas es in point. In this con text, reserves against the uni ‐ ver sal can nons of research prac tices and achieve ments are jus ti fied and being grad u al y replaced by con cepts such as “sit u at ed knowl edge” (Hunter, 2009, Dohn et al, 2020) and “dis trib uted cog ni tion” (MacLeod, 2018; Hutchins, 2020). The cal for the CA2RE com mu ni ty to refor mu late and re-eval u ate the ques tion of what belongs to design / artis tic prac tice-dri ven archi tec tur al research in order to achieve inter nal dis ci pli nary and exter nal social rel e vance (val ida tion) is a spe cif ic case- in-point. From a soci o log ical per spec tive, such a cal for “refor mu la tion” is a ques tion of (self) reflex iv ity, which includes the ques tion of (self) posi tion al ity in the face of com plex ity of the social, linked to the pro duc tion of knowl edge through a research style. Reflexivity is an inter nal dia logue that leads to action for trans for ma tive prac tices (Whitaker and Atkinson, 2019; Lumsden, 2019). One of the focus es on the refor mu la tion plat form may relate to the ques tion of how to achieve a mean ‐ ing ful inte gra tion of dif er ent epis temic cul tures and cog ni tive styles with out com pro mis ing their indi vid ual autonomies (or even idio syn crasies). Specifical y, how to acknowl edge the con tin gen cies of the social through design / artis tic prac tice-dri ven research (Kimbel , 2011)? I am argu ing that in ques tion ing the rel e vance of design prac tice-dri ven research, it is about how to best reflect (and par tial y incor po rate) oth er epis temic cul ‐ tures and cog ni tive styles in order to con fi dent ly main ‐ tain auton o my in devel op ing one’s own. The start ing point is a gen er al con cep tu al premise on the legit ima cy of social dynam ics, which also applies to rela tions between epis temic cul tures. Namely, between inte gra ‐ tion and auton o my there is a dynam ic con flict which is zero sum at any point in time and pos itive sum in the longer run. In my expo si tion, I wil ten ta tive ly il us trate three ide al-type cog ni tive styles that would require some ef ort in archi tec tur al design research to achieve their mean ing ful degree of epis temic inte gra tion with ‐ out com pro mis ing the auton o my and dis tinc tive ness of design prac tice-dri ven research. These three cog ni tive styles are: 1) visu al y artis tic, 2) ratio nal y engi neer ing, and 3) cul tur al y ana lyt ical. The reflec tion of al three can be part of the con tem plat ed “refor mu la tion”. Literature Clark, J., Laing, K., Leat, D., Lofthouse, R., Thomas, U., Tiplady, L., & Woolner, P. (2017). Transformation in interdisciplinary research methodology: the importance of shared experiences in landscapes of practice. International Journal of Research & Method in Education, 40(3), 243-256. Dohn, N. B., Hansen, S. B., & Hansen, J. J. (Eds.). (2020). Designing for situated knowledge transformation. Abingdon, UK: Routledge. Hunter L. (2009). Situated Knowledge. In: Riley S.R., Hunter L. (eds) Mapping Landscapes for Performance as Research. Palgrave Macmil an, London Hutchins, E. (2020). The distributed cognition perspective on human interaction. In Roots of human sociality (pp. 375-398). Routledge. Kimbel , L. (2011). Rethinking design thinking: Part I. Design and culture, 3(3), 285-306. Kimbel , L. (2011). Rethinking design thinking: Part I. Design and culture, 3(3), 285-306. Leavy, P. (2020). Method meets art: Arts-based research practice. Guilford Publications. Lumsden, K. (2019). Reflexivity: Theory, method, and practice. Routledge. MacLeod, M. (2018). What makes interdisciplinarity dif icult? Some consequences of domain specificity in interdisciplinary practice. Synthese, 195(2), 697-720. Sandoval, W. A., Greene, J. A., & Bråten, I. (2016). Understanding and promoting thinking about knowledge: Origins, issues, and future directions of research on epistemic cognition. Review of Research in Education, 40(1), 457-496. Whitaker, E. M., & Atkinson, P. A. (2019). Reflexivity. SAGE Publishing. Reformulation Thierry Lagrange, KU Leuven Jo Van Den Berghe, KU Leuven Group position statement The posi tion state ment of the KU Leuven Faculty/Department of Architectur with regards to the con fer ence theme of Reformulations is close ly con nect ‐ ed with the afore men tioned cir cles of obser va tion (see CA2RE con fer ence Gent 2019). Reformulation vs circles of observation This inter act ing and com mu ni cat ing oper ates with in an inte grat ed set of con cen tric cir cles of observation. The first cir cle of obser va tion, the inner cir cle, is occu ‐ pied by the PhD can di date, who per forms research actions and observes his/her research actions. The sec ond cir cle of obser va tion con sists of the mem ‐ bers of the super vi so ry team, who observe the actions and obser va tions of the PhD can di date, and by dis ‐ cussing these, also observe and cal i brate their own super vi so ry activities. The third cir cle of obser va tion con sists of the pan el mem bers (acad e mia) at the doc tor al pre sen ta tions, per ‐ formed dur ing the events as out lined in this project (Learning Teaching Training Events). These pan el mem ‐ bers observe the candidate’s actions and obser va tions, and con tribute to the obser va tions of the super vi so ry team that is present at the PhD candidate’s presentations. The fourth cir cle of obser va tion con sists of the group of peers who wit ness the candidate’s doc tor al pre sen ta ‐ tions, who observe the candidate’s actions and obser ‐ va tions, and the panel’s actions and obser va tions, and hence con tribute to the cal iba ra tion of the doc tor al process through ongo ing dis cus sions at the for mal and infor mal moments of the events as out lined in this fund ‐ ing appli ca tion (Learning Teaching Training Events). The fifth cir cle of obser va tion con sists of reporters, as out lined in this fund ing appli ca tion, who observe the afore men tioned four cir cles, and who con tribute to the trans mis sion of the obser va tions ongo ing in the pre vi ‐ ous cir cles of obser va tion, doing so both inwards (loops of feed back into the dif er ent cir cles of obser va tion) and out wards, i.e. trans fer ring new knowl edge to society. Due to the inte grat ed nature of these cir cles of obser va ‐ tion an inte grat ed sys tem of cal i bra tion and val ida tion is estab lished through a sequence of refor mu la tions between al the stake hold ers (cir cles) of the obser va tion sys tem. This is key to come to a val ida tion prin ci ple where in knowl edge pro duc tion is made explic it through repeat ed refor mu la tions, under stood, accept ed and trans mit ted. This inte grat ed process of obser va tions has been devel oped, applied and test ed in order to sys ‐ tem at ical y rehearse and sharp en the research through a repet itive process of reformulations. On an institutional level The afore men tioned repet itive process of refor mu la ‐ tions through a series of cir cles of obser va tions has been insti tu tion al ized at the Faculty of Architecture KU Leuven through instal ing the fol ow ing milestones/benchmarks of each PhD process in which refor mu lat ing the state of the reseach con sti tutes the core of the bench mark moment: 9 months milestone mid term pre sen ta tion (24 months) sec ond oral pre sen ta tion (36 months) pre lim inary defence pub lic defence (48 months) In between these mile stones super vi sors orga nize doc ‐ tor al sem inars where sev er al PhD stu dents are brought togeth er in order to for mu late the state of the art of the research to their peers (super vi sor, co-super vi sor, asses sors and PhD can di dates). Out of these pre sen ta ‐ tions con ver sa tions occur in which the can di date needs to refor mu late (i.e. strength en ing and deep en ing the for mu la tions) based on the input that has been giv en his/her peers. These refor mu la tions already guar an tee a momen tum for the sub se quent step of the research. These refor mu la tions not only aim for a crit ical assess ‐ ment and a con struc tive argu men ta tion but also cre ate, pro duced in a con text of design dri ven research, new per spec tives towards inclu sions of spec u la tion, fac ing indis tinct ness, serendip ities, intu itive approach es of the research. At KU Leuven Department of Architecture the research group The Drawing and The Space (www.thedrawingandthespace.info) Critical Sequential Drawing (Van Den Berghe et al. 2020) as a spe cif ic draw ing tech nique has been devel oped with which PhD stu dents and Master stu dents pro duce refor mu la tions by draw ing. This draw ing method builds on the appli ca ‐ tion of the iter a tive and cycli cal process es as devel oped in the Lewinian learn ing cycles (Kolb 1984). Gent, 5.7.2021 Prof. dr. Jo Van Den Berghe & Prof. dr. Thierry Lagrange Literature Kolb, David A (1984). Experiential Learning: Experience as the Source of Learning and Development. 1 edition. Englewood Clif s, N.J: Prentice Hal . Van Den Berghe J, Sanders M, Luyten L (2020) Windows into an Architecture of Darkness and Depthe through Critical Sequential Drawing, Des Traces et des Hommes Imaginaires du Château de Sel es. Editors: Cornier, Alice. 1: 34-43. Silvana Editoriale, Milan. Aspects of Reformulating with in Mozart's Music Design-driven Research, Emerging from Amadeus' Basso Continue and Cadenzas Dalibor Miklavčič, University of Ljubljana ENSEMBLE 1778, University of Ljubljana Keynote # music & archi tec ture, per cep tion vs. for mu ‐ lat ing, his tor ical ly informed refor mu lat ing, copy ing old art as source for new tools, rein ‐ vent ing 300years old meth ods, philol o gy and musi cal trans la tion, musi cal nota tion vs. design ENSEMBLE 1778 Tina Zajec, 1s tvio lin Vivijana Rogina, 2n d vio lin Izak Hudnik, vio lon cel o Jernej Ivan, dou ble bass Annemarie Glavič, 1s tflute Meta Pirc, 2n d flute Dalibor Miklavčič, piano & conducting W. A. MOZART Sonata for Keyboard Instrument and Ensemble C maj KV278 Sonata for Keyboard Instrument and Ensemble C maj KV336 MOZART'S CONTEMPORARY Concerto for Fortepiano and Ensemble D major (Al egro con Spirito/Grazioso/Al egro) Concerto for Fortepiano and Ensemble F major (2n d Mvt: Tempo di Minuetto) Concerto for Fortepiano and Ensemble E‐flat major (3r d Mvt. Presto) How to Plan for the Unimagined Reformulating the Support for Design Discoveries Claus Peder Pedersen, Aarhus School of Architecture Individual position statement The CA2RE/CA2RE+ net work has con tin u ous ly devel ‐ oped its pre sen ta tion and peer feed back mod el and sup port ing work shops. The net work has expand ed, fel ‐ lows from more insti tu tions present their research, the pan els have grown to cov er a broad er range of artis tic and cre ative fields. In con trast, the events have kept their sup port ive and com mu nal spir it. This expan sion has only enriched the wealth of design-dri ven research prac tices and under lined the impos si bil ity of apply ing one size fits al cri te ria for research rigour. However, across this diverse field, there is stil a need to deep en the under stand ing and refor mu late the notion of dis cov ery in design-dri ven research. Discovery is a wel -estab lished notion in the lit er a ture on design knowl edge. Donald Schön reflects, for instance, on how it can emerge in the inter de pend ing dynam ic of reflec ‐ tion-in-action and reflec tion-on-action. The reflec tion- in-action refers to the con sid er a tions, choic es and deci ‐ sions made by the design er while design ing. The reflec ‐ tion-on-action is a post-design reflec tion ‘in order to dis cov er how our know ing-in-action may have con ‐ tributed to an unex pect ed out come’. 1 Schön argues that prac tice- and there by implic it ly design-based knowl edge sur faces by link ing the expe ri ence of being embed ded in the design activ ity with the dis tanced exam ina tion of what hap pened in the process. He is not address ing design-dri ven research, but it is not dif i cult to imag ine how the doc u men ta tion and unfold ing of the activ ities could become a help ful method ol o gy in design-dri ven research. Research is addressed in Designerly Grounded Theory (DGT), although from a dif er ent aca d e m ic posi tion. Johan Verbeke artic u lat ed DGT, and it builds, as sug gest ed by the name, on Grounded Theory for mu lat ed by Kathy Charmaz and oth ers in the social sci ences. 2 DGT describes a qual i‐ ta tive research method ol o gy based on design prac tice. It is, like Grounded Theory, based on induc tive rea son ‐ ing that uses par tial under stand ings and insights to con struct argu men ta tions in con trast to the hypo theti co-deduc tive mod els often used in sci en tif ic research. DGT oper ates with out a pre-estab lished hypoth e sis but iter a tive ly col ects ‘data’ pro duced through design ing that is reg is tered, mapped and ‘cod ‐ ed’. The cod ifi ca tion is pre lim inary and helps refine the design oper a tions and data col ec tion in an iter a tive process that sup ports knowl edge for ma tion and even ‐ tu al y leads to the o ry-build ing. Reflection in/on action and DGT both point out that knowl edge pro duc tion occurs by shift ing per spec tive back and forth between embed ded actions and dis tanced reflec tions. They also both asso ciate this knowl edge pro duc tion with dis cov ‐ er ies occur ring due to the per spec ti val changes, whether they are ‘…an unex pect ed out come’ as in Schön or the notion ‘that new knowl edge and the o ries come into being’ as stat ed by Verbeke. 3 The design-dri ven research dis cov er ies come in many dif er ent forms and argu ments. However, some of the most excit ing and chal eng ing CA2RE+ pre sen ta tions have insist ed on let ting the open-end ed explo rative design process es guide the devel op ment and direc tion of the research and outcomes. Suppose design-dri ven research dis cov er ies are based on induc tive rea son ing and iter a tive design process es. How can future doc tor al fel ows pro pose research pro ‐ pos als based on explo rative design-dri ven research that address cri te ria such as delim ita tion, con tex tu al iza tion, and expect ed out comes that fund ing agen cies and aca ‐ d e m ic insti tu tions require? How can we encour age and sup port the patience need ed by researchers who search for design-dri ven dis cov er ies to emerge? Moreover, can we mit igate the risks that might not hap ‐ pen? Are there valu able mod els, strate gies or tech ‐ niques to sup port open-end ed design-dri ven research explo rations? How can we sup port the unfold ing and shar ing of design dis cov er ies to make them rel e vant beyond the par tic u lar design project or practice? 1 Schön, D. A. (1987). Educating the reflective practitioner: Toward a new design for teaching and learning in the professions (1. ed.). Jossey-Bass. P. 26 2 Verbeke, J. (2017). “Knowledge and Architectural Practice”, in R. Hay, & F. Samuel (ed.), Professional Practices in the Built Environment: Conference Proceedings (s. 155-164). University of Reading. https://www.reading.ac.uk/web/. . 3 Ibid. P. 162 Menard's Invention Alessandro Rocca, Politecnico di Milano Individual position statement There is no more sol id sys tem for under stand ing an archi tec tur al project than redesign ing it. In the first semes ter of our Bachelor in Architectural Design, many Design Studios use this ped a gog ical tool to bring stu ‐ dents clos er to the found ing ele ments of the project. Before the pho to graph ic era, the redesign was the basis for the trans mis sion of archi tec tur al knowl edge. The relief, and the redesign of Roman archi tec ture, was the train ing ground for the young Venetian Andrea Pal adio. Between 1535 and 1538, he laid the foun da tions of his archi tec tur al cul ture by redesign ing, refor mu lat ing the archi tec tur al ele ments he dis cov ered in the fora of Rome. In the eigh teenth cen tu ry, anoth er Venetian, Giambattista Piranesi, set tled in Rome and devot ed him self to the rep re sen ta tion of Roman archi tec ture, pub lish ing col ec tions of prints with il us tra tions of clas ‐ si cal and mod ern mon u ments that spread through out Europe. However, Piranesi's abil ity did not stop depict ‐ ing the exist ing, more or less rein vent ed, but deep ened in a work that was an accu rate Reformulation of ancient Rome, tak en in its entirety. In "The Campo Marzio of Ancient Rome, by G.B. Piranesi, a mem ber of the Royal Society of Antiquaries of London" (The Campus Martius of Ancient Rome, the Work of GB Piranesi, Fel ow of the Royal Society of Antiquaries, London), 1762, the Venetian archi tect pro ‐ duced an unlike ly urban plan stud ded with a myr iad of build ings. Recognizable mon u ments and spaces, such as the Pantheon and the sta di um of Domitian, the cur ‐ rent Piazza Navona, stay togeth er with con jec tur al recon struc tions and inven tions. Often, Piranesi refor mu ‐ lat ed these hypo thet ical build ings with out any archae o ‐ log ical foun da tions. In its mix of redesign and design, relief and inven tion, this extra or di nary work rep re sents the idea of Reformulation in archi tec ture ful y. In recent years, Reformulation could be updat ed and trans mut ed in the term Montage. As Manfredo Tafuri taught us, con tem po rary cul ture no longer believes that it can recon sti tute a uni tary and homo ge neous sys tem. We deal with frag ments, splin ters, residues and con ‐ ceive a new order only as a sum of dif er ent parts. Pal adio was able to recon struct a clas si cal sys tem of enor mous val ue and imme di ate appli ca tion. Piranesi instead put togeth er frag ments that could only evoke the past through the instru ment of Reformulation. As Tafuri recal s, the Russian film direc tor, and the o rist of Montage, Sergej Eisenstein, was a col ec tor of Piranesi prints. When Aldo Rossi pro duced the table of the Analogous City, he jux ta posed urban frag ments extract ed from many dif er ent eras and ori gins, includ ing some of his designs, and the suture lines between one excerpt and anoth er remained vis ible. Unity is lost for ev er; there remains the pos si bil ity of work ing through the Montage, the arbi trary jux ta po si tion of inco her ent frag ments that finds its mean ing through the fric tion, the rejec tion, the sim ilar ities and dif er ences that sep a rate the dif er ent pieces. The the o ries and tech niques of artis tic restora ‐ tion require that the new, or refor mu lat ed, parts that inte grate the muti lat ed work must be sep a rate and rec ‐ og niz able. At the same time, they must refor mu late a uni tary and com plete per cep tion, thus restor ing the whole that was lost. The Reformulation, in these exam ples, is placed in tech ‐ niques that belong to the sphere of design. It iden ti fies a ter rain that lies halfway between rep re sen ta tion and inven tion. We are here in a mid dle region where the project exists, it is a sine qua non, but it is also dilut ed, reduced, sub ject to the need to main tain a frac tion of the orig inal work. Reformulating would also be sim ilar, in some ways, to trans la tion. Especial y in lit er a ture, trans late means oper at ing on two sep a rate reg is ters simultaneously. On the one hand, the orig inal must be pre served, made under stand able, and appre cia ble. On the oth er hand, it is nec es sary to give the new text an autonomous form rec og niz able in the canons of a dif er ent lan guage. This objec tive, respond ing to entire ly dif er ent terms and para me ters, can only be achieved by refor mu lat ing the orig inal work with var ious degrees of alteration. Investigating the mean ing of Reformulation helps us to iden ti fy this ter ri to ry, usu al y in the shade, scarce ly explored and less noble, where rep re sen ta tion and inven tion over lap, gen er at ing gray, blurred, ambigu ous areas, where the dif er ence between the copy and the orig inal, between the old and the new, between copy ist and author, blur. In Jorge Luis Borges' short sto ry "Pierre Menard, autor del Quijote" (1962), a con tem po rary writer decides to rewrite Miguel de Cervantes' mas ter piece. It means that Menard wil place on paper, one after the oth er, al the words that make up the work, even tu al y pro duc ing an exact copy of the orig inal. Menard med itates and refor ‐ mu lates each word, one by one, and, at the end of com ‐ po si tion al rea son ing, repeats the same cre ative process in the author's mind. In this way, the copy ist also becomes the author of Don Quixote, over turn ing the clas sic scheme of cre ative con struc tion. The nor mal is that there is only one author for each work, and each author can pro duce sev er al works. In the "Pierre Menard" a lit er ary uni verse is out lined where a sin gle work can gen er ate an infi nite num ber of authors because the rep e ti tion car ried out from Menard opens a series that can recur indef inite ly. The sto ry also pos es anoth er fas ci nat ing para dox: the trans for ma tion of the read er into an author. Menard is, first and fore most, a read er of the Quixote, a very atten tive read er who nev er miss es a word, capa ble of absorb ing one hun ‐ dred per cent of the work. Therefore, if the nov el is always the same, it is evi dent that its rep re sen ta tion wil always be dif er ent, mod eled each time by each reader's mind in per son al and unique mem o ry. The mul ti ple para dox es embed ded with in the sto ry enlight ‐ en the mean ing of the word Reformulation and its abil i‐ ty to pre fig ure mul ti ple rela tion ships, mid dle lands, two- way paths between read ing and writ ing, draw ing, and project. We have con fi dence and appre ci a tion for the refor mu la ‐ tion prac tices that are part of the Design-dri ven method ol o gy, often along side or pre ced ing more explic ‐ it ly design-ori ent ed oper a tions. Therefore, we ask stu ‐ dents to work through a series of refor mu la tions in the Architecture Research Agenda course, which inau gu ‐ rates the doc tor al pro gram in Architectural Urban Interior Design (Department of Architecture and Urban Studies, Milan Polytechnic, pro fes sors Alessandro Rocca, Andrea Gritti, Stamatina Kousidi). The first Reformulation con cerns a "posi tion project," select ed among those made by them pre vi ous ly, to be redesigned, high light ing the aspects that lat er con ‐ verged in their research pro pos al. The sec ond Reformulation con cerns the redesign of a project which con sti tutes an essen tial ref er ence for them. These two ini tial exer cis es high light the rela tion ship between study, rec og niz ing, and apply ing the knowl edge that stays with in the design activity. Reformulating their per son al his to ry and design ref er ‐ ences, stu dents bring tac it knowl edge to the sur face. We eval u ate these pre lim inary exer cis es inau gur al approach es nec es sary to unveil the kind of archi tec tur al knowl edge that must become the pri ma ry research engine. Questions on DDDr Reformulation Edite Rosa, Universidade Lusófona do Porto Joaquim Almeida, Universidade Lusófona do Porto Group position statement The LJUBLJANA event address es the top ic REFORMULATION in the fol ow ing main questions. REFORMULATION aims to iden ti fy the bound aries of DDr ' s rel e vance: when is the approach spe cif ic enough to be engag ing and gener ic enough to be applicable? Regarding Ljubljanaś first ques tion of the REFORMULATION top ic, how to iden ti fy the bound ‐ aries of DDr’s rel e vance, it may be use ful to ask if we are con cerned about DDr (Design Driven research) or also DDDr (Design Driven Doctoral research) or even DDDR (Design Driven Doctoral Research). Meaning this, to unveil the dif er ence or non-exis tence between them. The response may lie in the next Ljubljana posed ques tion of how we can define a DDr approach as spe ‐ cif ic enough to be engag ing and gener ic enough to be applic a ble. This prob a bly means con sid er ing the “spe ‐ cif ic” char ac ter of the design dis ci pline and at the same time the “gener ic” char ac ter of the uni ver sal knowl edge objec tives of a PhD research. For this, we can recal to Linda Candy and Bruce Archer def in itions of Practiced based research and The Nature of Design Doctoral Research. Linda Candy char ac teris es two types of prac tice relat ed research: prac tice-based and prac tice-led. Our inter est points to prac tice-based research is estab lished on its sim ilar ity to our Design Driven Doctoral research. For Linda prac tice-based is tak en where the cre ative arte ‐ fact is the basis of the con tri bu tion to knowl edge. She states, “Practice-based Research is an orig inal inves ti ga ‐ tion under tak en in order to gain new knowl edge part ly by means of prac tice and the out comes of that prac tice. In a doc tor al the sis, claims of orig inal ity and con tri bu tion to knowl edge may be demon strat ed through cre ative out comes in the form of designs, music, dig ital media, per for mances and exhi bi tions. Whilst the sig nif icance and con text of the claims are described in words, a ful under stand ing can only be obtained with direct ref er ‐ ence to the out comes.” 1 Thus, we infer that it is impor tant to know that a doc tor ‐ al the sis based on Design Driven research seeks to estab lish new par a digms. As design in the pro fes sion al domain is a con crete answer to a spe cif ic prob lem, its inves ti ga tion task is locat ed in the sphere of empir ical expe ri ence, unre peat able and iso lat ed and there fore dif use, frag ment ed and sin gu lar, it wil hard ly be, by itself, con sid ered a design research in the aca d e m ic envi ron ment. Indeed, the research of a PhD in design, being spe cif ic, in the search to estab lish new design par a digms, wil have to be “specif ical y” rel e vant, rig or ‐ ous and orig inal with a “gener ic” scope, nec es sary for the con struc tion of a col ec tive and uni ver ‐ sal knowledge. On the oth er hand, Bruce Archer defines research in its most gen er al sense, com mon to the Science tra di tion, the Humanities tra di tion and Practitioner Action tra di ‐ tion, as sys tem at ic enquiry whose goal is com mu ni ca ‐ ble knowl edge. Archers themes con cern ing the research through prac ti tion er action is of main inter est. He dis tin guished between three types of research. Research about prac tice (where the process es of prac ‐ tice are observed); research for the pur pos es of prac ‐ tice; and research through prac tice (prac tice serves a research pur pose from the design tools) this last one clear ly linked to the nature of our DDDresearch. However he claims the impor tance of research nature by itself. “Clearly, no mat ter whether a piece of research is about prac tice, or is con duct ed for the pur pos es of prac ti tion er activ ity, or is con duct ed through prac ti tion er activ ity, its sta tus is deter mined by the con ven tions and stan dards of the class of research to which its pro ce ‐ dures belong. Its reli a bil ity is deter mined by its method ‐ ol o gy.” 2 Archer also argues that prac ti tion er activ ity can count as research only if it simul ta ne ous ly meets the research cri te ria, if it is knowl edge direct ed, sys tem at ical y con ‐ duct ed and unam bigu ous ly expressed. Its data and meth ods must be trans par ent and its knowl edge out ‐ comes trans fer able and trans mis si ble. However, like al Action Research, for Archer, research through prac ti ‐ tion er action is as most like ly non-objec tive and almost cer tain ly situation-specific. Another inter est ing point of view of Archer's debate on research relates, in par tic u lar, to the aca d e m ic field and its degrees. He reminds us that ulti mate ly, for aca d e m ic recog ni tion pur pos es, a practitioner's activ ity can rarely rec og nize itself as a research activ ity, as he jus ti fies “One has to ask: Was the activ ity direct ed towards the acqui si tion of knowl edge? (…) not al research, how ev er sound, qual ifies the researcher for the award of an aca d ‐ e m ic degree. There are many oth er kinds of reward for suc cess ful pieces of research: fees, patents, prof it shar ‐ ing, pub li ca tion, fame. Those who share in, or pro mote, these rewards are al much more con cerned with the out come of the research than with the research method ‐ ol o gy.(…) A research degree on the oth er hand, is pri ‐ mar ily an acknowl edg ment of the com pe tence of the per son who con duct ed the research. For this rea son, an exam in er of a sub mis sion for a research degree is con ‐ cerned much more with the sound ness of the method ol ‐ o gy than with the use ful ness of the find ings. Even a neg ‐ a tive or emp ty result from research might stil be reward ‐ ed with an aca d e m ic degree if the method ol o gy had been impec ca ble. This is because the iden ti fi ca tion of an emp ty field, or the refu ta tion of a hypoth e sis, can nev er ‐ the less be a sig nif icant con tri bu tion to knowl edge, and can demon strate a sat is fac to ry stan dard of research com pe tence. (…) Degree-wor thi ness is not quite the same as result-wor thi ness.” 2 From the dis course of the afore men tioned authors, we can assume that the defined hypothe ses and prob lem- raised, fed by the “prod ucts” obtained by the design prac tice activ ity, sup port the the o ret ical reflec tion of a DDDr results. DDDr as an action-research process, a dialec ti cal spi ral between action and reflec tion that com bines com ple men tary the o ry and prac tice for the same pur pose. Action — research that seeks to trans ‐ form the expe ri ence from a par tic u lar design prac tice to give rise to gen er al knowl edge, applic a ble to an inde ‐ ter mi nate num ber of con crete objects. The ulti mate goal is the estab lish ment of a uni ver sal con di tion based on the raised hypoth e sis, even if in an abduc tive hypoth e sis, reached through an induc tive log ic based on sys tem at ic knowledge. The pur pose or per haps the rel e vance of the DDDresearch lies above al when tak en as a sup port ive action-research process, inex haustible in the par tic u lar uni verse in which it express es itself (infi nite design approach es, meth ods and tech niques). Its struc ture aims at its applic a bil ity, uni ver sal ity and sci en tif ic reach as a resource of dis sem inat ing knowl edge and con tri ‐ bu tion to the renew al of the architecture/design field. How can we qual ify the dif fer ent lev els of obser va ‐ tions and reflec tions on the research to eval u ate the qual ity of DDr? How can we improve our under stand ‐ ing of the process es of ongo ing DDr? The answer to how to qual ify ing the dif er ent lev els of obser va tions and reflec tions tak en upon the research and pre sen ta tions to eval u ate their qual ity of DDr , as wel as how can we improve our under stand ing of the process es of ongo ing DDr, may rely on the mon itor ing process devel oped so far in our CA2RE+ com mu ni ty. We are keep ing a writ ten record ing of the over al out ‐ comes since the first CA2RE+ event whether in the form of plat form data base, reviewer’s crit ics, exter nal reporters and intel ec tu al out puts. The intel ec tu al out ‐ puts , pro ceed ings, books and oth ers, have record ed the main obser va tions and reflec tion on and about the events. Understanding Design Driven Doctoral research as a work process in construction. In a very brief way what has raised from the events from obser va tion to reflec tion, through record ing reac tions and emerg ing thoughts, at spec ified review points, is the com mon recog ni tion of sev er al pos si bil ities inside al the con sor tium PhD pre sen ters’ works of a main set of three types of DDDr. These are most ly set tled upon three key aspects, the design approach, the design method or design tech niques al rel e vant to the design field. The design approach is focus on a design prob lem state ment that gives rise to the ques tion or issue of the the sis research and its sig nif icance for the design field. The design method is focus upon solv ing the prob lem through a design process method (state of art lit er a ture, case study analyse, exper imen tal, ana lyt ic, etc.). The design tech niques set tles upon the design media and rep re sen ta tion al tech niques main ly used in the research by the PhD can di date. (As for exam ple: analytical/descriptive or spec u la tive dimen sion, visual/drawing tech niques, etc.) Although, al the for mer writ ten records have tran ‐ scripts, descrip tions and their argu ments exposed what may be miss ing in the col ec tion records to eval u ate, more sharply, the qual ity of the DDDr process is, on the one hand, high light ing from the over al ele ments some spe cif ic ones, care ful y cho sen, and its DDDr results and explain ing why. Eventual y these most rep re sen ta ‐ tive ones could have an ongo ing process from the begin ning to the end of the CA2RE+ project.On the oth ‐ er hand to gath er from al the CA2RE+ events the fun ‐ da men tal com mon results, some thing prob a bly only reach able at the end of the CA2RE+ project time peri ‐ od. Now may be the right time for us to be able to pro ‐ gram some of these key com mon out comes into an ef ort sched ule into this redesign process. Perhaps it’s the right moment to clear what we al , the con sor tium com mu ni ty, may con sid er as DDDr out comes, or main results. Meaning what we con sid er as key contribution(s) to knowl edge, that advance design under stand ing or design prac tice inter na tion al y and that add val ue to this field and gen er al competence. Jeremy Til gives a help in this direc tion af irm ing “A New Model For Architectural Research” 3 where he defends that Architectural knowl edge and prac tice to be inte gra tive has to across epis te mo log ical bound ‐ aries.” (…)A dynam ic sys tem thus emerges from this tri ‐ par tite mod el, but it wil only oper ate if acad e mia and prac tice col ab o rate in order that the loop is con tin u al y fed with both data and analy sis.(…) But this open wil hap pen once we have cleared the three myths out of the way, and accept that archi tec ture can, and should, be a research dis ci pline in its own right, which both accords to the accept ed cri te ria of research, but at the same time applies them in a man ner appro pri ate to the issues at hand. There is some urgency in this, because as long as archi tec ture fid dles around at the mar gins of the research debate, it wil be con fined to the mar gins of the devel op ment of knowledge. What do they refor mu late, why, how and when? The CA2RE/CA2RE+ Ljubljana dis cus sion wil engage in these type of questions. Regarding to Ljubljana last ques tion actions what do actions described dur ing the last CA2RE/CA2RE+ event in Hamburg. Reformulate, why, how and when? These ques tions, key read ing for the modus operan di of a DDDresearch, remind us the inves tiga tive process of Roman Law “Who, what, where, by what means, why, how, when” come up as short ques tion marks. They al ow us to inquire about sub ject, object, place, envi ron ‐ ment, rea son, method and time. They present them ‐ selves as con di tion ing fac tors of a fact, action, arte fact or issue on which there is stil a lack of knowl edge. To bet ter under stand it, these con di tions have and stil must be invoked, one by one and one in rela tion to the oth er, in their com po nents, but also the process es that sup port ed them and gave them mean ing and rel e vance to achieve out comes, or main results. Possible ques tions and rela tion ships that may help on our com ‐ mon DDDr jour ney of pur su ing indef inite knowledge. 1 Candy, Linda (2007), Creativity & Cognition Studios http://www.creativityandcognit.. University of Technology, Sydney. 2 Archer, Bruce (1995), “The nature of research”, Co-design, interdisciplinary journal of design, January 1995. 3 Til , Jeremy (2007), “what is Architectural Research? Architecture Research: three Miths and one Model@, Building Material vol. 17, Dublin. Turning Points Markus Schwai, Norwegian University of Science and Technology Bjørn Inge Melaasn, Norwegian University of Science and Technology Group position statement The the mat ic devel op ment along the CA2RE+ project led to the theme REFORMULATION as a core for the Ljubljana event, build ing on the pre vi ous top ics. (OBSERVATION, SHARING, COMPARISON, and REFLECTION) The term REFORMULATION frames a rather wide field. On one side is the method olog ical ques tion of chang ing or updat ing approach es or research ques tions towards dif er ent out comes (or to tack le these in a new way). The oth er “extreme” is the search for refor mu la tion of what DDDr can imply and mean, work ing for mutu al con sent towards a dif er ent and new descrip tion and under stand ing. The back ‐ ground for this over al ques tion is the need for the valid ‐ i ty of qual ita tive stan dards, for a wide range of dif er ent archi tec ton ic and artis tic approach es and meth ods. Also the search for what I would cal “research-pre ‐ dictabil ity” could be a rea son. In oth er words, how DDDr fits into recog nised gen er al research cri te ria of rel e vance, rigour and orig inal ity and strength ens the inter sub jec tiv ity of DDDr. Using a DDDr project I wil try to high light the neces si ty of anoth er im por tant fea ture of research, in par tic u lar DDDr, name ly the open ness for the uncon trol able. This neces si ty derives from the very often holis tic and inte grat ed mul ti-dis ci pli nar ity of DDDr projects. It is the com bi na tion of this mul ti dis ci pli nar ity and the scope to gen er ate knowl edge, in an often real- life set ting, which leads to many sit u a tions where direc ‐ tion, approach es and meth ods have to be decid ed along the way. These are not always “safe” deci sions, but what I would cal cal cu lat ed RISK. An exam ple for show ing this OPENNESS wil be Bjørn Inge Melaas project ‘Ecologies of urban gar den ing’. The project starts with the assump tion that the warm ing plan et, mass extinc tion and the degra da tion of the liv ‐ ing world are mere ly symp toms of a much deep er cri sis. In the project Felix Guattaris’ three ecolo gies are used to approach the research, where the envi ron men tal cri ‐ sis is set in rela tion to to the under ly ing, eco log ical cri ‐ sis in our minds, in our social rela tions and insti tu tions, ”af irm ing that”our wel be ing is inti mate ly con nect ed with the health of soci ety and the envi ron ment around us. If we destroy nature, we are also destroy ing our ‐ selves.” (Melaas 2021) The artis tic research project approach es urban gar den ing as a trans ver sal prac tice able to repair the men tal, social and phys ical ecolo gies contemporaneously:“Urban gar den ing can change the way we think, the way we relate to each oth er (both human and more-than-human life) and it changes our phys ical envi ron ment, our cities and neigh bour hoods.” (Melaas 2021) In explor ing urban gar den ing and its poten tial Bjørn Inge ini ti at ed, par tic ipat ed and inves ti ‐ gat ed sev er al urban gar den ing projects in dif er ent loca tions, span ning from pri vate to pub lic realm. This project serves to exem pli fy a turn ing point in the research process. The most defin ing TURNING POINT in this project result ed from an expe ri ence when ini ti at ‐ ing one of the gar den ing projects in 2017. A group of ded icat ed peo ple is phys ical y estab lish ing an urban gar den ing project. “This sum mer we wil turn this asphalt desert into a pro duc tive gar den in the mid dle of the city. A group of peo ple, al with our indi vid ual needs, desires and moti va tions, has decid ed to take back (some) demo c ra t ic con trol of food pro duc tion, the pro ‐ duc tion of our sur round ings and every day life. Consciously or uncon scious ly, we exper iment with what Henri Lefebvre refers to as self-man age ment.” (Melaas 2021) Figure 1: Delivery of soil, 2017 (picture by Bjørn Inge Melaas) Melaas, Bjørn Inge, “Ecologies of urban gardening” for the book CA2RE+ strategies 2021 Two months lat er the involved real ize that things are not work ing out as they thought; The plants have with ‐ ered, not even weeds wil grow. In the search for the rea sons for their fail ure they, among oth ers, invite a per ‐ ma cul tur ist ask ing for expla na tions. They learn that the soil is deadand find out they nei ther got the knowl edge and expe ri ence nec es sary to succed. “Suddenly soil goes from being a mat ter, a growth medi um for the plants — to what philoso pher Maria Puig de la Bel acasa cal s a mat ter of care.” (Melaas 2021) This real iza tion and sev er al oth er expe ri ences in Bjørn Inges’ DDDR project make the mutu al depen den ‐ cy between humans and soil vis ible. Puig de la Bel acasa reminds us that care is not only nec es sary between humans, but also what microbes do al the timeThis makes clear that the “men tal divi sion” between nature and cul ture doesn't make sense, and co-exis tence, based on CARE. It is this rela tion to soil, which in urban gar den ing hap pens through touch ing and work ing in/with the soil with our hands. This con ‐ tact strength ens our rela tion to soil, uncov ers our depen den cies and teach es us CARE. Caring for the soil, with its microbes, but also our fel ow gardeners. The super fi cial mantras of alter na tive area-usage and an inno v a tive method of par tic ipa tion, which urban agri cul ture often is con nect ed with, are sup ple ment ed or exchanged with a dif er ent one: Urban agri cul ture as an invi ta tion to CARE. “- to relate to soil, to plants, to oth er humans and our phys ical sur round ings.” (Melaas 2021) At this TURNING POINT it became clear that the, in the urban agri cul ture projects, used soil is not a con ‐ tain er for the food to be grown in, but a liv ing organ ism to coop er ate with and CARE for. In return, it wil CARE for us. This descrip tion of the nec es sary open ness in a DDDr project is our try to dis cuss REFORMULATION as RECONCEPTUALISATION. It can be the big advan ‐ tage of DDDr to al ow shifts of track and steadi ly be able to focus on dif er ent parts, shift ing between the applied part of the research and its foundation. Figure 2: Care for soil, 2017 (picture by Bjørn Inge Melaas) Literature Melaas, Bjørn Inge, “Ecologies of urban gardening” for the book CA2RE+ strategies 2021 Reformulation and Creativity Matija Svetina, University of Ljubljana Keynote Abs The keynote addresses the role of reformulation in a t creative process. First, I define the criteria for ra understanding creativity as a psychological process ct rather than a product. I then provide several examples to il ustrate what problem reformulation is in the psychology of creativity, how dif erent types of problem reformulation contribute to a creative process within an individual, and why problem reformulation is essential in finding innovative solutions to problems. Final y, I discuss dif erent approaches to promoting problem reformulation and creativity, such as problem definition, time latency, perspective taking, and intergenerational/interdisciplinary communication approaches. In con tra dic tion to hard sci en tif ic dis ci plines, Architecture is char ac ter ized by an epis temic culture (Knorr Cetina, 1999) encom pass ing var ious fields of knowl edge. Design, man age ment, his to ry, plan ning, the o ry, tech nol o gy, to men tion a few, al have their own area of exper tise, own meth ods and inquiry tools as wel as their own ways of rea son ing and prov ing. Specific knowl edge is defined in each area (Kurath, 2015) along with spe cif ic ways of study ing. Nevertheless, even though this rich ness of sub jects and posi tions is real y fas ci nat ing, it doesn’t pro vide unequiv o cal dis ci pli nary ways of con duct ing research and pro duc ing knowl edge. This is par tic u lar ly true in the case design is involved. Architectural design is a com plex and com mon ly a cycli cal activ ity, depend ing in fact on a large num ber of exter nal fac tors, some of them being even rapid ly shift ing. As mat ter of fact design itself typ ical y deals with wicked prob lems (Rittel & Webber, 1973), which are nowa days not any more excep tions but part of the ‘new nor mal’ we have to face every day. When it comes to the built envi ron ment chal ‐ lenges of today and tomor row, no doubt that com plex ity and uncer tain ty have the upper hand while, at the same time, are dif i cult enti ties to get a grip on due to the intri cate and vary ing nature of the con tro ver sies that the world is made of (Latour, 2005). Complex and some times con flict ing argu ments or require ments stem ming from dif er ent dis ci pli nary realms or com pe ‐ tences need to be joined togeth er through a process of nego ti a tion in which design ful fil s a cru cial syn er getic role. Therefore, design ing is get ting more and more a tan gled but at the same time also a nec es sary mat ter. However, although being par excel ence a syn thet ic act, with its often unique and not replic a ble out comes is design the field where the epis temic cul ture of Architecture is most pre dom inant. Moreover, one must deal with the many facets of design, such as tac it knowl edge, unspo ken per son al motives and actions that are an intrin sic part of the process of design ing but are often hid den despite being fun da men tal to cope with shift ing and con tra dic to ry con di tions (Cross, 2007). With this pre am ble in mind, in the frame work of the next CA2RE+ project step ded icat ed to Reformulation, thoughts and con sid er a tion are link ing back to the last con fer ence orga nized by the col eagues of the Hafen City University in Hamburg. An issue to point out would be that reflec tion and refor mu la tion are going some how hand in hand. Part of the input for the refor mu la tion is like ly to stem from a ‘reflec tion on action’ (Schön, 1983) about the way the design has been tak ing place, and on what could have been done dif er ent ly in rela tion to the research premis es and / or ques tions. While such a step would cer tain ly be ben e fi cial, dur ing the last CA2RE+ con fer ence I got extra trig gered by Pierre Bourdieu’s con cept of ‘reflex iv ity’ men tioned by Margitta Buchert dur ing her lec ture. The inter est ing issue here is that in Bourdieu’s work the notion of ‘epis ‐ temic reflex iv ity’ (Bourdieu & Wacquant, 1992) is cen ‐ tral. Although relat ed to social sci ences the o ry, the idea of bring ing into ques tion actions and rela tions strength ‐ en ing an ‘own posi tion’ is con sid ered by Bourdieu not mere ly indi vid u al is tic or per son al but rather a col ec tive mat ter. It is the struc ture and posi tion of the field that need to be ana lyzed, and its rela tions with the object of study shape knowl edge claims (Bourdieu & Wacquant, 1992). Considering this view point, in a design-dri ven PhD the refor mu la tion can become more than a cru cial moment. It goes almost with out say ing that refor mu la ‐ tion is a phase in which the researcher looks back to the ini tial state ments and research ques tions, pon der ‐ ing about the motives, approach and results so far. In the case of a design-dri ven research, the addi tion al log ‐ i cal ques tions would then be about the role of design, the rea sons behind that spe cif ic design or designs, but also about the process of design ing and the con tro ver ‐ sies and uncer tain ties that need ed to be faced along the way. Meanwhile, one should try to uncov er the fea ‐ tures inher ent to the per son al design research jour ney con nect ing them to more gen er al iz ing, sharable, and debat able mat ters rec og niz able as pecu liar char ac ter is ‐ tics or con no ta tions of the knowl edge field of design. This addi tion al line of thought can be help ful to posi tion and refine the spe cif ic design-dri ven research project, simul ta ne ous ly sup port ing the clar ifi ca tion of its knowl ‐ edge con tri bu tion and the terms for its transferability. In Other Words Primož Vitez, University of Ljubljana Keynote Abs Anything we say is basical y a reformulation of t preexisting utterances. rac Yet no phrase or word can be thought of as an isolated t phenomenon: every communication gesture is unique and unfolds a singular individuality. What authorises us to say what we are saying? Reformulating Design and Artistic Practice- dri ven Research to Reach Out Tadeja Zupančič, University of Ljubljana Individual position statement During the pre vi ous CA R 2 E+ events, some key rel e ‐ vance-relat ed ques tion were for mu lat ed: What belongs to design/artistic prac tice-dri ven research? Or: What is rel e vant for design/artistic prac tice-dri ven research? And per haps: Is what is rel e vant for design/artistic prac tice-dri ven research stil design/artistic prac tice- dri ven research or some thing else? The CA2RE/CA2RE+ Ljubljana aims to focus even more on the hybrid core(-s) of design/artistic prac tice- dri ven research. On the oth er hand, it aims to reach out with the find ings of and from with in that 'core'. While the user-ori ent ed researchers (archi tects, land scape archi ‐ tects, urban design ers, indus tri al design ers…) are used to share the prac ti cal lev el of their find ings with their users, their research (meta-lev el knowl edge) often stays in the ivory tow er of the research com mu ni ty involved in the dis cus sions. The research lan guage of oth er artis tic researchers focused on their cre ative world (painters, visu al artists…), can be even more cryp tic for the peo ple out side 'their world'. To reach out, the CA R 2 E com mu ni ty needs to refor mu late the ques tion of what belongs to design/artistic prac tice-dri ven research into Where design/artistic prac tice-dri ven research belongs to – and how. Where is it rel e vant? How to achieve that relevance? The LJUBLJANA CA R 2 E/CA R 2 E+ event thus address es the top ic REFORMULATION. 1 'The event builds on the top ics: OBSERVATION, SHARING, COMPARISON, and REFLECTION explored at pre vi ous CA R 2 E+ events. It rep re sents a first step in build ing an extend ed DDr FRAMEWORK.' The event aims at the refor mu la tion of the idea of the design/artistic prac tice dri ven (doc tor al) eval u a tion train ing as an event and process. It trans ‐ lates and expands 'the DDr STRATEGIES and EVALUATION process es to increase their rel e vance to relat ed dis ci plines that have pre vi ous ly informed DDr. This step rede fines the expe ri en tial DDr knowl edge expli ca tion through per for mances and dis cus sions with the broad est pos si ble audi ence. It aims to iden ti fy the bound aries of DDr's rel e vance: when is the approach spe cif ic enough to be engag ing and gener ic enough' to be trans ferrable, or, in the case of inter sub jec tive knowl ‐ edge trans fer, clear and explic it enough to enable immersion? 'The event rais es the ques tion of what the CA R 2 E com ‐ mu ni ty needs to refor mu late to strength en DDr: How can we qual ify the dif er ent lev els of obser va tions and reflec tions on the research to eval u ate the qual ity of DDr? How can we address gen er al research cri te ria of rel e vance, rigour and orig inal ity in ways that make them stim u lat ing for researchers and strength en the inter sub ‐ jec tiv ity of DDr? How can we improve our under stand ‐ ing of the process es of ongo ing DDr? How can design ques tions be direct ed into research ques tions and aims, and how do we assess the research rel e vance of these ques tions and aims? How can rela tion al and sit u a tion al design activ ities become rel e vant research con tri bu ‐ tions out side their spe cif ic con text, and how does this become rel e vant for oth er research approach es? How can indi vid ual researchers approach their research to make it acces si ble for new pan el ists? How can we trans late the com mon ground and shared under stand ‐ ings that are devel oped through DDr to new audi ‐ ences? To rephrase, redraw, recon sti tute, retrans form, recon struct, regen er ate… are al actions described dur ‐ ing the last CA R 2 E/CA R 2 E+ event in Hamburg. What do they refor mu late, why, how and when? 'The CA R 2 E/CA R 2 E+ Ljubljana dis cus sion engages in these types of questions. To dis cuss the poten tial rel e vance and impact of design/artistic prac tice-dri ven research we can adapt the research impact dia gram, pre pared by the EAAE Research Academy. Figure 1: Research Impact Diagram (by EAAE: European Association of Architectural Education – Research Academy) 2 What are the areas of rel e vance and (poten tial) impact on/in – the areas, defined by scale (local, region al, nation al and glob al)? What are the audi ences addressed (indi vid u als, groups, insti tu tions)? And what are the time frames we have in mind? What are the strate gies to address the time frames dis cussed? During the pre vi ous con fer ences, I observed a shift from long- term impact iden ti fi ca tion towards impact-while-think ‐ ing and act ing aware ness. The trig ger of that shift was the ques tion naire about the impact of the event on participants. What is the nature of rel e vance and poten tial impact of design/artistic prac tice-dri ven research in terms of acces si bil ity, engage ment and ef ec tive ness? How do we know what research is acces si ble (when and to whom), engag ing, who is engaged and how, how ef ec ‐ tive are we as researchers, try ing to engage 'oth ers'? Concerning the areas and the nature of relevance/impact (poten tial), appro pri ate evi denc ing needs to be cho sen. What are the ref er en tial bod ies of evi dence and 'mea sure ment' types? Not only pub li ca ‐ tions (and their 'impact fac tors') and fund ing, but also prac tice recog ni tion (award ed projects and arte facts, impact on oth er projects proved), pub lic pre sen ta tion (influ ences traced), com mu ni ty engage ment (before- dur ing-after project action mon itor ing) and cura tion (cura to r ial impact, teach ing impact, man age ment impact traced…) need to be tak en into account. 1 CA2RE/CA2RE+ LJUBLJANA Theme: Reformulation (2021): https://ca2re.fa.uni-lj.si/ref. . ; from June 30, 2021. 2 EAAE European Association of Architectural Education – Research Academy –(2019): Research Impact Diagram, Zagreb RA Workshop document, https://www.eaae.be/event/zagr. . from June 30, 2021. Extended Ab and Pape Artefacts bstracts ers Identifying Informal Settlements in Post- War Aleppo and Possible Applied Solutions Yara Aboasfour, Universidade Lusófona do Porto and Universidade de Coimbra Initial doctoral stage (1st Year) Supervisor: Edite Rosa, Universidade Lusófona do Porto # Aleppo, Reconstruction, Informal settlements Abs The areas of informal Settlements have served as a t separation wal between the dif erent parts of Aleppo, ra these areas suf ered not only from poor planning and ct construction, lack of public and green spaces but also from poor services, which poses a grave danger to citizens’ health and to the inhabitants of the nearby neighborhoods. During the Syrian war, most of the destruction was concentrated in the Informal areas, which formed an incubator environment for the conflict and a major battleground due to their appropriate characteristics at various levels. In the reconstruction phase, paying further attention to the development of slums and their integration with the rest of the city should remain the most important goal in the treatment process. Therefore, this study of ers guidance on how to prepare for a housing reconstruction intervention; describes the various approaches available, and aims to integrate their reconstruction into the wider recovery context. Ex 1. Statement of Problem ten A greater part of the urban built envi ron ment in Syria d may be termed "infor mal," as not being the result of ed archi tects’ work in places not orig inal y intend ed for abs con struc tion, in vio la tion of the law, infring ing on state t prop er ty and agri cul tur al lands with the absence of ra plan ning, then it expand ed ,spread and became a real i‐ ct ty. 1 In the case of Aleppo, the slums have served as a sep a ‐ ra tion wal between the dif er ent parts of the city. According to joint stud ies between Aleppo munic ipal ity and the GTZ* 2 pri or to 2011, 45% of the city's three mil ‐ lion inhab itants lived in dif er ent types of slums, which have been wide spread since the 1980s most ly in the east ern half of the city and account for 35% of the city's area. These areas suf ered not only from poor plan ning and con struc tion, lack of pub lic and green spaces but also from poor ser vices such as side walks and paved roads, and the denial of pub lic ser vices (includ ing drink ‐ ing water, sewage net works,….) This pos es a grave dan ‐ ger to cit izens’ health and to the inhab itants of the neigh bor ing neighborhoods. Figure 1: Aerial photos showing the dif erence between the urban fabric in organized and unorganized areas in Aleppo Due to the spe cial nature of the Syrian war that broke out in 2011, and because of the scorched-earth pol icy, res iden tial build ings have become part of mil itary for ti fi ‐ ca tions, and neigh bor hoods and res iden tial build ings have become direct mil itary tar gets. According to the World Bank's esti mates (2017)3 , until the begin ning of 2017, the num ber of dam aged homes in Syria was approx imate ly 1.7 mil ion homes, which con sti tutes 27 per cent of the total Syrian hous es, while 20 per cent of them were par tial y dam aged. In Aleppo, the sec ond largest city, about 424,000 hous es were total y destroyed, which made it the most dam aged city in Syria fol owed by Damascus. Most of this destruc tion was con cen trat ed in the ran dom hous ing areas, which formed an incu ba tor envi ron ment for the con flict and a major bat tle ground due to their appro pri ate char ac ‐ ter is tics at var ious lev els (see Figure 2). Figure 2: Damage analysis 5 In the next few years, peo ple are pro ject ed to return to the city at an esti mat ed 12% pop u la tion growth speed per year 4 . Accommodating those who inhab it ed the City of Aleppo wil require a care ful bal ance of recon ‐ struc tion plan ning and pro vi sion of tem po rary accom ‐ mo da tion while the recon struc tion ef ort is under way. Also, pay ing fur ther atten tion to the devel op ment of slums and their inte gra tion with the rest of the city should remain the most impor tant goal in the treat ment of these areas, through the upgrad ing in gen er al with the pos si bil ity of demo li tion and recon struc tion in an appro pri ate urban for mat in some sites and appro pri ‐ ate standards. The task of reviv ing the res iden tial sec tor after the war is not easy and requires a sin cere desire, a polit ical wil and a sep a rate econ o my root ed from the eco nom ic motives of direct return 6 . It requires the con cert ed local and inter na tion al ef ort, both phys ical and engi ‐ neer ing; to take advan tage of al the sup port and that local and inter na tion al facil ity accom plish this step. Reconstruction in con flict areas is often aimed at a quick prof it neglect ing the indige nous rights or the pri va cy of the city. Therefore, we may wit ness the same kind of prob lems that were before the con flict, such as inequal ity in the lev el of ser vices and the spread of infor mal set tle ments in light of inad e quate urban plans and mech a nisms for imple men ta tion. Accordingly, it is nec es sary to con duct new research that could form a link between the dif er ent parts of Aleppo and that avoids pre vi ous orga ni za tion al mistakes. Figure 3: The geographical distribution of the Informal Settlements areas in Aleppo 2 The study at hand is impor tant to inves ti gate equal ity in ser vices and oppor tu ni ties, and avoid reviv ing the same real ity, that has cre at ed a rift between parts of the city, in the recon struc tion process, as wel as, to pre vent more infor mal set tle ments from spread ing fur ther after the war. This think ing should al be based on nation al stan dards that are dif er ent from the pre vi ous work on recon struc tion in the sense that their foci are not only restrict ed to the restora tion of the demol ished hous ing sec tor, but also to the social needs of the local com mu ‐ ni ties includ ing ser vices, pub lic spaces, mar kets, sus ‐ tain able designs and infra struc ture and oth er relat ‐ ed issues. 2. Research Objectives This the sis aims to draw on a wide range of exam ples from the last two decades to high light the main issues and to pro vide exam ples of both good and bad prac ‐ tices. It of ers guid ance on how to plan and pre pare for a hous ing recon struc tion inter ven tion; describes the var ious hous ing recon struc tion approach es avail able and sets out the var ious mod els of imple men ta tion that tend to be used and aims to paint a broad er strate gic pic ture of the sec tor. It argues that hous ing recon struc ‐ tion inter ven tions should take into account local resources, needs, per cep tions, expec ta tions, poten tials, and con straints, there by, rein te grat ing the infor mal hous ing recon struc tion into the wider recov ery context. 3. Research Questions The main research ques tion addressed in the study is: To what extant could the real ity of Aleppo’s Informal Settlements be devel oped in the recon struc tion phase process after the war? The Specific Questions are: What are the gen er al guide lines and the archi tec tur al poli cies approach should be fol owed to upgrade or reor ga nize the Informal areas after the war? What are the scales of archi tec tur al inter ven tions could be applied in the dif er ent areas and in which level? What are the strate gies should be fol owed to pre vent the emer gence of new over crowd ed il e gal set tle ments after the war? 4. Expected results Establishing an inte grat ed method ol o gy and gen er al guide lines for the recon struc tion of large ly destroyed slums and deter min ing the urban and archi tec tur al inter ven tions need ed to meet the chal enge of post-war infor mal set tle ments in Aleppo of al their var ious lev els of types, pop u la tion and destruc tion. Also, to define the impor tant plan ning and design require ments regard ing devel op ment and its impor tant mea sure ments and dimen sions as a response in order to reduce as much as pos si ble the neg a tive con se quences and pre vent the emer gence of new il e gal set tle ments after the war. To select a rep re sen ta tive num ber of infor mal areas in Aleppo based on dif er ent char ac ter is tics and dif er ent lev els of pop u la tion and dam age that need to be devel ‐ oped or reor ga nized to apply the archi tec tur al and urban solu tions and inter ven tions of the the sis, there ‐ fore, to com pare the dif er ent results. 1 Clerc. Valérie (2015): » Informal settlements in the Syrian conflict: urban planning as a weapon «, Built Environment, Alexandrine Press, Arab cities after ‘the spring’, pp.34-51. 2 GTZ (Deutsche Gesel schaft für Internationale Zusammenarbeit) is a German development agency headquartered in Bonn and Eschborn that provides services in the field of international development cooperation and international education work. 3 GTZ (2009): »informal settlements in Aleppo, rapid profiles of al informal settlements in Aleppo« (Report) 4 World Bank Group (2017): Syria Damage Assessment. 5 Reliefweb (2019): Humanitarian Overview- Syrian Arab Republic. 6 United Nation (2014): Syria Regional Response Plan: Strategic Overview. 7 THE ALEPPO PROJECT, Hungary, Center European University Available at: (www.thealeppoproject.com). The Matter of Form in Invisible Components Role of Foundations Gino Baldi, Politecnico di Milano Intermediate doctoral stage Supervisor: Carles Muro, Politecnico di Milano # form, struc ture, foundations Abs What is the role of form in visible and invisible t components? How do hidden structural elements (such ra as foundations) enable or influence the final ct appearance of visible elements? How foundation could be an active element in project? This thesis aims to investigate the role of form in its generative relationship with structure in the contemporary swiss cultural context, focusing on foundations. This is because the area where structure and ground meets is a point of confrontation, more than ever between exposed and hidden. The purpose is to analyze and show how foundations may or may not become part of the final perception of the architectural body, evaluating their formal influence. The outcome is to understand how this invisible component could become an active element in the definition of the form (also in a reuse way). A What is the role of form in vis ible and invis ible com po ‐ rte nents? How do hid den struc tur al ele ments (such as fa foun da tions) enable or influ ence the final appear ance of ct vis ible ele ments? How foun da tion could be an active ele ment in project? The struc ture of the the sis in a first part frames the cul ‐ tur al con text of the research, defin ing the rela tion ship between form and struc ture in a the o ret ical key and ana lyz ing the char ac ters of the geo graph ical con text (Switzerland). In the sec ond part, the spe cif ic research com po nents are ana lyzed, refer ring to the rela tion ship with the ground (ground con nec tion, foun da tions and topog ra phy). Final y, in the last part, research by design is car ried out, ana lyz ing some pos si ble vari a tions on the select ed case study that become an active ele ment in the research able first ly to be a nar ra tive ele ment and at the end an active ele ment to test pos si ble solu tion to use and reuse foun da tions. It is impor tant to high light the rea sons that lead the research in Swiss ter ri to ry are defined by the inter sec tion of dif er ent top ics, where each one isn’t unique of Swiss con text, but by their com mon inter con nec tion define this as a fruit ful con text for the research. Topographical aspect, Pedagogical aspect in teach ing archi tec ture, cre at ing dia logue between archi tec ture and engi neer ing, a “know how” cul ture, a hand craft atten tion to detail also in tech ni cal and struc tur al elements. Architecture arti facts are most ly pub lished, admired and stud ied for what emerges from the ground, with out pay ing par tic u lar atten tion or won der ing what is hid den under neath. So, there is an ambi gu ity, a short-cir cuit in the idea that a fun da men tal ele ment that al ow the pres ence of a build ing as arti fact to be there, is invis ible. The research has the objec tive to put this com po nent more evi dent and active in the project. The inten tion of the research is instead to ana lyze the rela tion ship with the ground, reveal ing what is hid den below the ground line, inves ti gat ing how a hid den struc tur al com po nent can influ ence the for mal com po ‐ nent of the vis ible building. This intro duce the idea of log ical and phys ical uni ty between dif er ent com po nents that can be linked to the idea of tec ton ics. Bottincher, 1 in fact, inter prets the term tec ton ics giv ing it the mean ing of a com plete sys ‐ tem that binds each part into an unique whole, endowed with mean ing. (fig.1) Foundation not as an ele ‐ ment itself, but as an ele ment capa ble of trans mit ting and syn the siz ing the char ac ter of the work. So the foun da tions become a spy, a "clue par a digm" 2 for research, an ele ment that is com mon ly not ana lyzed, but able to high light very rel e vant char ac ters in the study and read ing of the build ing. In fact, this method has been point ed out by Carlo Ginzburg, high light ing sev er al exam ples of the appli ca tion of this method. One of these is that used by the art his to ri an Giovanni Morel i, 2 in the def in ition of a new par a digm for the asso ci a tion of works of art to their author. For this Morel i out lined a method that does not start from the most strik ing and rec og niz able char ac ters of an artist but, on the con trary, from unusu al char ac ters, which are rarely observed (such as the rep re sen ta tion of the hands or the ears) because it is there that the true artist is rec og nized. Similarly, in the inten tion to ana lyze the rela tion ship between form and struc ture in known case stud ies, where the inten tion is not to start from the com po nents where this rela tion ship is clear and evi ‐ dent, but from a more hid den con di tion, such as foun ‐ da tions. For Luigi Snozzi the foun da tions are able to com mu ni cate the frame work of the archi tec tur al idea and there fore to be a syn the sis of the entire design process. Therefore, to under stand an archi tec ture it is enough to observe the foun da tions, which become not only the point of arrival of al the loads but also the syn ‐ the sis of the design process. 3 So foun da tions can be the lens through which to study and rethink the project. [ 2 ] According to Diethelm 4 , the con tact between the build ing and the ground does not only deter mine the trans fer of loads, from top to bot tom but also the inter ‐ face with the topog ra phy of the place, in a com po si tion ‐ al rela tion and not only struc tur al. 5 In fact, archi tec ture is in rela tion to the geo mor pho log ical struc ture of the land scape through its form. 6 The zero point of this rela ‐ tion ship is the ground line and a sec tion at the sur face of the earth’s crust that high light ing the dif er ent lay ers of which the soil is com posed: more or less dense, strong or weak, impos ing dif er ent solu tions to anchor the build ing to the ground. 7 Figure 1: Architect - R. Zuber // Engineers - Conzett Bronzini Gartmann, Grono Schoolhaus - Grono , Switzerland, 2011 - Axonometric drawing Figure 2: Architect - R. Zuber // Engineers - Conzett Bronzini Gartmann, Grono Schoolhaus - Grono , Switzerland, 2011 - Axonometric drawing – below view of foundations In this sense, the rea son ing car ried out by Alison and Peter Smithson, with “Ground Notations”, is cen tral. 8 Here is high light ed the impor tance of the ground ing of the project as a design strat e gy, capa ble on the one hand of mark ing the phys ical nature of this com po nent as an arti fact and on the oth er hand the link to the place that is estab lished, intro duc ing the pos si bil ity of foun da ‐ tion to become an active element. In this sense, the com pe ti tion pro pos al devel oped by Junya Ishigami for the ren o va tion of the Moscow Polytechnic Museum (2012) is very inter est ing. The project, to cre ate a new lev el on the ground floor, reveals and brings to light the under ground lev el of the foun da tions, mak ing it hab it able and acces si ble to the pub lic. The old build ing is thus raised on its foun da ‐ tions, as in Semper's pho to dur ing the restora tion of the Polytechnkkum, Zurich (1920). The foun da tions, pre vi ‐ ous ly invis ible, become part of the vis ible form in the project, com plete ly chang ing the per cep tion and use of the space. Another exam ple in which the foun da tions are inhab it ed is the com pe ti tion recent ly won by Christian Kerez with Joseph Schwartz for the Textile Museum in St. Gal en, Switzerland (2021). In this project, the foun da tions become a “cast ing form” for the new under ground lev el, free ing up a large under ‐ ground space and mak ing the exist ing build ing float. In fact, con trary to what the com pe ti tion announce ment sug gest ed, i.e., to work part ly on the exist ing roof and part ly on the base ment, Kerez's solu tion does not alter the roof in any way, mod ify ing only the base ment, cre at ‐ ing a new, large, free atri um to host mul ti pur pose func ‐ tions. So, foun da tion become an inhab it ed space, an active com po nent that on one side syn the sizes the con ‐ cept of the project and on the oth er side intro duces new solu tions of reuse. 1 Bottincher, in K. Frampton, Studies in tectonic culture. The poetics of construction in Nineteenth and Twentieth Century Architecture, MIT Print, USA, 2001 - makes particular reference to the Greek temple, where he states that each part, including the relief and framed sculpture, is bound together as a unicum. 2 Ginzburg, Carl (1979): Spie. Radici di un paradigma indiziario. Torino: Einaudi Editore 3 Croset, Pierre Alain (1990): Una conversazione con Luigi Snozzi, in: Casabel a n. 567 4 Diethelm, Alois (2008): “Foundation - Plinth, Building underground”, in Deplazes, Andrea “Constructing architecture: material, processes, structures; a Handbook” Basel:Birkhauser 5 Berlanda, Toma (2014): Architectural topographies: a graphic lexicon of how buildings touch the ground, London: Routledge 6 Raith, Karin (2008): Die Unterseite der architektur – Konzepte und konstruktionen an der Schnittstel e zwischen kultur und natur, Berlin:Verlag 7 Hool, Steven (1989) Anchoring, New York: Princeton Architectural Press 8 Casino, David (2017) Ground-notations. Estrategias de enraizamiento en la obra de Alison y Peter Smithson, PhD Thesis, Madrid: Departamento de Proyectos Arquitectònicos de la Escola Tècnica Superior de Arquitectura ETSAM, Universidad Politècnica de Madrid Safe Spaces Exploring Design Possibilities in Preparing for Emergencies Beatrice Balducci, Politecnico di Milano Intermediate doctoral stage Supervisor: Alessandro Rocca, Politecnico di Milano # crit ical infra struc tures, emer gency, preparedness Abs The proposed contribution aims to discuss, from a t methodological standpoint, three aspects of the ra author's ongoing doctoral research: the selection and ct analysis of the case studies, the structure of the section of research by design, and their mutual interdependence. P The research inves ti gates the design pos si bil ities and ap method olo gies that under pin the approach of pre pared ‐ er ness for dis as trous events. It focus es on the design of crit ical infra struc tures, those sys tems and spaces nec ‐ es sary for the resis tance of a human envi ron ment, as hybrid and dual spaces designed to respond to both a state of rest and dif er ent times of a poten tial emer ‐ gency. By shap ing a the o ret ical frame work, select ing case stud ies and design ing a set of pos si bil ities, the work aims to reflect on the rela tion between humans, a chang ing nat ur al envi ron ment, and architecture. In recent years we have wit nessed an inten si fi ca tion of envi ron men tal phe nom e na of unusu al inten si ty with cat a stroph ic ef ects on the human envi ron ment. In the envi ron men tal cri sis of cli mate change, the increase in the risk gen er ates, on the one hand, new vul ner a ble envi ron ments to which wil cor re spond a grow ing need for secu ri ty. 1 On the oth er hand, glob al inter est in the con cept of preparedness. Instead of mit igat ing the risk of a dis as trous event, the idea of pre pared ness is to assume that a dis as ter wil hap pen, enact ing a vision of a dystopi an future to devel op a set of tech niques for main tain ing safe ty in a time of emer gency. 1 It address es the pro tec tion of crit ical infra struc tures, the back bone of set tle ments, their irre ducible struc ture, 2 the sys tem on which human safe ty depends. Structures such as for water sup ply, ener gy pro vi sion, cli mate pro tec tion, and food pro duc tion are, in fact, the first line for sur viv ing and the first to fail in the wake of a dis as ter. 3 Assuming a dis as ‐ ter as a poten tial y unsta ble con text with which archi ‐ tec ture must con front leads to con sid er mul ti ple sce ‐ nar ios, dura tion, and con fig u ra tions for a project, its func tion al or for mal dynam ic ity, its rela tion to a state of change. It inter ro gates the per ma nence and sta bil ity of archi tec ture, stress ing prin ci ples such as trans forma bil i‐ ty, adapt abil ity, and typo log ical hybridiza tion: a park could be designed to be trans formed into an of -grid emer gency camp site; a min er al square into a tem po ‐ rary water reser voir; a sta ble into an emer gency hous ‐ ing sys tem; a water mil into an of -grid sys tem able to pro vide ener gy in the wake of a disaster. Therefore, how to design a space able to respond to the state of rest and a poten tial cat a stro phe? How can the archi tec tur al project embody a poten tial dis as ter? How can this inform the design process, and what are the pos si bil ities and method olo gies underpinned? The entire work is struc tured in three macro-sec tions: one the o ret ical, one col ect ing case stud ies, and one of research by design. The first one artic u lates a crit ical read ing of pre pared ness, sys tem atiz ing the o ries, revis it ‐ ing mod els, and fram ing the archi tec tur al debate. The sec ond and third sec tions are dis cussed here in this paper's context. The sec ond sec tion is com posed of two main cor pus of case stud ies that intro duce dif er ent pos si bil ities, method olo gies, and dec li na tion of pre pared ness, with a geo graph ical focus on the Japanese, American, and North European con text, where a high vul ner a bil ity to nat ur al dis as ters and sub se quent cul ture of pre pared ‐ ness have a strong influ ence on the design. The cas es are not select ed to be com pared, but instead, they are por tions of rea son ing where each exam ple helps argu ‐ ing the the sis. As anchors drawn to respond to both a state of rest and pos si ble cat a stroph ic futures, implic ‐ it ly rais ing the ques tion “what time is this place?”, 4 the cas es present a spa tial and tem po ral dual ism that can be drawn in dif er ent ways. The recog ni tion of design strate gies pro posed, the spa tial impli ca tions of the addressed phase of the emer gency, the approach es to the phys ical ity of the dis as ter, and the spe cif ic draw ing of the dual ity are, there fore, the ana lyt ic lens through which the cas es are stud ied. Here, the act of draw ing itself becomes the inves tiga tive tool, al ow ing a work of syn the sis of diverse infor ma tion, and a first step of con ‐ cep tu al iza tion, abstrac tion, and spec u la tion. Each case is redrawn accord ing to its evo lu tion and behav ior in dif er ent times of a pos si ble emer gency (event, response, recov ery, recon struc tion) that moves in the order of hours, days, months, and years. The result is a flu id and open matrix of pos si bil ities that explore meth ods, prin ci ples and design solu tions, and that can be fur ther test ed, deep ened and implemented. Prepper's Architecture There is noth ing ready, but every thing can be ready.5 The first cor pus inves ti gates the Prepper movement’s archi tec ture, a coun ter cul ture born in the 1960s in the US, made of groups and indi vid u als who, through the design and equip ment of a safe inhab it able space, active ly pre pare for a poten tial emer gency: envi ron ‐ men tal cat a stro phes, eco nom ic col apse, pan demics, nuclear attacks, var ious apoc a lypses. More than the tran si to ry present, their archi tec tures, often based on acci den tal design strate gies, address the peri od of dur ‐ ing and after a cat a stro phe, thus rep re sent ing a mod el of an alter na tive but pos si ble real ity. Definable as a form of sur vival archi tec ture, which com bines food pro duc ‐ tion, water pro vi sion, and shel ter, with the implic it mot to “build less, and use bet ter what exists,” 6 Prepper’s archi tec tur al cul ture is char ac ter ized by, on the one hand, a dual is tic read ing of human set tle ment to iden ti ‐ fy those ele ments and typolo gies to trans form into infra struc tures for sur vival. A pri vate swim ming pool could be con vert ed into a self-suf i cient green house, a court yard into a hybrid space for food pro duc tion and water depu ra tion, aban doned garages and tun nels could become mul ti di men sion al shel ters. On the oth er hand, by redefin ing the inhab it able space as an entire ly of -grid and self-suf i cient typol o gy. 7 Figure 1: Preppers’ design strategies. Author: Beatrice Balducci Their design strate gies are, in fact, based on the exclu ‐ sion and seclu sion from urban con texts that, accord ing to one of the most pop u lar sur vival guides, 8 could become increas ing ly unsafe in the event of nat ur al dis ‐ as ter due to the col apse of crit ical infra struc tures and the so-cal ed "rip ple ef ect." Two are the fun da men tal approach es for shel ter ing: "bug ging-out" and "bug gingin," which cor re spond to dif er ent archi tec tur al answers. [ 1 ] From pre fab ri cat ed bunkers to inhab it able green ‐ hous es, archi tec ture is here con ceived as a tool for sur ‐ vival, a machine that oper ates, 9 an infra struc ture to live, pro duce, pro vide, and shel ter. By con vert ing exist ing spaces into sur vival ones, Preppers can rep re sent a mod el of an accel er at ed present. Instead of mit igat ing risk, they antic ipate a dis as ter shift ing it from a pos si ble punc tu al shock to a con stant dis or dered con text to face. By com bin ing sci en tif ic lit er a ture, DIY man u als, pop-cul ture mate ri als, and spe cif ic case stud ies through the tool of draw ing, the aim here is to trace some of the char ac ters of this para noid archi tec ture, that albeit in its eccen tric nature, seems to raise exportable and trans lat able insight for the dis ci pline, rang ing from high ly intro vert ed solu tions to new forms of inte gra tion with the nat ur al world. Dynamic infrastructures The sec ond cor pus of case stud ies cat a logs a series of crit ical infra struc tures at dif er ent scales designed accord ing to a log ic of trans for ma tion of the space. These relate to two main haz ards: earth quakes and floods. Dif erently from Prepper’s archi tec ture, which con stant ly responds to a dis as ter con di tion, these embody a mul ti-tem po ral ity, a state of change, and there fore are designed to trans form, dynam ical y, in the event of a dis as ter. Each case, thus, address es a dif er ‐ ent time of a poten tial emer gency. They are ana lyzed with a focus, on a macro scop ical lev el, on method olo ‐ gies and design strate gies pro posed, and on a micro ‐ scop ical one, on the spe cif ic design of the trans for ma ‐ tion, high light ing the prin ci ples and solu tions that inform their dynam ic ity. The muta tion can be drawn in dif er ent ways: as a func tion al trans for ma tion, where the crit ical infra struc tures are designed as dual-func ‐ tion al ele ments able to trans form in the phase of the emer gency accord ing to a pro gram mat ic change of the space; as elas tic defor ma tion, where infra struc tures are con ceived to for mal y trans form, tem porar ily, due do the inter ac tion with the destruc tive fac tors; as a plas tic defor ma tion, where they are designed to be shaped by the disaster. The case stud ies present dif er ent rela tion ships with the phys ical ity of the dis as ter: from defen sive approach es based on rein forc ing exist ing struc tures to sym bi ot ic log ics that go beyond the "Man VS Nature" atti tude. 10 Dif erently from Prepper's shel ters, which attempt to find dif er ent ways to inhab it a place that seems more and more unin hab it able by design ing of -grid inhab it ‐ able infra struc tures, the case stud ies here pro posed dia logue with a pre cise times of poten tial emer gen cies. The moment of recov ery, as in the case of the Japanese Disaster Parks, spaces entire ly designed as recov ery- camps "in pow er," safe evac u a tion spaces, where a dual-design informs from the gen er al scheme arrange ment to a very detailed scale. Here, a sys tem of punc tu al of -grid infra struc tures is designed to be trans ‐ formed into the back bone of a recov ery camp: bench es can trans form into kitchens; green areas are drawn as a pro duc tive land scape for food in case of short age; man holes can con vert into camp toi lets or first-aid neces si ty clos ets. 11 [ 2 ] Figure 2: Tokyo Disaster Park. Author: Beatrice Balducci The moment of the event, as for the Danish Climate Park by Tredje Natur, a water reser voir designed to trans form depend ing on the dif er ent amounts of rain ‐ wa ter and typolo gies of floods, rang ing from a min er al square to a series of ponds, to a liq uid land scape and vice-versa. The moment of recon struc tion, as in the case of the M.I.T. PREP-Hub, where a spe cif ic local infra struc ture, the paati, a water tank in the shape of a cov ered hal locat ed at the cor ner of the main streets is retro fit ted, hybridized, and redesigned as a site-spe cif ic civic cen ‐ ter for the state of rest, as the anchor around which to set tle the emer gency camp and with in which to shel ter in case of earth quakes, as wel as the repos ito ry of archi tec tur al cul ture from which to start the recon struc ‐ tion. Each of these cas es presents var ious degrees of con trol ing the uncer tain dis or der by design. From the con trol ed draw ing of the space for evac u a tion of peo ‐ ple left home less by the dis as ter as in the Japanese case to an open design that embod ies the unex pect ed, a yield ing, incom plete space that draws an unfin ished nar ra tive uni verse12 as in the case of Depoldering. Whether in this cen tral sec tion of the work the grid of case stud ies results exten sive, the diver si ty in the scale and typol o gy of the projects is instru men tal for build ing a dis course and defin ing gen er al prin ci ples which are trans lat able to dif er ent scales. In the first cor pus, the range of dis as ters con sid ered is arbi trar ily wide because what emerges inter est ing is not the spe cif ic response to the dis as ter per se but rather method olog i‐ cal and pro ce dur al rea son ings. In the sec ond one, focus ing on spe cif ic cas es, the choice is nar rowed down to two dis as ters, the two most wide spread in the world, which present a strong phys ical ity with which archi tec ture can dia logue. The dual is tic read ing of the envi ron ment to iden ti fy unprece dent ed poten tials of spaces due to for mal, dimen sion al, and per for ma tive speci fici ties; a dual-func tion al approach from the gen ‐ er al scheme to the scale of the fur ni ture; the design of dynam ic and hybrid spaces; the draw ing of unfin ished space shaped by the phys ical ity of the dis as ter, are some of the issues that emerge from these cas es. [ 3 ] Figure 3: Matrix of design possibilities. Author: Beatrice Balducci Prepping Norcia The design as a spe cif ic form of research, thus the act of design itself as an inves tiga tive act, 13 defines the third sec tion of the work. Here, the Italian inner city of Norcia, in Umbria region, is the con text for a test-bed project to syn thetize, dis cuss and imple ment the the o ret ical, ana lyt ical, and design matrix built in pre vi ous sec tions. The choice of the site is man ifold: on the one hand, the area is char ac ter ized by a very high seis mic vul ner a bil ity, risk whose pre vi ‐ sion remains a dark art, 14 gen er at ing a con text that lives with the con stant prob a bil ity of dis as ters. On the oth er hand, epi cen ter of the dis as trous shakes of 2016, it pro vides the oppor tu ni ty to sys tem atize the spa tial respons es to past emer gen cies and revis it them from an antic ipa to ry and design per spec tive. But more over, the area rep re sents, due to the intrin sic char ac ter of tan gled rela tion with a chang ing nature, a mag ni fy ing glass for dynam ics that, due to the cli mate cri sis, could increas ing ly inter est oth ers and dif er ent contexts. Figure 4: Prepping Norcia: an open design questionnaire. Author: Beatrice Balducci Here, as an open ques tion naire, a series of inter ro ga ‐ tions are inves ti gat ed by design. What kind of dynam ic i‐ ty exist ing ele ments have regard ing dis or dered sit u a ‐ tions? Which one can be redesigned as dual and adapt ‐ able for an alter nate con di tion of emer gency? What are those crit ical sys tems on which human resis tance depends? By adopt ing a Preppers’ per spec tive of read ‐ ing the space, and thus over lap ping spe cif ic char ac ter ‐ is tics, typo log ical aspects, and behav iors dur ing the past emer gency with in a syn thet ic map, dif er ent ele ‐ ments that com pose the human envi ron ment are observed and ana lyzed through their inher ent actu al or poten tial dual ity, result ing in an aba cus of spec u la tive dynam ic behav iors. Between them, three types of crit i‐ cal infra struc tures (the sta bles, the infra struc tur al areas S.A.E., a for mer water mil sys tem that, in deal ing with dif er ent aspects of the emer gency man age ment, appear as struc tures that, spec u la tive ly, con cur in the con struc tion of human resilience, are then stud ied and redesigned as anchors, dual spaces adapt able for a time of emer gency. More than a sin gle archi tec tur al out come per se, each of them is devel oped in options and hypothe ses, even con tra dic to ry, to explore the range of approach es emerg ing from the case stud ies matrix, from more defen sive to sym bi ot ic with the nat ‐ ur al world. [ 4 ] The sta bles, spon ta neous ly inhab it ed dur ing the past emer gency due to the plani met ric arrange ment and dimen sions that al ow adjust ments and trans for ma tions, can be re-thought as a hybrid, of -grid infra struc tures with an archi tec tur al scheme that al ows dif er ent con fig u ra tions over time, test ing a range of pos si bil ities from Preppers' solu tions to the Disaster Parks' prin ci ples, from a sta ble to a tem po rary hous ‐ ing system. The infra struc tur al areas for tem po rary emer gency hous ing, a spe cif ic infra struc tur al plat form pro vid ed by the Civil Protection, with foun da tions, water and elec ‐ tric ity con nec tions where stan dard ized and pre fab ri cat ‐ ed mod ules are instal ed in few months, incu bate a dual ity that can be explored in graft ing a rela tion with the mul ti ple times of the site. Closed to the his tor ical wal s of the city, a punc tu al sys tem of for mer water mil s rep re sents the third test-case of the work. Formerly used to con trol and divert the flow of an inter mit tent tor rent. This sys tem, crit ical for the resis tance of a fun ‐ da men tal ecosys tem of the wet land, could be revis it ed as an of -grid, adap tive one that, for mal y inter act ing with this fast-chang ing ground, can draw strength from it, becom ing bat ter ies, new anchors in emer ‐ gency conditions. To con clude, although the design phase seems to arrive as the third sec tion of the work, it does not have a demon stra tive pur pose. On the con trary, it flu id ly moves across the work, explor ing, ques tion ing, expand ‐ ing, and over turn ing the pre vi ous parts as an open-end ‐ ed process. 1 Lakof , Andrew (2007): “Preparing for the Next emergency”, Public Culture 2, pp. 247- 271. 2 Lee, Christopher (2016): “Notes on Infrastructural Monuments”, Al en Stan (Ed.) Infrastructural Monument. New York: Princeton Architectural Press. 3 Mazereew, Miho and Elizabeth Yarina (2017): “Emergency Preparedness Hub: Designing Decentralized Systems for Disaster Resilience”, Journal of Architectural Education 71, pp. 61-72. 4 Lynch, Kevin and Micael Sourhworth (1976): What time is this place? Cambridge: The Mit Press. 5 Emery, Nicola (2011): Distruzione e Progetto: l’architettura promessa. Milano: Christian Marinotti. 6 Friedman, Yona (2009): L’architettura di sopravvivenza. Torino: Bol ati Boringhieri Editore, pp.80-98. 7 Stickel s, Lee (2014): “Architecture of Doom: DIY Planning for a global catastrophe.” The Conversation, https://theconversation.com/ar. ., from June 30, 2021. 8 Tappan, Mel (1981): Tappan on Survival. Rogue River Oregon: Janus Press. 9 Skousen, Joel (1977): The Survival Homes Manual: Architectural Design, Construction and Remodel ing of Self-Suf icient Residencies and Retreats. Oregon: Survival Homes Design Division. 10 Woods, Lebbeus (2001): Earthquake! A Post Biblical View. Wien: Springer. 11 Masuda, Noboru (2014): »Disaster Refuge and Relief Urban Park System in Japan«, in Landscape Architecture Frontiers 2. 12 Nicolin, Pierluigi (2014): »Le proprietà del a resilienza«, in Lotus international 155, pp. 52-57 13 Schoonderbeek, Marc (2017): »A Theory of “Design by Research”; Mapping Experimentation in Architecture and Architectural Design«, in Architectural Design Theory 1, pp. 63-79. 14 Bowring, Jacky and Simon Swaf ield (2013): “Shifting Landscape in-between times”, in Harvard Design Magazine 36. The Right to Choose Democratising Older People's Housing Design trhough Mass Customisation Ana Belčič, University of Ljubljana Sara Eloy, University Institute of Lisbon (ISCTE-IUL) Intermediate doctoral stage Supervisors: Anja Planišček, University of Ljubljana; Jana Mali, University of Ljubljana # old-age hous ing, com mu ni ty-based age ing, mass customisation Abs This paper presents the topic of non-institutional old- t age housing responding to the needs of older people ra craving both community and independence. This is ct done in the context of the potential transformation of existing Slovenian single-family houses into co-housing units for community-based ageing that promotes socialising, resource sharing, and reciprocity. The proposal responds to the need to address a universal issue of our ageing population in their largely maladjusted, privately-owned housing, considering a factor that is often neglected – the need for personalisation. To guide this architectonic adaptation, we present a design-driven research method, based on a mass customization approach, used as a tool for tackling a social y prevalent problem. The tool employed was a formalised design method that can cater both to the demands of mass, large scale problems and equal y, to personalised needs, and deliver a large number of design solutions that meet diverse requirements; a transformation shape grammar. P Old age is often seen as a time of less ened capa bil ity, ap dis ease and need for con stant care, how ev er, with er recent advances in med icine and pro longed life expectan cy, the notions asso ci at ed with old age are being chal enged and trans formed. Older peo ple are active, have var ious lifestyles, are increas ing ly inde pen ‐ dent and live longer. They crave auton o my and a sense of agency over their own life, just like peo ple of oth er ages. It is also a mat ter of chang ing demog ra phy — the ratio of old er peo ple in our soci ety has increased by four times since the onset of the indus tri al rev o lu tion and we can expect the next generation's old age dura ‐ tion to take up as much as one-third of their life expectan cy 1 2 . Put sim ply, peo ple used to live into their six ties, but now we can expect them to reach their eight ies or nineties. In Slovenia, organ ised hous ing for old er peo ple is most ly lim it ed to retire ment homes and a lim it ed scope of (most ly com mer cial y dri ven) shel ‐ tered hous ing. Both of those rep re sent hous ing styles that employ age-based seg re ga tion. This reflects the soci etal view of old er peo ple as out siders and does not fit ideals of inclu siv ity and inte gra tion that should be pur sued if we are to pro duce pro gres sive, social y advanced hous ing solutions. Evidently, diverse and wel -devel oped social net works are an impor tant com po nent of old er people's lives. They even influ ence health by pro vid ing feel ings of accep tance and inclu sion — old er peo ple who have rich social lives bet ter retain their cog ni tive capa bil ities, where as social iso la tion can pro duce a chron ic stress state and thus speed up age ing (4). Retirement homes pro vide old er peo ple with social inter ac tions, but due to a lim it ed num ber of avail able rooms, they often need to move to dis tant regions to use these ser vices, and the peo ple they end up liv ing with do not rep re sent their cho sen social net work. Because of this, they can stil feel iso lat ed or detached from soci ety 5 6 . Forming alter na tive, non-insti tu tion al and per son al ized dwel ing solu tions can con tribute to old er people's empow er ‐ ment, inclu sion and sense of per son al agency. An approach to this that is being endorsed by experts of var ious fields, is age ing in place. This refers to hous ing solu tions for old er peo ple that al ow them to con tin ue dwel ing with in their famil iar and cho sen social envi ron ‐ ments, with some degree of inde pen dence, with out need ing to move or leave behind their lifestyles 7 . This is espe cial y rel e vant in Slovenia, as data shows that neigh bour hoods form wel -inte grat ed social net works and neigh bours are even viewed as an impor tant source of sec ondary care giv ing for old er peo ple. Despite this, it is stil impor tant to address the prob lem of lone li ness in old er peo ple. The sur vey on the hous ing needs of pen sion ers and oth er old er peo ple 8 found this to be a wide spread phe nom e non in Slovenia. The inten si ty of feel ings of lone li ness is also relat ed to archi ‐ tec tur al bar ri ers that hin der old er people’s free dom of move ment 9 . As much as 67% of old er peo ple who report feel ing lone ly reg u lar ly face three or more phys i‐ cal obsta cles at home on a dai ly basis 10 . Living space char ac ter is tics can influ ence social inter ac tions — they are enhanced when peo ple have oppor tu ni ties for mutu al con tact and appro pri ate, wel -acces si ble spaces for social iz ing 9 11 . For a sense of com mu ni ty, it is not enough for peo ple to share a place of res idence, the space must enhance and cater to joint activ ities that pro mote the devel op ment of reci procity, social sup port and mutu al exchange of knowl edge and skil s 12 . In Slovenia, over 90% of hous ing is pri vate ly owned and old er peo ple are often home own ers 10 . Single-fam ily hous es, usu al y con sist ing of 120 – 200 square metres of hab it able space, make up a large per cent age of the built envi ron ment 13 14 . A large pro por tion of the hous ‐ es in ques tion was built in the 1970s, with pat tern-book hous es gain ing pop u lar ity. Many of those hous es were self-build ing projects, with the old er peo ple who own them being per son al y involved in the con struc tion process. With the mov ing away of any poten tial chil ‐ dren, these hous es are now often inhab it ed by only a sin gle old er cou ple or even a sin gle per son. The hous ‐ es can dif er from con tem po rary build ing stan dards regard ing spa tial com po si tions, plumb ing, heat ing, insu la tion and oth er tech ni cal infra struc ture that adheres to old er standers, mak ing main te nance cost ly and dif i cult. Nevertheless, old er peo ple often view their abil ity to dwel in this hous ing type as the sym bol of inde pen dence, “nor mal cy” or social rel e vance and are there fore reluc tant to let it go. Most wait until a seri ous il ness or dis abil ity makes mobil ity and every day tasks impos si ble before mov ing to an insti tu tion, like a retire ‐ ment home – it is often the last resort. Older peo ple can, e.g., devel op a mobil ity impair ment and be forced to leave their home envi ron ment, despite being oth er wise inde pen dent. We are left with a gap – there is a lack of hous ing adap ta tion solu tions that make age ing in place a viable option. A solu tion that is endorsed by the main Slovenian old er people's rep re sen ta tive orga ni za tion, is co-hous ing. The orga ni za tion even pro duced a pub li ca ‐ tion cham pi oning this as an alter na tive to insti tu tion al old-age hous ing 15 . Henceforth, typ ical sin gle-fam ily hous es have been cho sen as a pos si ble resource – they are very com mon and large ly under used, while com mu ‐ nal old-age hous ing is need ed and lacking. Figure 1: Four selected typical Slovenian single-family house examples, floor plans gathered from owners in the field. Source: Ana Belčič Figure 2: Locations of the four selected typical Slovenian single-family house examples. Source: Ana Belčič Co-hous ing sig ni fies a way of com mu nal liv ing that brings togeth er peo ple who are not con nect ed by social ties but wish to co-inhab it a house hold with oth er peo ‐ ple. This way they can share resources and ben e fit from the sup port and social rela tion ships formed in such an arrange ment. Usual y, indi vid u als or cou ples are pro vid ‐ ed with per son al spaces — usu al y at least a bed room — where as com mu nal spaces are designed to increase social iz ing — usu al y includ ing at least a com mon kitchen and din ing area. Co-hous ing helps old er peo ple age in a cho sen com mu ni ty, increas ing the poten tial for col ab o ra tion in house hold tasks, as wel as shar ing leisure activ ities. This also helps poten tial pro fes sion al care givers vis it mul ti ple peo ple at once, reduc ing costs. Significantly, old er peo ple could com bine lim it ed per ‐ son al bud gets towards refur bish ing an exist ing, spa tial ‐ ly accom mo dat ing sin gle-fam ily house. Co-habi ta tion can also estab lish a sys tem of mutu al help and sup port between peo ple with var ious abil ity lev els or pref er ‐ ences. The act of com mu nal liv ing can help sup port feel ings of increased safe ty and the abil ity to depend on oth er house hold mem bers 16 17 18 19 . We can there fore assume the hypoth e sis that com mu ‐ ni ty-based age ing in a cho sen co-hous ing group can prove to be more attrac tive than insti tu tion al liv ing. Judging the avail abil ity and large size of typ ical Slovenian sin gle-fam ily hous es we can also assume that archi tec tur al solu tions to repur pose them as co- hous ing units for old er peo ple can be devel oped. We can achieve that through ren o va tion and spa tial adap ‐ ta tion ef orts, which rais es the fol ow ing ques tions: what are the key archi tec tur al fac tors that influ ence the inde pen dent, safe, and com mu ni ty-ori ent ed use of liv ‐ ing spaces for the elder ly? How to use them to design a sys tem for trans form ing exist ing typ ical sin gle-fam ily hous es into cohab it ing com mu ni ties? How can the prob lem of old people's liv ing be addressed with a sys ‐ tem at ic approach that can incor po rate adjust ments to the needs of the indi vid ual user? Figure 3: Inferring the grammar - colour-coded variations derived by the students in the workshop. Source: Student workshop, supervised by Ana Belčič, Sara Eloy and Anja Planišček We decid ed to con struct a work shop on the pos si ble repur pos ing of typ ical sin gle-fam ily hous es that would employ the ele ments of mass cus tomi sa tion to test the fea si bil ity and poten tial of this method in resolv ing the prob lems of Slovenia’s old age accom mo da tion. Mass cus tomi sa tion is a way of both con trol ing and democ ra ‐ tis ing design by pro vid ing design alter na tives for per ‐ son al isa tion with in a coher ent sys temic frame work that helps tack le a wide-rang ing prob lem. As explained by Kolarevic and Duarte, mass cus tomi sa tion can be used as a tool to help low er build ing or refur bish ment costs using large-scale pro duc tion meth ods, while sat is fy ing the unique require ments of each indi vid ual house hold to guar an tee cus tomer sat is fac tion 20 . This gives us two objec tives – first ly, to find the design code and sec ond ‐ ly, to dis cov er how the design code can be manip u lat ed to gen er ate cus tomized designs 20 . The sys tem employed in this study is dri ven using shape gram mars. Shape gram mars were invent ed by Stiny and Gips in the sev en ties. A shape gram mar is a set of shape rules applied step-by-step to gen er ate a set, or lan guage, of designs. Shape gram mars are both descrip tive and gen er a tive. The rules of a shape gram mar gen er ate or com pute designs, and the rules them selves are descrip ‐ tions of the forms of the gen er at ed designs 21 . It is a method of archi tec tur al design that oper ates by deter ‐ min ing clear design inten tions and rules that al ows for the for mal iza tion of the design process, pro vid ing us with an extend ed “uni verse of solu tions” 22 . In the vocab u lary of archi tec ture, it could be described as a com bi na tion of stan dard ised, uni fied con struc tion (or ren o va tion) with per son al iza tion, adapt ed to the end- user, as wel as the envi ron ment 23 . Furthermore, shape gram mar the o ry has also advanced over the years to expand its scope into includ ing para met ric log ics, emer gency fea tures and par al el for mal isa tion, among oth ers. Al these exten sions to the orig inal shape gram ‐ mar for mal ism have been devel oped to com pute cer tain kinds of designs more eas ily or expres sive ly than with a stan dard shape gram mar, as explained by Terry Knight 21 . For the func tion al ren o va tion of exist ing build ings, we can employ the use of trans for ma tion shape gram mars. Such a trans for ma tion gram mar needs to be para met ric due to the vari ety of shapes and dimen sions of the rooms found in exist ing dwel ings – it needs to be designed to iden ti fy rooms, wal s, and spaces whilst tak ing sev er al fea tures into account 24 . Figure 4: Determining the design rules based on the changes made to the floor plan – an example. Source: Student workshop, supervised by Ana Belčič, Sara Eloy and Anja Planišček By using shape rules and a sequence of actions, work ‐ ing as an algo rithm, shape gram mars enable the devel ‐ op ment of a wide vari ety of com po si tion al design solu ‐ tions to a spe cif ic archi tec tur al sit u a tion by respond ing to dif er ent dwel ing require ments. In this case, it makes it pos si ble to devel op a for malised design sys tem to approach var ious sin gle-fam ily hous es and trans form them into co-hous ing com mu ni ties for spe cif ic users – old er peo ple with pre scribed sce nar ios. This was the basic premise for organ is ing the work shop, intend ed to employ and test the con cept. The work shop was con ‐ duct ed in May 2021 and rep re sents an analy sis of a set of Slovenian sin gle-fam ily hous es and the study of their poten tial trans for ma tions into co-hous ing units. The explo ration of dif er ent co-habi ta tion options was, as men tioned, sce nario-dri ven to help pro duce an ini tial frame work for more pos si ble lifestyle choic es to be expand ed on fur ther in the fol ow ing stud ies. The cho ‐ sen sce nar ios con sist ed of three options. The first was a mar ried cou ple, 65 and 75 y/o, active and quite healthy who wish to co-inhab it it with anoth er cou ple (or two) while keep ing ade quate mar ital pri va cy. The sec ond was a wid ow, 78 y/o need ing some assis tance in every day chores and in the gar den, wil ing to share the house with peo ple of var ious gen er a tions. The third was a gen tle man, 81 y/o, with mobil ity issues, who craves the com pa ny of oth er peo ple of a sim ilar age to spend time with. The sce nar ios tar get ed the sup posed own ers of sin gle-fam ily hous es and pos si ble con stel a ‐ tions of their cohab ita tion with oth er peo ple. From this exer cise, devel oped with archi tec ture stu dents, a sim ple shape gram mar was inferred. In our case, the start ing point was assess ing the geo met ric prop er ties of sin gle- fam ily hous es and asso ci at ed plots, and the trans for ‐ ma tion was guid ed by the para me ters for trans form ing the archi tec ture of exist ing hous es into co-hous ing com mu ni ties. Transformation para me ters were designed accord ing to the desired archi tec tur al fea ‐ tures best befit ting the user pro files. The work shop pro ‐ duced 12 vari a tions of co-hous ing units for old er peo ple, set with in four dif er ent typ ical sin gle-fam ily hous es, pro vid ing a use ful exer cise for the fur ther devel op ment of research. Among the 12 vari a tions, some par tic u lar solu tions appeared to repeat in a sim ilar way – for instance, the join ing of var ious rooms to form a larg er com mu nal area, par tic u lar ly on the ground floor, and the com po si ‐ tion of an enlarged bath room that can cater to two bed ‐ rooms. Such sim ilar solu tions, as wel as oth ers — more spe cif ic, were inferred into a trans for ma tion gram mar. The main dis cov ery was the fact that per son al isa tion needs to address not only the var ious liv ing and co- habi ta tion sce nar ios, but also the desired scale, tech ni ‐ cal dif i cul ty, and bud get of each ren o va tion. We must address the fact that some of the options dis cov ered with in the design process by the stu dents would, in real life, have larg er finan cial and build ing con struc tion require ments than oth ers. This was recog nised as a pos si ble expan sion of the research and devel op ment for the mass cus tomi sa tion project, which is planned to be tack led in the PhD dis ser ta tion, enti tled The ren o va ‐ tion of sin gle-fam ily hous es for com mu ni ty-based liv ing of old peo ple. We could also assign a label to each solu tion accord ing to the esti mat ed tech ni cal dif i cul ty and costs. To put it sim ply – each inter ven tion could have an S, M and L ver sion to suit dif er ent users and their capa bil ities. Overal , the exper iment showed that sin gle-fam ily hous es were flex ible enough to facil itate the orga ni za tion of co-hous ing units for old er peo ple, and have clear poten tial for re-use. Figure 5: Two dif erent approaches to dealing with the same floor plan Source: Student workshop, supervised by Ana Belčič, Sara Eloy and Anja Planišček Apart from the com po si tion al and struc tur al aspects of the project, the prob lems of appli ca tion need to be addressed. The fact that most of the hous ing is pri vate ly owned makes orga nized refur bish ment more dif i cult. It also means that solu tions on a mass scale would involve the sup port of var ious stake hold ers, gov ern ‐ men tal bod ies, experts, and of course old er peo ple. It would also require new finan cial and man age ment mech a nisms to be devel oped. Nevertheless, the trans ‐ for ma tion gram mar could be used imme di ate ly by plan ‐ ning and con struc tion com pa nies that would apply it on demand to suit indi vid ual clients or client groups. This design method can also become a tool for edu cat ing and inform ing the pub lic of the wide vari ety of options avail able for the re-use of the exist ing build ing fund for accom mo dat ing old er peo ple who wish to age with in their cho sen communities. It is also evi dent that with in the work shop, we have only skimmed the sur face by try ing to estab lish if and to what extent these hous es can be trans formed into func ‐ tion al co-hous ing units. What is miss ing is to delve deep er into explor ing more play ful, unex pect ed vari a ‐ tions. Much of this can also be achieved through think ‐ ing about how tran si tions from the out side space to the inte ri or play a part in both devel op ing the com po si tions and rela tion ships with the neigh bour ing com mu ni ty. Entrances, ter races, ramps, sunken or ele vat ed fea tures, bal conies, even per haps ver ti cal gar dens – al of those options are yet to be fur ther explored since the detached hous es we are look ing at usu al y have ample plot sizes and appear in var ious con texts and ter rains. They must be explored not only as archi tec tur al ele ‐ ments but as social cat a lysts with in space. With this in mind, sce nario and func tion al ity test ing must advance into deep er cre ative ter ri to ry. The expan sion needs to help the result ing shape gram mar evolve into some ‐ thing that can pro vide a foun da tion for a tru ly free and open-source design lan guage. A design lan guage that is – most impor tant ly – also acces si ble to old er peo ple who can use it direct ly to express their needs and influ ‐ ence as wel as shape their dwel ings. 1 Vertot, Nelka and Križman, Irena (2010): Starejše prebivalstvo v Sloveniji. Statistični urad Republike Slovenije, www.dlib.si/?URN=URN:NBN:SI:DOC-BZ3DXFBF (3. 1. 2021) 2 Miklič, Erna (2012): Stanovanjska problematika v Republiki Sloveniji - Spremljajoče gradivo k osnutku Nacionalnega stanovanjskega programa 2013 – 2022, Ministrstvo za infrastrukturo in prostor RS, www.stat.si/doc/sosvet/Sosvet_25/Sos25_s1900-2013.pdf (3. 1. 2021) 3 Republic of Slovenia Statistical Of ice – SURS (2015): data recieved via e-mail, 25. 3. 2019. 4 Hlebec, Valentina et. al. (2009): Starejši ljudje v družbi sprememb, Maribor: Aristej 5 Mali, Jana (2008): Od hiralnic do domov za stare ljudi, Ljubljana: Fakulteta za socialno delo UL 6 Mali, Jana (2013): Dolgotrajna oskrba v Mestni občini Ljubljana, Ljubljana: Fakulteta za socialno delo UL 7 Wiles, Janine L.; Leibing, Annette; Guberman, Nancy; Reeve, Jeanne; Al en, Ruth E. S. 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Harvard: Society of Architectural Historians, H. Al en Brooks Travel ing Fel owship 2018, https://issuu.com/monica2792/docs/brooks_report-issuu (5. 12. 2019) 20 Kolarevic, B. and Duarte, J.P. (2018): Mass Customization and Design Democratization (1st ed.). Routledge. https://doi.org/10.4324/9781351117869 21 Knight, T.W. (2000): Shape grammars in education and practice: history and prospects. Available at http://web.mit.edu/tknight/www/IJDC/ 22 Duarte, José Pinto (2005): Towards the mass customization of housing: The grammar Siza's houses at Malagueira, Environment and Planning B Planning and Design 32:3, 347–380 23 Blenkuš, Matej (2003): Uporabniku in okolju prilagojeno načrtovanje stanovanjske gradnje, Fakulteta za arhitekturo UL 24 Eloy, Sara in Duarte, José Pinto (2011): A Transformation Grammar for Housing Rehabilitation, Nexus Network Journal 13:1, 49–71 Places Built by a Character Transforming a Literary Tool into a Design-oriented Perspective Multiplicity Viktorija Bogdanova, University of Ljubljana Final doctoral stage Supervisors: Tadeja Zupančič, University of Ljubljana; Paul O Robinson, University of Ljubljana # key words: poem-draw ing, char ac ter, archi ‐ tec tur al design Abs This exhibition / research paper aims to trace and to re- t formulate the characterization experiences of my ra personal design practice in the past few years. The ct elaboration aims to of er an insight in the modes of characterization covered by the dissertation, and the ones out of it (the ‘grounded’ practice and the art therapy experiments). Some of the characters dwel in hypothetical projects, far from the actual reality, while some of them are ‘built’ upon interviews with real personalities. Some of them are architectural entities themselves, while some of them are mixtures of personal stories alternated with a dif erent / alternative plots of development. Al of them communitcate between each other in a perplexed manner. The paper/discussion/exibition aims to trace the meshwork of discussion between the characters from dif erent projects of my design practice, that is – to of er a panoramic view on the varieties of the inner world of the characters, and at the same time, to of er the reader a perspective through the eyes of the characters, in writing, drawing and poem-drawing. Pa Introduction pe When we read a nov el, we often feel indi rect ly invit ed to r dive in the life of per son al ities who co-cre ate the sto ry, imme di ate ly, on the first page. We try to under stand what does the char ac ter feel, what hap pened to him/her, who does s/he encounter, how does s/he relate to the inner life, to oth er humans and to the phys ‐ i cal and meta phys ical envi ron ment. It is as if we were seduced by the author: we are open ing up our own mem o ries and expe ri ences; aim ing to put our selves in the skin of that per son, we uncon scious ly become ‘naked’ and vul ner a ble in front of our own eyes. In some of the char ac ters we may rec og nize parts of our selves, while our inner ness may com plete ly dis as so ci ate with oth ers. However, prob a bly the most mean ing ful nov els ever writ ten make the read er to empha size, to under ‐ stand – or at least to search for – the rea sons behind the behav iors of each char ac ter, de-sta bi liz ing the cer ‐ tain ty of the per son al val ues, de-sta bi liz ing the pro tag o ‐ nist-antag o nist dichotomy. What if we try to write archi tec ture through a con scious active imag ina tion of the future inhabitants? What if we try to speak through the (imag inary) lan ‐ guage of var ious per son al ities: a grand fa ther wait ing for some one on the win dow, a child hold ing a warm bread in his hands on the bakery’s entrance, two sis ters dis ‐ cussing the mean ing of life on a table near the riv er, a fam ily hav ing a Sunday walk, a young cou ple dis cov ‐ er ing joy ful cor ners of shar ing in a sin gle neighborhood? What if we try to imag ine the new struc tures we design as liv ing being in an intense dis cus sion between each oth er? A dis cus sion or a noise? A dis cus sion or a (ver ‐ bal or phys ical) fight? What if we try to imag ine one’s design pro pos al as an archi tec tur al nov el, and to read the world of its heroes, semi-heroes and anti-heroes (needs, desires, vices, fears, dreams) as a mold for the future spa tial idea? Can this read ing help us to under stand real ity ‘as life itself’ before we try to orga nize spa tial y the liv ing of the new gen er a tions? Can this read ing teach us to lis ten to the dif er ent voic es present in a spe cif ic place? And final y, can it help us re-read and re-eval u ate our own archi tec ‐ tur al lines, mod els, state ments, beliefs and philosophies? What if we try to build our envi ron ment upon a crit ical and embod ied under stand ing of the present expe ri en ‐ tial nar ra tives and the future imag ined expe ri ence of another? This exhi bi tion / research paper aims to trace and to refor mu late the char ac ter iza tion expe ri ences of my per ‐ son al design prac tice in the past few years. The elab o ‐ ra tion aims to of er an insight in the modes of char ac ‐ ter iza tion cov ered by the dis ser ta tion, and the ones out of it (the ‘ground ed’ prac tice and the art ther a py exper i‐ ments). Some of the char ac ters dwel in hypo thet ical projects, far from the actu al real ity, while some of them are ‘built’ upon inter views with real per son al ities. Some of them are archi tec tur al enti ties them selves, while some of them are mix tures of per son al sto ries alter nat ‐ ed with a dif er ent / alter na tive plots of devel op ment. Al of them com mu nit cate between each oth er in a per ‐ plexed man ner. The paper/discussion/exibition aims to trace the mesh work of dis cus sion between the char ac ‐ ters from dif er ent projects of my design prac tice, that is – to of er a panoram ic view on the vari eties of the inner world of the char ac ters, and at the same time, to of er the read er a per spec tive through the eyes of the char ‐ ac ters, in writ ing, draw ing and poem-drawing. Characters in poem-drawings – PhD research experiments Through the eyes of anoth er, I tried to observe the mod ‐ i fi ca tion of my under stand ing of spa tial expe ri ence. The aim of my dis ser ta tion Emotive immer sion through expe ‐ ri en tial draw ing 1 was to dis cov er how and when can the entwine ment of lit er ary and visu al instru ments enhance one's sen si tiv ity in re-read ing and imag in ‐ ing places. But this read ing hap pens on lev els beyond the spo ken: it is a prod uct of dia log ic imag ina tion 2 . I re-read not what I think I see at first sight, but I have a dia logue with my dif er ent per son al ities on dif er ent lev els of depth: the archi tect, the inner child, the writer, the emo tive dream er mak ing a sto ry of the waves com ing from the sens es, while inter pret ing this sto ry into a mean ing ful spa tial nar ra tive. I re-read not what an inter locu tor or an inter vie wee is tel ing to me, but I aim to under stand what is hap pen ing beyond those words: A dia log ic lis ten ing skil is when some body says to you some thing you look at the intent of what they are say ing beneath the words. That is, you don’t take lan ‐ guage at face val ue as car ry ing abound ed set of mean ings. But you are try ing to look at inten tions about what peo ple mean to say but don’t have the words for, or the things they are afraid to sur face. 3 The trope of char ac ter brings to the archi tect the pos si ‐ bil ity to imag ina tive ly under stand the per spec tives of dif er ent place-inhab itants, the passer by, the foun tain, the can de labra, the porch col umn, the tow er, the maple tree, the chim ney, the riv er, etc. In the case of the men ‐ tioned objects, the char ac ter trope merges with a per ‐ son ifi ca tion trope since the objects behave, speak, and inter act with each oth er as liv ing beings. I cre ate char ‐ ac ters through poem-draw ings. In poem-draw ing, words may appear along/over/inside the draw ing, in the for mat of vari a tions of inhabitant’s feel ings (embod i‐ ment of mul ti plic ity of per spec tives), tech ni cal descrip ‐ tions of ele ments (detail draw ings), short sto ries of imag inary places, nam ing, com par ison, short expla na ‐ tions of nar ra tives unfold ing in the build ing, lex ico ‐ graph ical excerpts, ref er ences associations. An explic it lit er ary use of char ac ter in archi tec ture can be found in Tschumi’s Manhattan Manuscripts 4 or Hejduk’s Vladivostok 5 , where the urban crea tures are the characters/heroes of the nar ra tive. Character as a trope is also present in Van Den Berghe’s Book of Narratives – the fourth part of his doc tor al dis ser ta tion. He writes a poet ic prose through the skin of the 5‐year- old Van Den Berghe. He is not just writ ing: he is exca ‐ vat ing the impor tance of his own mem o ry through draw ing and mod el-mak ing of a house, while inter pret ‐ ing its mean ing as an exter nal researcher. It is a sto ry about his rela tion ship with his grandmother’s house, con sist ing form draw ings, writ ings, mod els that aim to trace the design prin ci ples present inside his own men ‐ tal space, as core spa tial child hood mem o ries. In the dis ser ta tion, Van Den Berghe builds upon an inter pre ta ‐ tion of Husserl’s con cept of alter ego in tran scen den tal sub jectibity: “the indis pens able inter me di ary between the self as giv en and the self as oth er” 6 . Van Den Berghe cre at ed dif er ent inner per sonas to be able to reflect on his own work from anoth er per spec tive: “Each of us is sev er al, is many, a pro fu sion of selves” 7 . The per sona cre ation has a cru cial role in the prac tice based research; it is nec es sary to step out of myself as a mak er and to inhab it myself as a research crit ic and an archi tec tur al scientist. Figure 1: Bogdanova. Ascending. The very first sketch: the hil and the curtain seen from the front, the “necklace” of houses. In this research paper, the aim is to point to the vari eties of char ac ter iza tion as research-through-design project instru ments, and as instru ments applied in the prac tice out of the dis ser ta tion. A fur ther infor ma tion on the method ol o gy, the approach and the state-of-the-arts can be found in Introduction and the Approach, cri te ria and method ol o gy chap ter of the dissertation. I wil show two dif er ent exam ples where poem-draw ‐ ings served as medi ums for trascend ing my self from my own body in the expe ri ence of another. a) The Imaginary Visitor (fig. 1 – 4); The Imaginary Visitor was born at the end of a design process. It was a design pro pos al for Observatory Houses in Roccascalegna Castle. If this (wo)man vis it ed the Castle as it is now, (s)he would see a beau ti ful aban doned fortress, detached from the town spread ing bel ow. When walk ing the beau ti ful tra di tion al street bel ow around the Castle, (s)he would end in a blind corner. The Travelogue of the Imaginary Visitor aims to dis cov ‐ er, test and empha size the valid ity the design pro pos al built to resolve the three core prob lems of the loca tion: 1) the inad e quate con nec tion between the city’s being and its most impor tant mark er — the Castle; 2) the blind end of the main street below the hil ; 3) a cur rent defi ‐ cien cy of care about the speci fici ty of the spa tial, cul tur ‐ al trea sures of the place. b) The trans-temporal trialogue: a Young Woman (1944), a Girl (2018) and an Old Lady (2084); 8 The transtem po ral tri a logue hap pened at the begin ning of an exper imen tial research with two of my col egues, Danica Spasevska and Maja Nikova. We were talk ing about the pos si ble vari a tions of poem-draw ings in re- read ing and imag in ing places. They want ed to dis cov er how wil the com bi na tion of writ ing and draw ing method olo gies man ifest in their lan guage of expres sion. After the first cycle of reflect ing upon our own rela tion to the place of research (Ohrid), we tried to inhab it three dif er ent per sonas from dif er ent time frames. The aim was to dis cov er if there were time less spa tial val ues that need to be respect ed regard less of the peri od. The con struc tion of the per sonas hap pened as a com bi na ‐ tion of our spa tial y re-vis it ed and inter pret ed per son al expe ri ence (par tic ipa to ry obser va tion) and the inter ‐ pret ed inter views we did with the Ohrid's citizens. Figure 2: Bogdanova and Spasevska. Observatory Houses 2017. Embracing. Plan and axonometry: the previous cut-of of the Castle and the Church from the town is developed into a vertical curtain—a meshwork of streets that connect the backside of the Castle with the main street of the vil age (spreading on the right side of the Castle on this image). An inspir ing step of fic tion courage was the imag ined expe ri ence of the Old Lady (through Spasevska, fig. 5). While walk ing the dystopi an wal between the Lake and the amphiteatri cal y struc tured Old City, she is reflect ‐ ing on the feel ing of suf o cat ed beau ty. Comparing her child hood mem o ries with the present con di tion (2084), she is explain ing how the desire to pro tect the old core has lead to over pro tec tion. The liv ing city turned into a suf o cat ed arche o log ical lab o ra to ry, deprived from the love rela tion ship between the city and the lake. The sto ‐ ry is an apophat ic way of reflec tion: not point ing to what should be done, but cir cum scrib ing what should not be done. At this point, the fear of draw ing the extreme of what should not be built or designed dis ap ‐ pears: “Drawing may work as a tool for the lib er a tion of the spir it though play, express ing a series of pos si ble cri tiques and taboos, which do not need to be read as an of ense or a dam age … draw ing solu tions which would fal under the stroke of these cri tiques.” 9 The 2084 sto ry was inspired by two true sto ries spo ken by two dif er ent inter vie wees. First, the own er of the house on the lake, trans formed into a prison dur ing the war, occu pied as a strate gic point that con trols the port in front of the house. Second, the cit izen of the new city, with the opin ion the “noth ing can be added, noth ing can be changed” in the old urban tis sue. 2084 rep re ‐ sents a prison born from the desire for aggres ‐ sive protection. Figure 3: Bogdanova and Spasevska. Observatory Houses 2017. The unfolded vertical and horizontal sections of the designed part of the embrace. The variation of observatory houses is intertwined with a few branches of pathways. The rooms in each house are exploded into a configuration that creates many open terraces, making it possible for visitors to observe the sky from unexpected places. The border between private and public is softened to the edge of melting. Figure 4: Bogdanova and Spasevska. Observatory Houses 2017. Travelogue of an Imaginary Visitor, with a comparative il ustration of the first concept drawing (above) and a fragment of the axonometry (below). In-between the two drawings is a list of the things that the Travelogue brings to the reader through metaphorical circumscription rather than description. Figure 5: “2084”. Danica Spasevska. Hypothetical dystopia. Beauty enslaved. 2018. Characters in poem-drawings: experiments beyond the PhD research The con struc tion of the char ac ters of this design solu ‐ tion hap pened some where in the mid dle of the design process. It was a design pro pos al for a dwel ing neigh ‐ bor hood. It was done in the of ice Ravnikar Potokar in Ljubljana, by Robert Potokar, Ajdin Bajrović and me. The solu tion is a sto ry about trans form ing a for mer ter ‐ ri to ry of com mu nal ser vices into a dwel ing neigh bor ‐ hood and an under ground waste menage ment cen ter. We pro posed a neck lace of hous es grow ing in height: a reflec tion of the typol o gy of the surrounding. Figure 6: The necklace of houses: the new architectural character. Ravnikar Potokar d.o.o., Robert Potokar, Ajdin Bajrović, Viktorija Bogdanova. 2nd award. The char ac ters were drawn to help us under stand the imag ined sce nar ios more thor ough ly (fig.6 – 10). Until this moment, the main char ac ters were the archi tec tur ‐ al crea tures danc ing in plans, sec tions, axonome tries and dia grams on the tech ni cal draw ings, observed from above. But we want ed to learn some thing else: the per ‐ spec tive of the inhab itant. First, the heroes were drawn: the grand fa ther tak ing care of the niece, the lit tle girl dis cov er ing the neigh bor hood as a play ground, the lovers liv ing on the oppo site sides of the prom e nade, or the sculp tor work ing among the plants on the roof ter ‐ race. Then, the act of draw ing cal ed for a ver bal iza tion of their dai ly spa tial encoun ters: short sto ries were writ ‐ ten to trace the advan tages of the project from the voice of an embod ied experience. Figure 7: Character’s narratives. Mestni Kare Povšetova. Ravnikar Potokar d.o.o., Robert Potokar, Ajdin Bajrović, Viktorija Bogdanova. 2nd award. The con struc tion of the char ac ters fur ther helped us in the visu al rep re sen ta tion of the strengths of our project. These per son al ities moved fur ther and clos er in our per spec tive draw ings, al ow ing us and the read ers to observe the project not as an exter nal eval u a tor of abstract com po si tion of vol umes, but as an inhab itant who may see a dia gram mat ic view of the envi ron ment as a “roent gen” image of the archi tec tur al structure’s spirit. Concluding threshold The three cho sen exam ples show three dif er ent man ‐ ners of inte grat ing the char ac ter iza tion through poem- draw ing. The Imaginary Visitor al ows an insight into visitor’s jour ney to the new struc ture, lead ing the read er through the cor ners that may not be vis ible in the tech ‐ ni cal draw ings. The Young Woman, the Girl and the Old Lady show how char ac ter iza tion through the poem-draw ing lan guage may become trans fer able in three dif er ent dialects / vari a tions, inte grat ing the per son al expe ri ence and the interviewee’s tes ti mo ny into a design-project-ori ent ed inter pre ta tion. The Grandfather and the oth er heroes from the dwel ing neigh bor hood show how char ac ter iza tion through poem-draw ing may assist non-archi tec tur al read ers to have a clos er insight and under stand ing of the val ue of the design process and the design project. Figure 8: Processual col age / testing perspective in a residential design proposal (unpublished). Authors of the project: Ravnikar Potokar d.o.o., Robert Potokar, Ajdin Bajrović, Viktorija Bogdanova. Figure 9: Processual col age / testing perspective in a residential design proposal (unpublished). Authors of the project: Ravnikar Potokar d.o.o., Robert Potokar, Ajdin Bajrović, Viktorija Bogdanova. Figure 10: Processual col age / testing perspective in a residential design proposal (unpublished). Authors of the project: Ravnikar Potokar d.o.o., Robert Potokar, Ajdin Bajrović, Viktorija Bogdanova. 1 A PhD dissertation in the evaluation stage of research. Supervised by prof. dr. Tadeja Zupančič and doc. Paul Robinson. Faculty of Architecture, University of Ljubljana. 2 Bakhtin, Mikhail (1983|1975): The Dialogic Imagination: Four Essays. University of Texas Press, Slavic series. 3 Sennet, Richard (2012): Architecture of Cooperation. Lecture held February 28, at Harvard University Graduate School of Design. 4 Tschumi, Bernard (1995): Manhattan Transcripts: Theoretical Projects. New York: St. Martin Press, Academy editions. 5 Hejduk, John (1989): Vladivostok. New York: Rizzoli International Publications. 6 Van Den Berghe, Johan (2012): Theatre of Operations, or: Construction Site as Architectural Design. Melbourne: RMIT, University, Australia. Doctoral dissertation. Book 2, 31. 7 Pessoa, cited in Van Den Berghe 2012, Book 2, 31. 8 This research was published as an article in (ed.) Havik, Klaske, Susana Oliveira, Jacob Voorhuis and Nortje Weenink (2018): Writingplace Journal for Literature and Architecture 2, Inscription: Tracing Place, History and Memory in Architectural and Literary Practice, pp. 129–143. 9 Adji Mitrevski, Goce. Clarification drawing. Unpublished essay. Archive of Liljana Adji Mitrevska. Low-cost DIY Upgrade Strategies for Improved Comfort in Poor Brazilian Houses in Hot Climates Process and Results Nadir Bonaccorso, Universidade de Èvora Final doctoral stage Supervisors: Guilherme Carrilho da Graça, Lisbon University – Faculty of Science; Pedro Matos Gameiro, Évora University – Faculty of Architecture # poor hous es, indoor com fort, DIY ther ‐ mal improving. Abs This paper presents the process and the results of a t Research by Design (RbD) investigation on passive ra techniques to improve the indoor temperature of poor ct houses in Brazilian hot climates. Poor houses, of ering an overheated indoor environment, have been analysed. The paper gives a more detailed description of the in-situ research phase, which informed the hypothesis through the experience with the contacted communities, setting up the pre-requisite: al strategies applied should be ef ective; low-cost; Do-It-Yourself (DIY) friendly for self-construction. Design and post- design phases, sequential y alternate during the investigation, three times, until the pursuit of viable solutions. Radiant barrier and Tetrapak insulation board solutions presented the best results at the lowest price, for 5€/m2 and 1-2€/m2, respectively. The research presents suitable and validated low-cost materials and technics to be used to shape both thermal and physical spaces in this poor context, showing a possible path to find “the place of architecture in a planet of slums” (Fiori Arantes, Pedro (2008): O lugar da arquitectura num planeta de favelas. Opúsculo, Ed. Dafne. Porto.). Pa Introduction pe The 2020 Global Poverty update report esti mat ed that r 1 46.2 % of the world pop u la tion lived on less than 5.50US$ per day, with a slight increase of 0.2 % since 2015, where 12 % lived in slums 2 . Poverty is a mul ti- dimen sion al prob lem relat ed to month ly income, access to a job, edu ca tion, health care, and social life. These ef ects, in Brazil, can be detect ed by look ing at the urban tis sue where, from one side, we see the typol o gy of the closed con do mini um, an il u sion of liv ing on a pri ‐ vate island, exclud ed from the out side chaos 3 , while on the oth er, the infor mal con struc tions, self-built, fil ing the urban voids 4 . Today, pover ty reduc tion suf ers a rever sal ten den cy due to the Covid-19 pan dem ic and its glob al eco nom ic ef ects, armed con flict, and cli mate change 5 . In hot coun tries around the world, this type of poor con struc tion shows dif er ences marked by cul ture, nat ur al resources, and indus tri al devel op ment, which may influ ence indoor behav ior 6 . Low ther mal mass enve lope in poor hous es, in high out door tem per a tures, tends to warm up the indoors beside the lev els of com ‐ fort 7 . Thus, this unsolved and com plex spread ing real i‐ ty may be urgent ly addressed. Methodology For the pur suit of the goal have been used Research by Design (RbD) dri ven strat e gy 8 , com ple ment ed by a sci en tif ic method ol o gy, for exper imen ta tion and analy sis. Both qual ita tive and quan ti ta tive approach es informed and defined the extent and the lim its of the inves ti ga tion hypoth e sis. A con stant realign ment of the con struc tion of the arte facts, based on tri al and error, was fol owed to val idate the pro posed solu tions 9 . The research is divid ed into two phas es orga nized into three dif er ent stages 10 , repeat ed two times [ 1 ]. Figure 1: Map of the RbD methodology travel ed. In the first stage, the lit er a ture review was com ple ment ‐ ed by in-situ research. This approach informed the ques tion for mu la tion, al ow ing the devel op ment of the first Design stage, char ac ter ized by the design project of a solar chim ney. The first design pro pos al for improv ‐ ing com fort sen sa tion by evap o tran spi ra tion, showed uncer tain results, sug gest ing the imple men ta tion of dif ‐ fer ent strate gies to be explored indi vid u al y and com ‐ bined, com pel ing to return to the pre-design stage to re-design and ver ify the ef ec tive ness of the new pro ‐ pos als. To over come the lim its of the results of the cam ‐ paigns has been applied a dynam ic sim u la tion, using EnergyPlus v.8.7 11 , to val idate the mod el and to eval u ‐ ate ef ec tive ness in mul ti ple hot climates. Brazilian experience phase On a plan et of slums, how is a poor house? How is built? How is lived? How is its ther mal space? How much could be the bud get for improve ments? What strate gies may be ef ec tive to improve com fort in such com mu ni ties? The first phase objec tive was set up to answer the many ques tions raised. The first phase was held in the cities of Fortaleza and Sobral (1+2 years), both in Brazil. Establishing con tact with a poor com mu ni ty dur ing the first months seemed an improb a ble goal to achieve due to the vio lent and sus pi cious envi ron ment in Fortaleza 12 . Yet, I could find a job (para dox ical y), work ing on the front line of a Governmental expro pri a tion in 5 slums. Each had a for mal rep re sen ta tive who main tained the team safe, guid ing us through the com mu ni ty dur ing sun light and medi at ing with the res idents. I vis it ed more than 200 hous es and spoke with their own ers, observ ing the traces of living. The poor per ma nent house has a spon ta neous gen e sis and is built out side the reg u la tions. Starting as a unique piece, that wil be extend ed by the householder's means and time, the res idence is always evolv ing, even when achiev ing the last stage of the shel ter (the brick house, focus of this inves ti ga tion), unfin ished and ephemer al, like life itself 13 . The con struc tive tech nique is the most rudi men ta ry, and the used mate ri als are the cheap est 3 . The most com mon type of enve lope is made by a sin gle lay er of brick com mon ly shared with the neigh bour and rarely plas tered on both sides, which forms the mus cles house with out bones [ 2 ]. On the wal s is set tled a wood struc ture, on which a ceram ic roof tile lies direct ly, cov er ing the inter nal space [ Table 1 ]. Figure 2: House construction composition in Brazil. (Source: IBGE. Residential Survey by sample of 2019, in Portuguese.) The inter nal dis tri b u tion is orga nized by the struc ture sup port. The entrance is used, at night, as a shel ter for the bike or the motor cy cle owned. The rooms, are often open on the roof lev el, al ow ing air cir cu la tion. The bath room is locat ed close to the out door sewage solu ‐ tion, with no rela tion ship with any inter nal space. Houses have hooks on the wal s to sup port the ham ‐ mocks. Each space sup port mul ti ple usages. Most own ‐ ers stores used or found con struc tion mate ri als to be employed in the future. If Occidental archi tec ture works on the trans for ma tion of the envi ron ment to adapt it to human’s neces si ty, this sur vival archi tec ture tries to con tain trans for ma tions, imple ment ing the nec es sary for suf i cient favourable sur viv ing con di tions 14 . Figure 3: D. Expedito poor neighborhood: a) context b) envelope construction c) roof composition. Soon I under stood that I have to refor mu late my RbD approach to adapt and oper ate in this con text, using what Levi-Strauss cal ed the “first sci ence”: the brico ‐ lage 15 . In this type of frag ment ed con struc tion, I had also to re-eval u ate the con cepts of (dis)order and chronol o gy. Hypothesis pre-req ui site was sketched: the roof, respon si ble for 50 to 70% of the indoor ther mal behav iour 16 , was set as the enve lope side to be improved; al strate gies should be ef i cient, low-cost and suit able for self-con struc tion in a DIY mode. In Sobral, sup port ed by the University of Architecture INTA, I start ed con tacts with the res ident asso ci a tion of the com mu ni ty of D. Expedito, locat ed on the left side of the Acaraú riv er, upgrad ed in 2000 with basic san ita tion and road infra struc ture 17 . I was al owed to sur vey five hous es and inter view the own ers. Houses over heat dur ‐ ing the day and use as a mit iga tor tool a sim ple fan. The first strat e gy pro pos al was inspired by Fathy’s hous es, where nat ur al ven ti la tion acts as a cool er, improv ing com fort through evap o tran spi ra tion. A portable plug-in rooftop solar chim ney (CHS), to induce indoor ven ti la tion using cheap or recy cled mate ‐ ri als local y avail able, was stud ied, designed and pro to ‐ typed [ 3 ]. Figure 4: Brazilian Phase Atlas The project was pre sent ed to the com mu ni ty. I had the idea of cre at ing a work shop with the inter est ed res i‐ dents, free of charge, to build up to five CHS and instal them. Only Lucineide’s fam ily agreed, being unable to help in the con struc tion of the arte fact. During an archi ‐ tec tur al sum mer work shop, the CHS2 was built and instal ed. After four months of use, the qual ita tive results col ect ed were pos itives, report ing improve ments in indoor com fort. Nonetheless, six days mea sure ment cam paign showed non-con clu sive results, show ing a slight indoor tem per a ture increase. Data analy sis obser va tion appoint ed to the intro duc tion of com ple ‐ men tary strate gies to achieve the goal 18 . Note: the day before the instal a tion, Lucineide’s hus ‐ band cal ed me to can cel the exper iment. In the meet ‐ ing that fol owed, he was ensured that no cost wil be sup port ed by his fam ily. In the end, he asked me if I was an inven tor and final y agreed. Portugal Experimental phase The research con tin ued at the Faculty of Science of the University of Lisbon, where was built a test cel , using bricoleur tech nics, to instal pas sive strate gies and mea sure it in a con trol ed envi ron ment. The CHS3 was improved and resized. Have been select ed and stud ied for their low cost and sim ple con struc tion [ 5 ], as com ‐ ple men tary strate gies: a reflec tive roof coat strat e gy (Albedo); Radiant Barrier insu la tion (RB). Al strate gies have been imple ment ed and evaluated. Figure 5: Scheme of al strategies applied - Design Stage. Reference note: CHS1920 2122; Albedo23;RB24. The data col ect ed for each strat e gy were non-com pa ‐ ra ble, sug gest ing a bet ter per for mance of the radi ant strat e gy over the oth ers. A sim pli fied dynam ic sim u la ‐ tion to val idate the mod el was per formed with no con ‐ clu sive results 25 . A sec ond test cel was built beside the first one, to be used as the default mod el cel and the strate gies were reviewed. A design of a REcycled Tetrapak Insulation Board (RETIB) and a sim ple tube pipe chim ney (PC) for nat ur al ven ti la tion was imple ment ed for the exper iment [ 5 ]. A val idat ed sim u la tion mod el al owed to apply the suit able strate gies in mul ti ple hot climates. Results RB and RETIB, pre sent ed a max imum decrease of inte ‐ ri or oper a tive tem per a ture of 2.5ºC, at 27.5ºC out door tem per a ture, and a 2.3ºC at 26.6ºC, respec tive ly, with an increase of ther mal com fort peri od up to 37.8%. Figure 6: Heat map of TC indoor simulation in Teresina (BR): a) indoor heat of TC; b) ∆T using RETIB; c) ∆T using RETIB+NC. The intro duc tion of nat ur al ven ti la tion, through the PC and the CHS3, proved inef ec tive dur ing the day. The val idat ed sim u la tion applied, pre sent ed a max imum decrease of 3.45 ºC with RB and 3.39 ºC with RETIB [ 6 ]. Have been not ed over heat ing dur ing the night and cor rect ed with a sin gle-win dow open ing, (0,40 m²), only for night cool ing [ 6 ]. Table 1: Validated simulation results using RB and RETIB. Conclusions The results show that Radiant Barrier (RB) and REcycled Tetrapak Insulation Board (RETIB), at the cost of 5€/m2 and 1 – 2€/m2 respec tive ly, act as a mit iga tor and must be accom pa nied by a night cool ing strat e gy. Both mate ri als can be used as roof insu la tion, al ow ing to re-shape inter nal spaces, both phys ical and ther mal, at a very low-cost price. The solar chim ney proved to be non-ef ec tive in hot cli mates, induc ing the hottest out ‐ door tem per a ture inside the house. Nonetheless, this arte fact should be stud ied in dif er ent envi ron ments and cli mates, using con trol ed ven ti la tion, with cool ‐ er airflow. From my expe ri ence, such improve ments should be intro duced in the com mu ni ty through res ident asso ci a ‐ tions, by rec og nized orga ni za tions (Universities, ONGs, oth ers) to access this con text and aid in their orga ni za ‐ tion al process. Involving active ly the pop u la tion con ‐ cerned 26 , giv ing them the tools to upgrade their envi ‐ ron ments, maybe a strat e gy, while glob al approach es to erad icate pover ty are implemented. On the method olog ical plan, Research by Design proved to be ef ec tive, al ow ing to swing between qual i‐ ta tive and quan ti ta tive meth ods, when need ed, in the search for both ques tions and answers. In this research, the achieve ment of equi lib ri um between both approach es turned to be the key to the inves ti ga tion and may show the impor tance of the RbD method ol o gy used, to bet ter com pre hend and par tic ipate in our com ‐ plex human world. Note: Al Figures rights belong to the Author, except graph ics on Fig. 4, ref er enced on 23 and 24 . 1 Atamanov (2020): March 2020 PovcalNet Update : What's New. Global Poverty Monitoring. Technical Note; no. 11 Washington, D.C. : World Bank Group. 2 World Bank (2018). Poverty and Shared Prosperity 2018: Piecing Together the Poverty Puzzle. The World Bank. doi:10.1596/978-1-4648-1330-6. 3 Montaner, Josep Maria (2014): Arquitetura e crítica na America Latina. Ed. RG , São Paulo. 4 Fiori Arantes, Pedro (2008): O lugar da arquitectura num planeta de favelas. Opúsculo, Ed. Dafne. Porto. 5 World Bank (2020): Poverty and Shared Prosperity 2020: Reversals of Fortune. Washington, DC: World Bank. doi: 10.1596/978-1-4648-1602-4. 6 Geetha, Velraj (2011): »Passive cooling methods for energy ef icient buildings with and without thermal energy storage: A review«, in: Energy Education Science and Technology Part A: Energy Science and Research Volume (issues) 29(2): p. 913-946. 7 Sakka, Santamouris, Livada, Nicol, Wilson (2012): »On the thermal performance of low income housing during heat waves«, in: Energy and Buildings,Vol. 49, https://doi.org/10.1016/j.enbuild.2012.01.023 8 Hauberg (2011): »Research by Design: A research strategy«, in: Revista Lusófona Arquitetura, Educ./Archit. Educ. J. p. 46–56. 9 Toeters, Ten Bhömer, Bottenberg, Tomico, Brinks (2013): »Research through Design: A way to drive innovative solutions in the field of smart textiles«, in: Adv. Sci. Technol, 80, 112–117. https://doi.org/10.4028/www.scientific.net/AST.80.112 10 Roggema (2016): »Research by Design: Proposition for a Methodological Approach«, in:Urban Science. 1. 2. https://doi.org/10.3390/urbansci1010002 11 DOE, US, “EnergyPlus Engineering Reference.” The Reference to EnergyPlus Calculations, DOE, US, United States, 2010. 12 Xavier (2016): »Fortaleza da desigualdade e violência: geopolítica do medo e anomia social como fator de produção da violência concentrada e da sensação de insegurança«, in: Conpendi Law Review, Onãti, Spain. v. 2, n. 1, p. 122-130. DOI: 10.21902/clr.v2i1.268 (in portuguese). 13 Berenstein Jacques, Paola (2003): Estética da ginga: a arquitetura das favelas através da obra de Hélio Oiticica. Rio de Janeiro: Casa da Palavra. (in portuguese). 14 Friedman, Yona (2009): Arquitetura da sobrevivência, uma filosofia da pobreza. Torino: ed. Bol ati Boringhieri (in italian). 15 Levi-Strauss, Claude (1966): The Savage Mind. Chicago: Ed. The University of Chicago Press, p. 16. 16 Nahar, Sharma, Purohit (2003): »Performance of dif erent passive techniques for cooling of buildings in arid regions«, in:Build Environment, v. 38, p. 109-116. https://doi.org/10.1016/S0360-1323(02)00029-X 17 Filho, J.F.,(2017): »O bairro Dom Expedito em Sobral-CE e suas transformações socioespaciais«, in:Anais do I I Seminário Regional Comércio, Consumo e Cultura nas Cidades, Sobral. 19-22 de Junho. (in portuguese). 18 Bonaccorso N., (2017): »CHS.2. Plug-in solar chimney: an instal ed experiment in Brazil«, in: SB-LAB 2017 Proceedings of the International Conference on Advances on Sustainable Cities and Buildings Development. Porto. pp. 29-40. 19 Bansal, Mathur, Bhandari (1993): »Solar Chimney for Enhanced Stack Ventilation«, in: Building and Environment, v. 28, n. 3, p. 373- 377 https://doi.org/10.1016/0360-1323(93)90042-2 20 Neves, Roriz, Marques/Silva (2011): »Modeling a solar chimney for maximum solar irradiation and maximum airflow, for low latitude locations«, in: Proceedings of Building Simulation 2011: 12th Conference of International Building Performance Simulation Association, Sydney, 14-16 November. 21 Hussain, Yit/Man (2015): »Experimental investigation of rooftop solar chimney for natur ventilation«, in: ARPN Journal of Engineering and Applied Sciences. v.10, n.21. 22 Shi L. et al. (2016): » Developing an empirical model for roof solar chimney based on experimental data from various test rigs«, in: Building and Environment, v.110, p.115-128. https://doi.org/10.1016/j.buildenv.2016.10.002. 23 Haschemi (2017): »Ef ects of thermal insulation on thermal comfort in low-income tropical housing«, in: Energy Procedia, Volume 134, Pages 815-824, https://doi.org/10.1016/j.egypro.2017.09.535 24 Medina, Young (2005): »A perspective on the ef ect of climate and local environmental variables on the performance of attic radiant barriers in the United States«, in: Building and Environment. v.41, p.1767-1778 25 Bonaccorso, Martins, Graça (2019): »Validated Simulation of Low‐Cost Thermal Envelope Upgrades for Slum Housing«, in: Proceedings of Building Simulation 2019: 16th Conference of IBPSA. Rome. Sept. 2-4. https://doi.org/10.26868/25222708.2019.210468. 26 Santamouris, Pavlou, Synnefa, Niachou, Kolokotsa (2007): » Recent progress on passive cooling techniques: Advanced technological developments to improve survivability levels in low-income households«, in:Energy and Buildings, Volume 39, Issue 7, Pages 859-866. https://doi.org/10.1016/j.enbuild.2007.02.008 Essayistic Film Fragments with Cooperative Architecture Riccarda Cappel er, Leibniz University Hannover Intermediate doctoral stage Supervisor: Jörg Schröder, Leibniz University Hannover # essay film, coop er a tive archi tec ture, design modes Abs Re-positioning architecture and urban design as social t and creative agency, a dif erent understanding of space ra alternative approaches and interdisciplinary design ct modes for its creation process are formulated with the examination and creative exploration of the concept of cooperative architecture. The research on three case studies here work as exemplary projects for cooperative architecture and are used as tool to identify design- research steps. One method experimented with, is the essayistic film making. In the conference first film fragments were be presented in an instal ation while reflecting on their creation process – a way of thinking and doing that is able to transport spatial experiences in an innovative way, which leaves space for imagination. Ar Approach tef Can Batl ó (Barcelona), Exrotaprint (Berlin), Granby ac Four Streets (Liverpool) [ 1 ] are cho sen as three exem ‐ t plary case stud ies in var ious urban, polit ical and social con texts, that incor po rate a more holis ti cal under stand ‐ ing of design. One ori ent ed at social and eth ical, more human-relat ed val ues, such as co-cre ation, coop er a tion and the aim to cre ate a col ec tive work of art or labour as liv ing space, set ting exist ing archi tec tures and urban spaces as con di tion for alter na tive hap pen ings and “design as mate r ial tool” 1 to real ize them. The case stud ies are used as depar ture points to analyse, abstract and define design modes that are able to cope with the com plex con tem po rary chal enges, such as cli mate change, seg re ga tion or migra tion, in a pro duc tive way, focus ing on how they are cre at ed and trans formed, look ing at the role the archi tects and design ers involved take and what con sti tutes their action. The spa tial sit u a tions of the case stud ies with in this are under stood as pos itive exam ples for the cre ‐ ation of future habitats. Figure 1: Three case studies Exrotaprint (Berlin), Granby Four Streets (Liverpool), Can Batl ó (Barcelona) Research setting and direction The empir ical y based research brings togeth er an ethno graph ic field research and crit ical ques tion ing with a col ec tive archi tec tur al and urban analy sis, and an explo rative design part using visu al tech niques to inves ti gate the cre ation and com mu ni ca tion of spa tial expe ri ences through the per for ma tiv ity of the case stud ies. This research frame work is used for knowl edge cre ation on both, space as polit ical endow er, con tin u ‐ ous process and cre ative inven tion, and the agency of archi tects and urban design ers as cul tur al, assem bling and coop er a tive prac tice. A main research ques tion is how the select ed case stud ies can be expe ri enced and com mu ni cat ed as atmos pheres, show ing their hid den qual ities and capac ities that lay in the way the spaces cre ate pos si bil ities for a dif er ent kind of action. This refers to Lefebvre’s dialec tic under stand ing of space as shaped through social rela tions and shap ing society. The DDR in my research relates to the idea of the design er-researcher as bricoleur2 and the devel op ment and test ing or recre ation of new or com bined forms of inves ti ga tion, of er ing mul ti ple per spec tives and address ing a field in-between sci ence and art. In my research this is about mak ing the spaces select ed as case stud ies speak. They become char ac ters instead of immo bile objects, and gras pable as pos itive exam ples for future habi tats. Space in this sense is under stood as instru ment for the pro duc tion of nar ra tive media, used for cre ative inven tion and crit ical reflec tion. "Critical think ing” as Zardini states, “is no longer dri ven by lan ‐ guage, semi otics, text, and signs, but by a redis cov ery of phe nom e nol o gy, expe ri ence, the body, per cep tion and the sens es" 3 , which in this case is real ized in var ious for mats, react ing to the found mate r ial and its capac ity to trans mit atmos pheres and a phe nom e no ‐ log ical under stand ing, show ing the per for ma tiv ity of space. Approach and Method One pos si ble approach to fos ter this “mak ing spaces speak”, is the use of essay ist film mak ing as a dif er ent kind of spa tial think ing and com mu ni cat ing – a tool for inspi ra tion and indi vid ual imag ina tion, open ing up both the design- and research process. Here it is used as tool to trans mit an expe ri ence, the atmos phere, capac i‐ ty and hid den val ues of space. It is about an inter pre ta tion, crit ical ques tion ing and re- inven tion or assem bling and use of the data col ect ed in the field research, analy sis and cre ative explo ration, work ing on visu al and tex tu al attempts to trans fer the intan gi ble and tan gi ble aspects of space. [ 2 ] Figure 2: site-writing "The film mak ing process is under stood as assem blage of tech nolo gies and tech niques for ampli fi ca tion of cul ‐ tur al and cor po ral Logics of af ect" 4 As an assem blage, film con sists of many frag ments – his tor ical views, expla na tions, cre ative inter pre ta tions or free asso ci a ‐ tions – that through their visu al lan guage and ways of com bi na tion al ow new kinds of con nec tions. Especial y in the essay film the work ing with frag ments and gaps is a major char ac ter is tic. It uses the in-between of two images, that as the unwrit ten words in a text, lead the read er to a more active engagement. As Moholy-Nagy argues, vision is itself a way of think ‐ ing, bring ing togeth er vision, per cep tion and thought. 5 [ 3 ] This idea is used in order to cre ate spa tial expe ri ‐ ence, using film-frag ments to grasp and trans port com ‐ plex ity inher ent in larg er urban spaces, it is an approach to access a new archi tec tur al and urban language. Figure 3: wild thinking in research process Artefact The arte fact, con sist ing in first film frag ments on coop ‐ er a tive archi tec ture stil under con struc tion and some film stil s pre sent ed as snap shots of the work in progress, was thought as an invi ta tion to dis cuss and to pro voke addi tion al asso ci a tions. It was pre sent ed in form of a lec ture- and film-pre view, that also explained the research frame work, aim and method ol o gy. [ 4 ] It, mean ing the arte fact, con sists of first tri als to deal with the per for ma tiv ity of Can Batl ó, show ing the dis ‐ cov ery, image-col ec tion and ‐order ing through out and after the field-research. It con sists of the co-pro duc tion and com plex rela tions, top ics and past his to ries as frag ‐ men tary expe ri ences timescapes and the con tra dic ‐ tions of the place, being used and aban doned at the same time and of er ing pos si bil ities for dif er ent uses, exchange and learning. Figure 4: filmmaking process Design Driven Research Design Driven Research in my under stand ing is bound to the cre ative use of inter dis ci pli nary tools and method olo gies for an alter na tive knowl edge pro duc tion, encour ag ing new ways of thought and action in rela tion to a nec es sary eth ical dimen sion. It is about cre at ing and com mu ni cat ing expe ri ences through an aes thet ic – visu al or hap tic– lan guage, that is based on a con tin u ‐ ous refor mu la tion and re-inven tion, fos ter ing an open- end ed and through out the research process chang ing approach that shows alter na tives to an exist ing real ity. This con nects to an induc tive rea son ing and a design- imma nent “art of action” 6 , that is impor tant in both, design the o ry and practice. In my research, look ing at the cre ation process of future habi tats, explic it ly the per for ma tiv ity of spa tial sit u a ‐ tions in trans for ma tion and the agen cies applied, DDR helps to dig into the design tools and approach es used by the archi tects and design ers involved – con cep tu al iz ing and defin ing them as design modes. This is cru cial for a progress and dif er ent under stand ‐ ing of the dis ci pline, cre at ing rela tions in-between var i‐ ous sets of knowl edges, prac ti cal projects, social ques ‐ tions and a cre ative design. Assembling, Co-cre at ing and con tex tu al y research ing as forms of (inter-)acting are then rather con nect ed to an inte gra tive and com ‐ pos ite, a cul tur al agency, instead of a sin gu lar ly spa ‐ tial one. Al images are elab o ra tions of the author. 1 Von Borries, Friedrich (2016): Weltentwerfen. Eine politische Designtheorie. Berlin, Edition suhrkamp, p. 82 2 Cappel er, Riccarda (2021): »Urban Bricoleurs«, in: Jörg Schröder, Maurizio Carta, Federica Scaf idi, Annalisa Contato (Eds.) Cosmopolitan habitat. a research agenda for urban resilience, Berlin, Jovis, , pp. 154–159. 3 Zardini, M. (2005): »Toward a Sensorial Urbanism«, in: Mirko Zardini (Ed.), Sense of the City: An Alternate Approach to Urbanism, Montreal: Canadian Centre for Architecture; Lars Mül er Pub, pp. 17-27. 4 Carter, Sean / McCormack, Derek P. (2006): »Film, geopolitics and the af ective logics of intervention«, in: Political Geography, 25(2), 228–245. doi:10.1016/j.polgeo.2005.11.004 5 Moholy-Nagy, Lazlo (1969): »Vision in motion«, Chicago: Paul Theobald and Company. 6 Von Borries, Friedrich (2016): Weltentwerfen. Eine politische Designtheorie. Berlin, Edition suhrkamp, p. 125 Housing and Innovation Technique and Domestic Space in the Residential Works by Pierre Jeanneret, a Contemporary Analysis for Design Housing Solutions Oljer Cardenas Nino, Politecnico di Milano Initial doctoral stage Supervisors: Orsina Simona Pierini, Politecnico di Milano; Carmen Espegel, Universidad Politécnica de Madrid Abs Under the name Housing and innovation: Technique t and domestic space in the residential works by Pierre ra Jeanneret, a contemporary analysis for design housing ct solutions, the doctoral thesis focused on the research carried out by a forgotten modern architect and his quest to solve the domestic habitat in dif erent geographical and emergency contexts is presented, with the aim of contributing and enriching contemporary research on prototypes, techniques and tools for new residential proposals that respond to contemporary socioeconomic and climatic conditions, pursuing what Walter Benjamin wrote: " Nothing that has ever happened can be taken for lost", since the new is accompanied by the redemption of everything past. E Under the name Housing and inno va tion: Technique xt and domes tic space in the res iden tial works by Pierre en Jeanneret, a con tem po rary analy sis for design hous ing de solu tions, the doc tor al the sis focused on the research d car ried out by a for got ten mod ern archi tect and his abs quest to solve the domes tic habi tat in dif er ent geo ‐ tr graph ical and emer gency con texts is pre sent ed, with ac the aim of con tribut ing and enrich ing con tem po rary t research on pro to types, tech niques and tools for new res iden tial pro pos als that respond to con tem po rary socioe co nom ic and cli mat ic con di tions, pur su ing what Walter Benjamin wrote: " Nothing that has ever hap ‐ pened can be tak en for lost", since the new is accom pa ‐ nied by the redemp tion of every thing past1 . Pierre Jeanneret: The great unknown Considering that there are many works that can be high light ed as part of the lega cy of the mod ern move ‐ ment, the work of Pierre Jeanneret stands out for pos ‐ sess ing suf i cient qual ities to jus ti fy the con tem po rary review that is pro posed. A review that deep ens the res i‐ den tial works devel oped by the archi tect out side the Atelier 35 rue de Sèvres, most ly unknown and lit tle stud ied, whose research in var ious fields of hous ing, typo log ical, tech no log ical, eco nom ic and cul tur al, con ‐ tributed to the con struc tion of the domes tic habi tat of the twen ti eth cen tu ry. In addi tion, Pierre Jeanneret gives the image of the true cre ator, of the man thirsty for con stant dis cov er ies. He looks around, invents and pro pos es with the gen eros ity of those who live intense ‐ ly. His whole life is a search for truth. To unrav el, to under stand, to find new answers. Figure 1: Tonneau hut, Pierre Jeanneret and Charlotte Perriand, 1937. Axonometric reconstruction of the model made by Pierre Jeanneret and Charlotte Perriand showing the assembly of the shelter and the way the dif erent parts are assembled and details of the joints of the dif erent parts of the shelter. Above: joints between floor, wal , and roof panels. Below: joints of the tubular structure, and stif ening cables. Axonometry drawing by the author. Time-frame: Approach to the residential work of Pierre Jeanneret What is known of Pierre Jeanneret's work is relat ed, for the most part, to the works car ried out in asso ci a tion with Le Corbusier. An exten sive pro duc tion that began in 1922 and end ed in 1940, as a result of the war, resum ‐ ing again in late 1950 with the com mis sion for Chandigarh. Of these two stages a long bib li o graph ical reflec tion can be found which, for the most part, focus ‐ es on the fig ure of Le Corbusier, leav ing Pierre Jeanneret as the oper a tional and tech ni cal execu tor of the projects. Even worse, of the decade after the sep a ‐ ra tion, between 1940 and 1950, his pro duc tion is unknown, a peri od lit tle doc u ment ed that has only left record in the col ab o ra tions that he made with oth er archi tects and design ers such as Charlotte Perriand and Jean Prouvé; but that rep re sent ed a stage of exper ‐ i men ta tion and con cep tu al deep en ing on the mean ing and form of domes tic space. Now, with the above in mind, how can we deter mine P. Jeanneret's con tri bu tion to the con struc tion of the mod ‐ ern habi tat and thus its imple men ta tion in con tem po ‐ rary res iden tial research if we do not know his res iden ‐ tial work in depth? It becomes inevitable to recon struct and know the work of P. Jeanneret before mak ing any for mal or tech ni cal analy sis of the projects, recon struct ‐ ing them in such a way as to see the research peri od as a holis tic process in order to extract the ele ments, sys ‐ tems or tech ni cal or archi tec tur al themes that con ‐ tribute to con tem po rary design, as Josep Quetglas puts it: " The act of see ing does not con sist in the pas sive and auto mat ic recep tion of a fixed and estab lished image in front of us, but in the active process of elab o rat ing, approach ing, sep a rat ing, build ing rela tion ships. The eyes receive an impact, and the mem o ry sets of in search of pos si ble links, pro duc ers of mean ing " 2 . Figure 2: Maison Demontable 8 x 8, Pierre Jeanneret and Jean Prouvé, 1941, BCC. Redrawing of the central space with the V’s portico, a light and itinerant wood structure as part of the space. Perspective drawing by the author. Hypothesis: About innovation and technic As the title of the the sis indi cates, the research wants to stip u late the inno v a tive and tech ni cal char ac ter of P. Jeanneret's res iden tial projects seek ing to dis cern that it was orches trat ed as a process of heuris tic pro jec tion. In order to do so, it is nec es sary to deter mine what is meant when we talk about inno va tion and tech nique, start ing with the mean ing and ety mol o gy in order to begin to under stand. In one hand, to inno vate is to cre ate or alter some thing, to intro duce a nov el ty; its own Latin ety mo log ical root indi cates it: " in" (to pen e ‐ trate, to be inside) and " novus" (the new). The def in ition res onates in the words of Alvaro Siza: " Architects do not invent any thing they just trans form what already exists". But what does exist and what was new in the work of P. Jeanneret? It wil one of the ques tions the the sis want to afront. In the oth er hand, tech nique, from the Greek, derives from the word tek ton, car pen ter or builder. It can be under stood, if the intent is not spec ified, as Bruno Reichlin explains it in three dif er ent ways: the frist one, “la costruzione inte sa nel suo aspet to mate ri ale, e quin di la strut tura e il suo gus cio, i mate ri ali e i dis pos itivi tec ni ci che si col egano a essa, le instal azioni come pure le modal ità di fab bri cazione e il pro ced imen to di mes sa in opera” . The sec ond one, “l’immagine “tec ni ca” del ’opera, vale a dire ciò che nel ’opera com pi u ta è dato di vedere e com pren dere del a sua costruzione. (…) indi ‐ ca ta con il ter mine “tec ton ica”. And the last one, “il com ‐ p lesso dei saperi, dei meto di e degli stru men ti di cui gli architet ti (…) si sono dati per occu par si in modo razionale ed effi cace del a con cezione, e quin di del ’innovazione e del a creazione, architet ton ica” (…)” 3 . Fol owing this order of ideas, the the sis is struc tured from the four main peri ods of the res iden tial work of P. Jeanneret, the first, his train ing and col ab o ra tion in the ate lier 35 rue de Sèvres between 1922 and 1940 [ 1 ]. The sec ond, with a greater bur den of research and explo ration to the res o lu tion of the res iden tial unit, indus tri al iza tion and hous ing for the mass es between 1937 and 1945 [ 2 ]. The third, the search for a local char ac ter of archi tec ture, start ing from an explo ration that began before the split with Le Corbusier and car ‐ ried for ward with the con struc tion of vil as and chalets dur ing 1940 – 1951, and final y, the design and con struc ‐ tion of the city of Chandigarh, dur ing 1951 and 1965 [ 3 ], with the for mu la tion of about thir ty res iden tial mod els that were part of the main body of the city. Each of the peri ods wil be ana lyzed fol ow ing the struc ‐ ture drawn from the third idea of tech nique, under ‐ stand ing as the instru ments, and the way the archi tects project. In the case of Pierre Jeanneret, it’s the Photography. Pierre Jeanneret, used pho tog ra phy not only as a form of doc u men ta tion4 , but beyond that, what this the sis wants to demon strate, was an instru ‐ ment of design, a tool that al owed him to study his envi ron ment, reflect on what he was see ing and thus appro pri ate these images to make them part of his study, for what to do as an archi tect. We want to under ‐ stand the val ue of the pho tographed images and their influ ence on the gen er a tion of the archi tec tur al form and its archi tec ture, how the image (of the event, object, build ing) has remained both on paper and in mem o ry and has been used in the gen er a tion of new architecture. The objec tive, then, is to build a map of inter ac tions that high lights the rela tion ships between the pho tographed by Pierre Jeanneret and his archi tec tur al projects, estab lish ing a the o ret ical basis from the Warburgrian approach es on the image and the pro duc tion of ideas and how they can be reflect ed in pho tog ra phy from the plans of authors such as John Berger, Walter Benjamin, Jesus Vassal o, Josep Quetglas or Susan Sontag and sim ilar pho tog ra phers such as Walker Evans, August Sander or John Szarkowski. Figure 3: Chandigarh houses, Pierre Jeanneret. Some examples of the government houses designed between 1951- 1965, the cases mixed dif erent typologies and social categories. Facades drawing by the author. Organization The the sis pro pos es to estab lish two moments of approach to the pro posed theme. The first, a con cep tu ‐ al and intro duc to ry moment where we estab lish the basis of pho tog ra phy as a doc u ment, and its use in archi tec ture in rela tion to Pierre Jeanneret, since our goal is to unveil the work of P. Jeanneret through pho ‐ tog ra phy, it is nec es sary to under stand the first steps, his appren tice ship as a pho tog ra ph er and his first teach ers. In order to, in a sec ond, empir ical moment, present the var ious cas es where the image and the project have con tact, con fronting the images and the projects (whether built or not built) and estab lish ing the ele ments and con tents that unite pho tog ra phy and archi tec ture. With the diver si ty of cas es, we want to estab lish the argu men ta tive bases that we want to ver i‐ fy with the the sis, and above al , the dif er ent dec li na ‐ tions that the pho to graph ic image can have in order to use it as an instru ment of design. 1 Quetglas, Josep (2020): A Casandra: Cuatro charlas sobre mirar y decir. Madrid: Ediciones Asimétricas, p. 21 2 Quetglas, Josep (2017): Restos de Arquitectura y de critica de la cultura. Barcelona: Arcadia, p. 144 3 Reichlin, Bruno (2007): “Intruduzione”, In AA.VV, Jean Prouvè: The poetics of the technical object. Ginevra – Milano: SKira 4 Libros como Jacques Barsac, Charlotte Perriand and Photography: A wild- Angle Eye (Milan: 5 Continents Editions, 2011) o Tim Benton, Le Corbusier Secret Photographer ayudan a entender la relación que dichos arquitectos han tenido con la fotografía. En el caso de Pierre Jeanneret, son mas de 3000 las fotografías que se encuentran en el Fondo Archivo Pierre Jeanneret perteneciente al Canadian Center for Architecture, aun por estudiar. Narrating the City A Narrative Typology of Place-making Process Through Script, Storytelling and Performance Enrico Chinel ato, University of Bologna Doctoral application # nar ra tive, place-mak ing, script Abs This research explores a narrative typology of place- t making process by studying its implication in the ra context of urban renewal through three tools: the script, ct the storytel ing, and the performance. A first section wil examine and define the notions of script, storytel ing and performance as they relate to dif erent kinds of narratives at stake, while circumscribing what can be recognised as narrative in creative place-making process in the context of urban renewal. A second section wil elaborate an applicative procedural model as the base for the theoretical definition of a narrative typology of place-making process. The notion of script/scripting is here understood as a narrated process of three phases: in- script, de-script, and re-script. A third section wil present a design-led textual/visual report of the application of the procedural model on a localised case study focussed on the Mahane Yehuda market and the Beit Al iance site in the historical center of Jerusalem. E “Objects alone do not make a place. It is how peo ple xt feel about and respond to the ele ments in their envi ‐ en ron ment, as wel as oth er peo ple who share their de space, that help deter mine what a place is.” Leonardo d Vazquez a 1 bst The het ero ge neous nature of the con tem po rary city’s ra trans for ma tions con cerns a mul ti tude of aspects which ct can not be grasped through a mono-dis ci pli nary lens. Cities are cal ed to face com plex chal enges that do not find solu tions in mono semic par a digms of inter ven tion. There is in fact a ten sion lay ing at the cross road of sta ‐ bil ity and adapt abil ity 2 which is lead ing to the emer gence of a polyrhyth mic read ing of mech a nisms that al ows cities to exist in a dynam ic state while main ‐ tain ing cohe sion. Across the fields of archi tec ture and urban design, an ever-increas ing num ber of prac ti tion ‐ ers exper iments with com plex ity-based cre ative approach es draw ing from prin ci ples of arts-based civic engage ment, com mu ni ty-dri ven design, and social change. These are trans lat ed into trans dis ci pli nary cre ‐ ative place-mak ing activ ities. As intro duced in 2010 by econ o mist Ann Markusen and arts con sul tant Anne Gadwa, in cre ative place-making: “(…) part ners from pub lic, pri vate, non-prof it, and com mu ni ty sec tors strate gi cal y shape the phys ical and social char ac ter of a neigh bor hood, town, city, or region around arts and cul tur al activ ities. Creative place-mak ing ani mates pub lic and pri vate spaces, reju ve nates struc tures and streetscapes, improves local busi ness via bil ity and pub lic safe ty, and brings diverse peo ple togeth er to cel e brate, inspire, and be inspired.” 3 During the past 30 or more years, this prac tice has start ed devel op ing around the con cept of nar ra tives, with schol ars such as James Throgmorton 4 , Leonie Sandercock 5 , and Lieven Ameel 6 , expos ing the emer ‐ gence of what Sandercock defined a “sto ry turn” 7 . In this sense, cre ative place-mak ing becomes a process address ing the issues of the built envi ron ment by pur ‐ su ing civic dia logue, pro mot ing the inclu sion of com ‐ mu ni ties' often con flict ing points of view into the pub lic nar ra tive. This is then achieved through a design-led cre ative and dia log ic under stand ing of place-relat ed sym bols, cul tur al ref er ences and sto ries in such a way that they form a coher ent whole 8 , so that a place is there fore brought into being through a series of pub lic per for ma tive acts 9 . Lynda Schneekloth and Robert Shibley empha sized that the first “most impor tant activ ‐ i ty of pro fes sion al place-mak ers” is to gen er ate “an open space for dia logue about the place”, where “al knowl edges are val ued, shared, and used in the process of deci sion mak ing” 10 . As there is nev er only one sto ry of a place, nor a cor rect one, they also not ed that “to appre ci ate a place and peo ple does not, how ev er, imply an uncrit ical stance towards it”. In fact, “to act respon si ‐ bly in the his tor ical moment requires knowl edge of that time/place/cultural real ity; wis dom to rec og nize that one nev er has suf i cient infor ma tion or insight on which to base a ‘ratio nal’ deci sion; and courage to pro ceed any way.” 11 This research explores a nar ra tive typol o gy of place- mak ing process by study ing its impli ca tion in the con ‐ text of urban renew al through three pri ma ry tools: the script, the sto ry tel ing, and the per for mance. Through these notions, the research wil sketch out an applica ‐ tive pro ce dur al mod el as a guide line for the artic u la tion of a place. This mod el aims at: first, exam in ing how sto ‐ ries of, and for an urban envi ron ment, ris ing from events involv ing human and non-human actors placed in a tem po ral and spa tial set ting, are built on top of old er ones; sec ond, eval u at ing how a new under stand ing emerges along the way thanks to its imple men ta tion through design-led and art-based par tic ipa to ‐ ry activities. The research is struc tured on three lev els of inves ti ga ‐ tions as fol ows. The first sec tion oper ates a lit er a ture review, exam in ing and defin ing the notions of script, sto ry tel ing and per for mance as they relate to dif er ent kinds of nar ra tives at stake, as wel as to where they orig inate, while cir cum scrib ing what can be recog nised as nar ra tive in cre ative place-mak ing process with regards to the con text of urban renewal. The sec ond sec tion con nects these strains in order to elab o rate an applica tive pro ce dur al mod el as the base for the the o ret ical def in ition of a nar ra tive typol o gy of place-mak ing process. The notion of script/scripting is here under stood as a process of three phas es: in-script (map ping of the exist ing sto ries of a place), de-script (for ma tion and per for ma tive exe cu tion of nov el acts as a mean of inter ven tion on a place), and re-script (eval u ‐ a tion of new ly gen er at ed stories for a place). (fig.1) Figure 1: Applicative procedural model (script process) [Diagram: Enrico Chinel ato] With the third sec tion, the research presents a design- led textual/visual report of an ear ly-stage appli ca tion of the pro ce dur al mod el on a localised case study focussed on the Mahane Yehuda mar ket and the Beit Al iance site in the his tor ical cen ter of Jerusalem. This is an instance of a site char ac terised by dif i cul ties with estab lish ing and main tain ing a uni fied nar ra tive, as for ‐ mal top-down plan ning codes find them selves opposed by a high ly polar ized real ity through which sub-groups shape the place accord ing to their own set of infor mal urban stories. For more than 20 years the area had been fought over both in the polit ical are na and in the pub lic opin ion. The spa tial analy sis of the built envi ron ment reveals a frag ‐ men ta tion of the pub lic space sys tem, which is caused by a con cen tra tion of ‘left over’ aban doned or under ‐ used urban spaces, as wel as of park ing areas, and wors ened by strong phys ical divi sions between the neigh bor ing res iden tial dis tricts, ulti mate ly fail ing to become a place of col ec tive exchange and meeting. Figure 2: Historical development of the Beit Al iance site [Content: Enrico Chinel ato] However, it is argued that the para dox ical dis con nec ‐ tion between the Mahane Yehuda mar ket and the near ‐ by Beit Al iance site is to be found in the lived con di tion of the place, rather than in the spa tial one. Abandoned in 1990, since 2016 the Beit Al iance build ing has received new life thanks to the Jerusalem-based NGO ‘New Spirit’, who reac ti vat ed the build ing through tem ‐ po rary uses by renew ing only the bare essen tial while host ing cul tur al events and cowork ing spaces for cre ‐ ative prac tices and start-up. Nevertheless, although being phys ical y con nect ed to the most live ly place of the city, the area expe ri ences a con di tion of alien ation in its spa tial and lived dimension.(fig.2)(fig.3) During a peri od of eight months I con duct ed stud ies through ethno graph ic field work in this area, focussing on the ongo ing activ ities hap pen ing in and between the Al iance build ing and the mar ket, the sur round ing neigh bor hoods, and their rela tion to the planned future of the site. The field work entailed semi-par tic ipant dai ly obser va tions, study of rel e vant doc u ments, spa tial sur ‐ veys, map ping, meet ings with res idents and mem bers of the NGO, and var ious actors involved in the Jerusalem cre ative place-mak ing scene, and inter views with about 20 actors, which were aimed at high light ing citizen’s per cep tion and aware ness of the place, as wel as its stories.(fig.4) Figure 3: Current happenings inside the Beit Al iance building [Photo: New Spirit] In short, fol ow ing the pro ce dur al mod el this data formed the base of the in-script phase, which was then trans lat ed into the de-script phase rep re sent ing the con cep tu al isa tion of nov el acts as a means of inter ven ‐ tion on the place. In the case at hand, togeth er with the NGO’s sup port and the involve ment of sev er al local artists, this phase was elab o rat ed through the organ isa ‐ tion of a cre ative pub lic par tic ipa to ry work shop, aimed at con fronting exist ing nar ra tives while imag in ing new sto ries for the area through the devel op ment of a one- year long event. The sto ries were recon struct ed most ly from con ver sa tions and visual/textual obser va tion notes with the par tic ipants. They were then inter pret ed into a script of the event through visu al sto ry tel ing as an il us trat ed cal en dar. Each month a par tic u lar tem po ‐ rary hap pen ing wil take place in the spaces in and around the Beit Al iance build ing, grad u al y reshap ing them in phys ical and per cep tu al terms: each phys ical action, which devel ops the event in space in mate r ial terms, cor re sponds to a sto ry, apt to build aware ness in terms of new uses of the space and per son al iden ti fi ca ‐ tion with it through mak ing ‐per form ing. Month-by- month, an il us tra tion and a short text tel s a sto ry that seeks to por tray an imag inary in-per son expe ri ence of what is hap pen ing in the place. (fig.5 – 7) Figure 4: Examples of interviews responses from various citizens [Content: Enrico Chinel ato] This process helped the actors to for mu late what is rel ‐ e vant to them. It is impor tant to note that this con cep tu ‐ al sce nario, or plan, has the capac ity to tel an explic it sto ry. However, sce nar ios and plans them selves are not a sto ry 12 . In fact, these new ly gen er at ed sto ries rather rep re sent a way to talk about what is going on in a place and what should or can be done with that place. The eval u a tion of these new ly gen er at ed sto ries was car ried out in the re-script phase by oper at ing a new round of inter views with the par tic ipants of the work ‐ shop, which high light ed how sto ries of decline were start ing to be fol owed by sto ries of hope. The case here intro duced, togeth er with the find ings derived by its inves ti ga tion through the appli ca tion of the pro ce dur al mod el, is used as an il us tra tion of what more we can learn about cre ative place-mak ing process es from a nar ra tive perspective. Figure 5: Il ustrated calendar, months I-IV [Content: Enrico Chinel ato] Figure 6: Il ustrated calendar, months V-VI I [Content: Enrico Chinel ato] Figure 7: Il ustrated calendar, months IX-XI [Content: Enrico Chinel ato] 1 Vazquez, Leonardo (2012): “Creative Placemaking: Integrating Community, Cultural and Economic development,” white paper. 2 Rosner-Manor, Yaara/Borghini, Sayfan G./Boonstra, Beitske/Silva, Paulo (2020): “Adaptation of the urban codes - A story of placemaking in Jerusalem”, in: Environment and Planning B: Urban Analytics and City Science 47, pp. 251–267. 3 Markusen, Ann/Gadwa, Anne (2010): “Arts and Culture in Urban or Regional Planning: A Review and Research Agenda”, in: Journal of Planning Education and Research, 29(3), pp. 379–391. 4 Throgmorton, James (1992): “Planning as persuasive storytel ing about the future: Negotiating an electric power rate settlement in Il inois.”, in: Journal of Planning Education and Research 12, pp. 17–31. 5 Sandercock, Leonie (2003b): “Dreaming the sustainable city: Organizing hope, negotiating fear, mediating memory”, in: Throgmorton, J. and Eckstein, B. (eds) “Stories and Sustainability: Planning, Practice, and the Sustainability of American Cities.” Cambridge, MA: MIT Press. 6 Ameel, Lieven (2020): “The Narrative Turn in Urban Planning: Plotting the Helsinki Waterfront”, Routledge, London. 7 Sandercock, Leonie (2010): “From the campfire to the computer: An epistemology of multiplicity and the story turn in planning.”, in: Sandercock, L. and Attili, G. (eds) “Multimedia Explorations in Urban Policy and Planning”. Dordrecht: Springer. 8 van Hulst, Merlijn (2012): “Storytel ing, a model of and a model for planning.”, in: Planning Theory 11, pp. 299–318. 9 See Fischer-Lichte, Erika (2009): “Culture as Performance” in: Modern Austrian Literature, vol. 42, no. 3, pp. 1–10. 10 Schneekloth, Lynda/Shibley, Robert (1995): “Placemaking: The Art and Practice of Building Communities”, Wiley, pp. 6, 14. 11 Ibid., pp. 8, 10. 12 Albrechts, Louis (2005): “Creativity as a drive for change.”, in: Planning Theory 4: pp. 247–269. Archrypt The Time-capsule as a Design-driven Method Mariacristina D'Oria, University of Trieste Gianluca Croce, University of Trieste Valentina Rodani, University of Trieste Research project developed connecting our individual PhD research trajectories. Supervisor: Giovanni Corbel ini, Politecnico di Torino # Apocalypse, time-cap sule, arche ol o gy of the future Abs The architectural discipline has always had to interface t with the constant threat of disasters, of ering its ra performative skil s. The contemporary condition has ct provoked several catastrophes, accelerating the perception of a global situation perpetual y in the balance. Taking to the limit the threat of a more or less imminent “end of the world,” the project considers the idea of col ecting and archiving the attempts that the architectural discipline has produced in contexts dominated by specific criticalities, hypothesizing a time capsule to be transmitted to the posterity of a future post-apocalyptic society. The process of selecting and cataloging projects and related associated disasters feeds the archive's construction, defined by a ready- made operation of archetypal forms. The project's transmission required a dif erent comparison with the methods of translating the message concerning the possibilities of ered by the dif erent media and related containers in the contexts of performance and exhibitions. Ar Welcome to the End Times tef The press ing warn ings from the sci en tif ic com mu ni ty ac about the deple tion of avail able resources and the irre ‐ t versible ef ects of cli mate change, the per pet u a tion of recur ring eco nom ic crises, the exac er ba tion of social inequal ities, and the esca la tion of new nation alisms and con flicts sug gest the per cep tion of the immi nent advent of one or more dis as ters of glob al pro por tions 1 . While on the one hand, there is a debate on what strate gies could avert or post pone the cat a stro phe occur rence, on the oth er hand, emerges the ques tion of pre serv ing the traces of a threat ened world and trans mit ting pos ter ity the signs of our exis tence as instru ments for the archae ol o gists of the future. Is it pos si ble to orga nize a reper toire of knowl edge, the ‐ o ries, and projects so that this her itage con sti tutes not only a cul tur al archive but also a poten tial oper a tional kit capa ble of of er ing our dis ci pli nary rel e vance even in a remote and uncer tain future? Figure 1: Conceptual diagram of the research field; image by the authors. The idea of trans port ing the traces of one's exis tence to the future is struc tured with moder ni ty. The prop er notion of a time cap sule as “a con tain er used to store for pos ter ity a selec tion of objects thought to be rep re ‐ sen ta tive of life at a par tic u lar time” is exem pli fied by the Crypt of Civilization, cre at ed by Thornwel Jacobs in 1937 [ 1 ]. The research inves ti gates this con cep tu al device in archi tec tur al terms, con sid er ing archi tec ture as a time cap sule ante lit ter am and explor ing its poten ‐ tial ity as a design-dri ven methodology. Figure 2: Archive selection diagram organized by scale and time factor; image by the authors. Learning from the End Times: the archiving process The selec tion process focus es on the rela tion between archi tec ture and dis as ter, let ting a her itage of design strate gies emerge. As recal ed in a recent book, crises accel er ate sit u a tions that are often already elab o rat ed with in the dis ci pli nary debate 3 . Therefore, archi tec ture seems to have an intrin sic capac ity to evoke the dis as ‐ ter to which it is then cal ed to respond. Rather than claim ing a resolv ing role for humanity’s prob lems, this fea ture empha sizes the architecture's abil ity to under ‐ line the con tra dic tions of the socio-eco nom ic con texts in which it elab o rates its pro duc tion and mandate. The project rec og nizes 1945 (the year of the atom ic bomb ings of Hiroshima and Nagasaki) as the cat a ‐ stroph ic event par excel ence: the time dif er ence between that year and our con tem po rane ity is pro ject ‐ ed back ward to estab lish the time frame bound aries to select the archive content. Consequently, the analy sis of the most sig nif icant dis as ‐ ters with glob al rel e vance, accord ing to the size of the destruc tive event, its dura tion, and the num ber of vic tims, let the dis as ter cat e gories emerge: environmental/health dis as ters; economic/financial/energy crises; wars/conflicts/terroristic attacks; epidemics/pandemics; cyclones/floods/typhoons/hurricanes; earth quakes and tsunamis. The select ed projects may direct ly relate to a spe cif ic dis as trous event 4 5 ; oth ers express the change of archi tec tur al, cul tur al par a digm stim u lat ed by a spe cif ic Zeitgeist or by an epochal crit ical turn ing point (for exam ple, the recy cling process es in the shad ow of the envi ron men tal or eco nom ic cri sis 6 , or nar ra tive forms that crit ical y take the cur rent con di tion to extremes adopt ing dystopi an or utopi an nar ra tives 7 . [ 2 ] Figure 3: Detail of the archive selection diagram il ustrating the categories of disasters; image by the authors. Hence, the archive orga ni za tion result ed in a dia gram, which con sis tent ly fol ows a hor izon tal scan from the smal est scale to grad u al y increase to the size of the land scape, reach ing that of the entire plan et. [ 3 –6 ] The den si fi ca tion of cat a stroph ic events over time cor ‐ re sponds to an increase in the projects' time hori zon (as can be seen from the ver ti cal lines) and their tran scalar val ue (high light ed by hor izon tal lines) at these inter sec ‐ tions between time and scale fac tors, time cap sule devices are fre quent ly not ed. [ 7 ] Figure 4: Il ustration of the archive organization by scale- factor; image by the authors. Figure 5: Diagram of the archive organization by scale-factor; image by the authors. Figure 6: Focus of the archive selection diagram on the interval 2010-2021; image by the authors. Figure 7: Diagram highlighting the correlation between disasters categories and architectural strategies; image by the authors. Figure 8: Archrypt genealogy; image by the authors. Additional y, the archiv ing process pro vokes the emer ‐ gence of trans ver sal con nec tions between projects that mate ri al ize a cor pus of design strate gies, beyond time and space scale fac tors: from adap tion to con tain ment, bury, inflate, cam ou flage, but also recov ery, reuse, and so on… [ 8 ] The process rais es a pro duc tive flow in which the archive feeds on addi tion al ancil ary con sid er a tions that define the inter nal log ic of this cat a logu ing. Final y, the archive unfolds geog ra phy of nar ra tives, prac tices, and dis cours es inter twin ing apoc a lypse and archi tec ture: draw ings, dia grams, mod els, visions, texts, sam ples of anthrop ic and nat ur al mate ri als alter nates and are col ‐ lect ed accord ing to the time and space scale factor. The archive for the post-apocalyptic future: first design experimentation Exploring the time cap sule as a design-dri ven method assem bled two con se quent arte facts, char ac ter ized by extreme ly dif er ent expir ing-date hori zons (geo log ical y long vs. ephemer al y short). The first is Archrypt, an archive where the rela tion between the select ed con ‐ tent and the designed con tain er elab o rates a sig nif icant space for the post-apoc a lyp tic future. Figure 9: Archrypt section and plan; image by the authors. Tracing the geneal o gy of archi tec tur al time cap sules 8 , four main cat e gories are iden ti fied: the bur ial, the archive, the bunker, and the space ship [ 9 ]. The archive form derives from the assem blage of these arche types, the zig gu rat, and the stepped sky scraper, revers ing its direc tion and den si ty, obtain ing a cav ity to orga nize the archive con tent. Moreover, through a ready-made oper ‐ a tion, a pyra mid (exte ri or land mark) and a space shut tle (sym bol ic under ground entrance) are super im posed at the extremes of this vol ume. The archive ver ti cal scan fol ows the projects' size. The low er lev el hosts 1:1 scale arte facts 9 ; going to the upper lev els, the projects' scale increas es, and there fore, the dimen sions of the maque ‐ tte decrease exhibit ing urban and ter ri to r ial mod els and visions 10 [ 10 ]. In con trast, the ver ti cal con nec tions cross the dif er ent scales iden ti fy ing the the mat ic paths relat ed to the six dis as ter cat e gories, end ing at the upper lev el with the mes sage intend ed for the man of the future and the dimen sion al ref er ences to decode al the archive projects 11 . Figure 10: Thornwel Jacobs, The Crypt of Civilization, Georgia (USA) 1937-40; retrieved from https://crypt.oglethorpe.edu/?attachment_id=173 (last accessed June 30th 2021). Archrypt aims to be a crit ical-oper a tional work on trans ‐ mit ting archi tec tur al mem o ry through an archi tec ture of mem o ry. Archrypt refers to the ances tral dimen sion of archi tec ture con nect ed to its func tion of time cap sule ante litteram. The performative archive for the post- apocalyptic now: second design experimentation Facing the out break of the Covid-19 cri sis, the mul ti me ‐ dia instal a tion and per for mance Apocalipsis cum fig uris 12 con front ed a real cat a stro phe as a con di tion where the archi tec ture itself became the mate r ial object and imma te r ial medi um of exper imen ta tion: the imposed social dis tanc ing implied the refor mu la tion of the archive meth ods of use. Consequently, the build ing has been tem porar ily con vert ed into a time cap sule by fol ‐ low ing four main design prin ci ples: inac ces si bil ity, exten sion of archi tec tur al ele ments through dif er ent media, simul tane ity of rep re sen ta tion, and dynam ic inter ac tion among envi ron men tal conditions. Thus, the archive is designed as a per for ma tive and nar ra tive appa ra tus, where the multimedia/dynamic stream of inter ac tive infor ma tion pro duced an inver sion: archi tec ture does not con tain but speaks for itself. [ 11 – 13 ] Figure 11: Comparing research methods and outcomes between Thornwel Jacobs' Crypt of Civilization, authors' Archrypt (conceptual artefact) and Apocalypsis cum figuris (artefact and performance); image by the authors. An open-epilogue: unfolding the time- capsule reformulation By adopt ing the time-cap sule as design-dri ven method, the research project inves ti gates the archive device both on a the o ret ical lev el, col ect ing and select ing con ‐ tents, and on a design lev el, by defin ing the phys ical con tain er as the out come of the archiv ing process. The elab o ra tion and the out comes deter mine two par al ‐ lel and inverse process es: on the one hand, the design of an archive by an orga nized com mu ni ty, informed and aware of its con di tion and des tiny; on the oth er hand, the impos si bil ity of fore see ing what wil be the cul tur al and cog ni tive require ments of the pos si ble cap sule dis ‐ cov er ers and what process es that such a col ec tion of projects could trig ger in them. This inde ter mi nate ness reserves a pro jec tive poten tial, a ter ri to ry in which the real and the imag inary are explored using an extreme nar ra tive reg is ter, which aban dons any claim to objec ‐ tiv ity to prove its pos si ble lim its and trans late them into a mate r ial configuration. Figure 12: Artefact proposal for CA2RE Ljubljana 2021. Figure 13: Apocalipsis cum figuris, images of the performance displayed in Stazione Rogers, Trieste, Italy (3-16 August 2020). 1 AA.VV. (2018):»Apocalypse: A Field Guide to Surviving the Future of Architecture«, Archifutures 5. 2 AA.VV. (2016):»At Extreme«, Brakets 3. 3 Doglio, Federica / Zardini, Mirko (2021): Dopo le crisi 1973, 2001, 2008, 2020, Siracusa: LetteraVentidue. 4 Chateigné, Yann/Miessen, Markus eds (2016): The Archive as a Productive Space of Conflict, Berlin: Sternberg Press. 5 For example, the emergency architecture of Ito, Toyo (2011-2015): Home for Al . 6 As in the case of the projects of Bergdol , Barry and Martin, Reinhold (2012): Foreclosed Rehousing The American Dream, New York: MoMA. 7 One of the examples is that of Constant, Nieuwenhuys (1956-1974): New Babylon. 8 Jarvis, Wil iam E. (2021): Time Capsules: A Cultural History, Jef erson: McFarland Publishing. 9 As Haus-Rucker-Co’ Mind Expander (1967-1969) by for the XS selection, or Ful er's Dymaxion house (1928-1945) for the S scale. 10 For example Isozaki's Mirage City (1997) and Superstudio's Continuous Monument (1969-1970). 11 As Le Corbusier’ Modulor (1948-1955), architectural histograms. 12 The multimedia instal ation Apocalypsis cum figuris has been displayed in Stazione Rogers (Trieste, Italy, 3-16 August 2020, the performance has been developed in col aboration with Samuel Iuri (PhD University of Trieste) and Taufan ter Weel (PhD TU Delft). See . Rural Habitat at 0° Latitude The Architectural Project as a Tool for a Critical Investigation on Living Valentina Dal 'Orto, Politecnico di Milano Initial doctoral stage Supervisors: Andrea Gritti, Politecnico di Milano; Antonio di Campli, Politecnico di Torino; Franco Tagliabue, Politecnico di Milano # Rural, House, Global Abs The research is focused on individuating a proper t representation code, useful for the interpretation of the ra blurred condition of contemporary rurality, through the ct analysis of the house. The dwel ing has been selected as it embodies the material expression of changes of spatial practices occurring in the Global South. Its architecture often manifests a process of cultural hybridization, resulting in anonymous spatial paradigms in perpetual transition, rather than a strong relation with the territory. The investigation wil take place in the Andean region of Loja, in the southern Ecuador, a frontier land crossed by several environmental and socio-economic crucial issues, deriving in the generation of original praxis in the production of domestic space. Architecture in envisioned as an important agent of transformation in re-shaping the future of rural environment, for this reason it’s relevant to speculate on the project tools to build up a critical representation of contemporary rurality. E The research deals with the themes of the project of xt rur al dwel ing, through an analy sis of the archi tec ture en of the house in its dif er ent dec li na tions. The house has de been select ed as a mate r ial expres sion of changes of d inhab it ing prac tices occur ring in the Global South. abs The com plex and mul ti fac eted sce nario pre sent ed by tra the con tem po rary coun try side is an object of debate in ct dif er ent fields of knowl edge. A mul ti plic ity of con cep tu ‐ al cat e go riza tion and the blurred nature of rur al sub ‐ jects invite researchers to study it through unex plored optics. 1 In this frame work, archi tec ture is envi sioned as an impor tant agent of trans for ma tion in re-shap ing the future of the rur al2 . In the Latin American con text, non-urban ter ri to ries rep ‐ re sent a con flic tive envi ron ment, far from the pas toral image dom inat ed by an untouched nature. Currently are crossed by process es dic tat ed by a forced adap ta ‐ tion to glob al mar ket log ics, by migra tions and con se ‐ quent cul tur al hybridiza tions, which have also led to a pro found change in dwel ing spa tial prac tices. Such vio lent events shape a dif er ent func tion for the archi ‐ tec tur al device for liv ing. The house no longer rep re ‐ sents the spe cif ic con sti tu tive matrix of the place3 , but often appears com plete ly unre lat ed to the con text. This invite researchers to ques tions, how as archi tects, can we con ceive a crit ical rep re sen ta tion of con tem po ‐ rary rural ity? And con se quent ly, which archi tec tur al research instru ments al ow an effec tive read ing of the com plex dynam ics that are shap ing these ter ri to ries through the analy sis of the house? From a bib li o graph ical analy sis, it imme di ate ly appears clear the dif i cul ty to ascribe what is not urban through pre de ter mined cat e gories. Some authors iden ti fy rural i-ty as a spa tial con di tion while oth ers deny its exis ‐ tence, stat ing that there is no longer any out side to urban world4 . Figure 1 Regarding the design prac tices, some rel e vant exer cis ‐ es have been iden ti fied at dif er ent lat itudes for their capa bil ity to rein ter pret this blurred real ity. Several projects deal with the front line of the urban iza tion process, address ing its con se quences by max imiz ing the flex ibil ity of the build ing, to respond to the chang ing neces si ties of the users. Some expe ri ences along these lines are the 20’k‐Home-Programe by Rural Studio or the pro to types build ing-cores by RUF for the Chinese vil age of Shichuang .5 Simultaneously, the European exper imen ta tion of Gion Caminada reflects a con tin u ous dia logue with tra di tion spec u lat ‐ ing on the con cept of “cos mopoli tanism”, dif er ing from "glob al ism", inter pret ing the for mer as the act of focus ‐ ing on a spe cif ic placewith out los ing the over al vision [ 1 ]. The pro posed research wil be devel oped in a ter ri to ry char ac ter ized by a main ly moun tain ous orog ra phy and an unsta ble cli mate, a fron tier land that presents sev er ‐ al envi ron men tal and socio-eco nom ic crit ical issues6 . The Andean region of Loja, in the South of Ecuador, is crossed by phe nom e na such as inten sive agri cul ture and min er exploita tion, while the marked inequal ities induce the gen er a tion of orig inal prac tices in the pro ‐ duc tion of space. The emer gence of new forms of sub ‐ sis tence impacts on the set tled dwel ing trans form ing into an orbital one, as often the domi cile changes depend ing on the eco nom ic activ ity car ried out dur ing the year. In this frame work, the house becomes an 'infra struc ture' to sup port these mobile economies, it is marked by a non-domes tic char ac ter as tem porar ily inhab it ed by dif er ent sub jects of the extend ed family. The province has a var ied eth nic com po nent, reflect ed in a diverse archi tec tur al pro duc tion; in part due to the pres ence of the bor der with Peru, which caus es a con ‐ stant flow of peo ple, goods, but also inter na tion al images and models. Additional y, the rur al area includes indige nous territories inhab it ed by Saraguros peo ple and rec og ‐ nized by the 2008 Constitution7 . Through the inves ti ga tion on the case study, it’s arguable to exam ine world wide phe nom e na such as the inter weav ing between transna tion al economies and the cir cu la tion of images and mod els. The results of the research wil there fore be referred to a localcon ‐ di tion, but extrap o lat ed to dif fer ent lat itudes once despoiled of the prop er speci fici ty of the place. The PhD explo ration is focused on the analy sis of the house in its dif er ent man ifes ta tions, both tra di tion al and hybrid. From this per spec tive, tra di tion al and con ‐ tem po rary archi tec tur al pro duc tions seem to be placed in an anti thet ical rela tion ship, despite the dif i ‐ cul ties in sit u at ing them in a spe cif ic tem po ral or for ‐ mal horizon. The first, a com plex cul tur al prod uct con gru ent with the image of its cre ator, express es a coher ence between the form, its con sti tu tive parts and the func ‐ tion asso ci at ed with space. It demon strates an organ ic uni ty with the sur round ing land scape8 . Its spa tial con for ma tion is strong ly marked by the pres ence of pro duc tive activ ities asso ci at ed with life ones. The spa tial require ments of domes tic-agri cul tur al prac tices, such as dry ing and stor ing the crop, and the con tex tu al con di tions, are deci sive for the dai ly actions of the dwel ers. The essen tial ity of the inte ri or al ows that activ ities such as eat ing and sleep ing could occur indis ‐ tinct ly in the dif er ent rooms. Although there is no uni ‐ vo cal typo log ical clas si fi ca tion, these build ings are char ac ter ized by a sim ple plan, in the form of I, L, [ or H and a com bi na tion of closed vol umes and por tals in façade. The por tal is a par tic u lar ly rel e vant archi tec tur ‐ al ele ment since it relates the intro vert ed body with the exte ri or. In addi tion, the cor ri dor is the only com ‐ po nent of the house that seems to sur vive to the inex ‐ orable process of homolo ga tion of domes tic archi tec ‐ ture. It is also used to resolve the rela tion ship with the slope, espe cial y in the case of iso lat ed houss9 . [ 2 ] Contemporary hous ing appears as a result of the flak ‐ ing of places, a process of rad ical hybridiza tion of cul ‐ tur al prac tices that man ifests its uncer tain ty through import ed archi tec tur al forms in per pet u al tran si tion. The trans for ma tion leads to a pro gres sive rejec tion of the type, in favor of the homolo ga tion of domes tic spaces to dif fer ent par a digms, char ac ter ized, espe cial ‐ ly in the so-cal ed remit tance hous es, by sin gu lar dec o ‐ ra tive elements. Figure 2 Governmental social hous ing pro grams for rur al areas con tribute to the cir cu la tion of mod els total y unre lat ‐ ed to the con text, as they are a repro duc tion of the ones of ered for urban cen ters, thus estab lish ing a notion of domes tic ity that doesn’t pro vide any link with the local con di tions10 . [ 3 ] An impor tant vari able iden ti fied relates to the tran ‐ sience of the spa tial char ac ters; evi denced by the dif i ‐ cul ties in plac ing the ele ments con form ing the house in a pre de fined tem po ral or for mal hori zon. From a pre ‐ lim inary sur vey, both the tra di tion al and the con tem po ‐ rary dwel ings appear as an inter est ing col age of ele ‐ ments pro duced in dif er ent socio-his tor ical con texts, whose inter ac tion and evo lu tion are part of this study. The reflec tion on the instru ments of the project is focused on estab lish ing an appro pri ate method olog ical path for the read ing of the intrin sic con di tions of con ‐ tem po rary rural ity through its spa tial ity. This process wil facil itate to obtain a rep re sen ta tive tool-kit use ful for the pur pos es of the archi tec tur al design. The rel e vance of this inves ti ga tion lies on the neces si ty to set up the instru men tal basis for a decolo nial archi ‐ tec tur al dis course. As Ananya Roy (2009) argued, the dom inant the o ries on the design and gov er nance of cities and ter ri to ries are root ed in the Euro-American expe ri ence and are there fore unable to account for the mul ti ple forms of space pro duc tion in the south ern hemi sphere. 11 Regarding the case study, colo nial ity also emerges from obser va tions of the con struc tion of the coun try side from urban points of view, val ues and desires that flat ten the com plex ity of the rur al in sim pli ‐ fied images. The expect ed out comes con cern the design of a rep re sen ta tion code that al ows, through the analy sis of domes tic space and its com po nents, to read the intrin sic con di tions of rural ity in the Global South. Figure 3 1 Regarding the concept of “blurred countryside”, Antonio di Campli defines it as a "mosaic of situations in which col isions and conflicts occur, but also al iances between strategies of transformation, visions and imaginaries". Di Campli A., Coccia L. (2019), RuralEstudio, Quodilibet. 2 Roskam Cole. 2016. Inventing the Rural, in Architectural Design – Designing the rural N.242, edited by Bolchover, Lin, Lange. Jhon Wiley and Sons. 3 Sereni E. (1961), Preface of “Storia del paesaggio agrario italiano”, Laterza, Roma 4 Neil Brenner in Theses on Urbanization, referring to the significance and to the planetary scale of urban condition stresses its ubiquity, denying the existence of the rural as a spatial category. On the other hand, some authors question this absolute position, as Rem Koolhaas expresses in Countryside: A report. Here, through a recognition of experiences and projects in the global rural, is highlighted the necessity to rediscover countryside as a place to resettle, experimenting new ways of development. Brenner N. (2013), Theses on Urbanization, Public culture, Duke University Press. AMO, Koolhaas R. (2020), Countryside, a report: Countryside in your pocket, Taschen 5 The impact of the design-and-build program proposed by Rural Studio is particularly relevant in re-shaping the rural communities of the Black Belt in West Alabama. Rural Studio researches for a cost-ef ective architectural design that transcends its common existence as a commodity for the rich and becomes a routine enrichment of the built environment. Hensel M.U. (2015), Rural Studio: Incarnations of a Design-and-Build Programme, article in Architectural Design. The operation of Rural Urban Framework constitutes an interesting exploration envisioning the future of housing in rural vil ages of China, exposed to an accelerated process of urbanization. The project addresses the consequences of this phenomena through the proposal of a three storey core that could maximize the flexibility in the building construction, providing also a rooftop garden or a water storage reservoir. Bolchover J., Lin J., Lange C. (2016) Designing the Rural: A Global Countryside in Flux, John Wiley & Sons; 6 Alvarado M. (2018), Territorialidades campesinas en Loja, Ecuador: análisis de sus dinámicas organizativas a partir de tres casos de estudio. EUTOPÍA. Revista de Desarrol o Económico Territorial N.° 13, junio de 2018, pp. 89-113 ISSN 1390 5708/e-ISSN 26028239. 7 Constitución de la República del Ecuador: https://www.oas.org/juridico/pdfs/mesicic4_ecu_const.pdf 8 Sanchez C, Jimenez E. (2010), La vivienda rural: su complejidad y estudio desde diversas disciplinas, Revista Luna azul n. 30 pp 174-196; 9 Hermida M. (2015) Valores formales de la vivienda tradicional, la provincia del Azuay en Ecuador como caso de estudio, Arquitecturas del Sur XXXI , Num. 46 10 The Ministero de Desarrol o Urbano y Vivienda (MIDUVI) is responsible for the development of social housing programmes in urban and rural areas. The architectural proposal of the "casa para todos" program for rural areas can be found at the fol owing link: https://www.habitatyvivienda.gob.ec/programa-de-vivienda-rural/ 11 Politécnico di Torino – Decolonial Urbanism, course by Antonio di Campli and Camil o Boano Narrative as a design tool in frag ile contexts Marianna Frangipane, Politecnico di Milano Initial doctoral stage Supervisor: Andrea Di Franco, Politecnico di Milano # Narrative, Tentative design, Fragile contexts Abs The topic of the research is the ef ectiveness of possible t architectural design methods and tools when related to ra fragile contexts. ct How can design face fragile contexts complexity without reducing it? How does contemporary design face these contexts? What are the ef ective design knowledge traces that instruct the modification process? What uses, forms and ef ects of narrative in the architectural project? What potentialities and limits of narrative in the architectural project today? The research approach relates to negotiating and understanding spatial design by means of process- oriented narratives. The aim is to define a design methodological perspective to face the fragile context regeneration. E “It mat ters what sto ries we tel to tel oth er sto ries xt with; […] It mat ters what sto ries make worlds, what en worlds make stories” ded – Haraway D. J., Staying with the trouble abstra The research fol ows the idea of explor ing new ct approach es for spa tial mod ifi ca tions in frag ile con texts, by devel op ing nar ra tive as a pos si ble design tool. Architecture nowa days needs to tran scend the reduc ‐ tion ism par a digm and to work on real sub stance and com plex ity. How archi tec tur al design can face com plex ‐ i ty with out reduc ing it? The key text in chal eng ing a dif er ent spa tial under stand ing is “The pro duc tion of space” by Lefebvre. His analy sis of space, sum ma rized by “(social) space is (social) prod uct” 1 , places the pro ‐ duc tion of space in a broad er social, dynam ic and polit i‐ cal con text. Lefebvre’s idea of space needs to be even expand ed by oth er fac tors dic tat ed by glob al, eco log i‐ cal, and vir tu al net works2 . From these mul ti ple inter ac ‐ tions and feed back stems the impos si bil ity to make a cer tain pre dic tion: each design's spa tial inten tion escapes the pro mot ed one, and often goes beyond the pur pose. Hence, from a design per spec tive, we need to start from the con sid er a tion that “the ter ri to ry is how you use it” 3 . At the core of this con cep tion emerges the cri tique about the way design reduces soci ety to social demand and the invi ta tion to con sid er design (and the relat ed research) as a ten ta tive prac tice, by expe ri enc ‐ ing the pos si bil ities. 4 Figure 1 In those ter ri to ries where uncer tain ty meets mul ti-prob ‐ lem at ic, such as spa tial, social, and eco nom ic issues, an addi tion al lay er of com plex ity ham pers the design ef ec tive ness. These are “exclu sion ter ri to ries” 5 , where the over lap ping of a series of het ero ge neous prob lems and the con cen tra tion of unre solved issues exac er bate the dif i cul ties in inter pret ing con text com plex ity. Here design slips into cri sis, due to the lack of a sharable lan guage, the impos si bil ity to define a straight for ward space mod ifi ca tion demand, a sharable design form, as wel as a social form relat ed to dif er ent prac tices implied in the space mod ifi ca tion. These con texts reveal social inequal ities and gaps among the ter ri to ries, as described by archi tects, urban plan ners, anthro pol o ‐ gists, soci ol o gists, and econ o mists. To face and con ‐ tribute to ef ec tive actions in these con texts archi tec tur ‐ al design may embrace Morin’s thought that close ly relates the inequal ities chal eng ing to the com plex ity6 . Here the com plex ity and relat ed fragili ty open the oppor tu ni ty to rethink and regen er ate our cities, to exper iment how spa tial design could co-oper ate to shape pos si bil ities relat ed to “how wil we live togeth ‐ er” 7 . This research top ic relates to the ef ec tive ness of pos si ‐ ble design tools and meth ods when relat ed to frag ile con texts. The design field research stems from my per ‐ son al expe ri ences and its feed by the obser va tion of these con tem po rary prac ti cal expe ri ences, that “shift the focus of spa tial atten tion away from the sta t ic objects of dis play that con sti tute the fore ground of so much archi tec tur al pro duc tion, and moves it onto the con tin u ous cycle of spa tial pro duc tion, and to al the peo ple and process es that go into it.” 8 The para me ters that direct the research focus are the fol ow ing design fea tures: First is the project process relat ed to exist ing and trans form ing real ity. This is relat ed to a research process that does not have the aim to define mod els, but rather to iden ti fy a method olog ical approach to feed an inter ac tion process that pro ceeds over time by embrac ing the unex pect ed con di tions. Second is the rela tion ship between the plu ral ity of play ers that oper ‐ ate in the space mod ifi ca tion process. Assuming both the coop er a tion (trans dis ci pli nary) and the con flicts as “mutu al knowl edge” 9 sen sors. Third is the design unfold ing through ten ta tive forms, by con sid er ing the design forms in an explorato ry terms, as a tool through which pos si bil ities of liv ing are revealed: “tool and not the aim of a rela tion al process, such as that which is fed by per son al poet ics, cor re sponds to the autho r ial mod el stil wide spread” 10 . The expe ri ences of that ten ta tive design have vis ible short-term ef ects: build ing tem po ‐ rary local rela tion ships, reveal ing some exist ing con di ‐ tions, trig ger ing some new uses of the space, open ing some mod ifi ca tion possibilities. Nevertheless, cit ing Palermo “This idea of a weak and uncer tain archi tec ture is sug ges tive, but at risk, because it could eas ily become elu sive, ephemer al, irrel e vant and there fore con ser v a tive, due to an excess of dis en gage ment” 11 . The out come of ten ta tive design process can not be described through gen er al expla na tions, nei ther with the con ven tion al design tool as the plans. During the design explo ration process each unique expe ri ence is not direct ly iden ti fied with the archi tec tur al sta t ic achieve ment, nei ther only with the def in ition of a future con fig u ra tion, which is not pre dictable. The design out ‐ come relates with the project path: how the new sit u a ‐ tion came about. In this vision the design process oscil ‐ lates between the action and its obser va tion in an auto- reflex ive prac tice to nour ish both the per ti nent (local) and dis ci pli nary knowl edge. The inquiry issue to inves ti ‐ gate con cerns the ef ec tive design knowl edge traces (tac it knowl edge) to ren der explic it for instruct ing the mod ifi ca tion process over time, in a long-term vision. The cen tral mech a nism by which design knowl edge is con veyed, by pro vid ing a bridge between tac it and explic it, is nar ra tive. Thus, the rela tion ship between design and nar ra tive is the field of obser va tion where the research focuses. The research approach relates to nego ti at ing and under stand ing spa tial design by means of process-ori ‐ ent ed nar ra tives. What nar ra tive forms, uses and ef ects in the mod ifi ca tion process? At this stage of my Phd the con cepts of “nar ra tive” is linked to a sig ni fi ca tion tool that oper ates in the design research process. This assumes oper a tive and pro ce dur al impli ca tions by reveal ing the exist ing and con flict ing con di tions in a trans for ma tion process, by pro mot ing pro vi sion al syn ‐ the sis and medi at ing between dif er ent parts and peo ‐ ple12 . Second as a tool favour ing inter ac tions and al ow ing mutu al knowl edge exchange. To build up cor ‐ re spon dences13 among the plu ral ity of play ers that are involved in the pro duc tion of space and “to make kin in lines as a prac tice of learn ing how to live […] with each oth er in a thick present” 14 . Third as a tool to orga nize the expe ri ence. The process of social and thus spa tial con struc tion of real ity is inter wo ven with com mu nica ‐ tive prac tices. Within them, nar ra tive prac tices play a role, whose spe cif ic per for mance is to pro vide, dis ‐ sem inate and pre serve ways of select ing and con nect ‐ ing the ele ments of our real ity. Narrative as a design tool has not to be con sid ered as an inno cent field of the agree ment but a tool for “stay ing with the trou ble” by relat ing with the spa tial mod ifi ca tion pos si bil ities. What poten tial ities and lim its of nar ra tive in the archi tec tur ‐ al project? The research struc ture includes dif er ent sec tions: the first the Theoretical frame work based on select ed read ‐ ings and rel e vant sci en tif ic lit er a ture by defin ing a pos ‐ si ble state of the art and a his tor ical glance, in order to explore the relation between nar ra tive and design and how it changed from the pre moder ni ty to the con tem po rane ity. The sec ond Experiences Repository based on redraws, inter views, and direct obser va tions of rel e vant case stud ies (both my and oth ers expe ri ences) to struc ture sto ry tel ing that makes them com pa ra ble. The expe ri ences are con sid ‐ ered as exem pla, not as best prac tices. The task is to define a tool box to improve the project ef ec tive ness in com plex con texts and build a shared knowl edge in the field. Redrawing projects process by map ping their nar ‐ ra tive form/relational devices/documents/material and imma te r ial traces. The last sec tion relates with the def in ition of Design method olog ical per spec tive for frag ‐ ile con texts. Figure 2 1 Lefebvre H., La production de l’espace, Éditions Anthropos, 1974 2 Awan N. et al., Spatial agency. Other ways of doing architecture, Routledge, 2011 3 Crosta P.L, Pratiche. Il territorio è l’uso che se ne fa, Franco Angeli editore, 2010 4 Crosta P.L., Bianchetti C., Conversazioni sul a ricerca, Donzel i editore, 2021 5 Fava F., Lo zen di Palermo. Antropologia del ’esclusione, Franco Angeli, 2008 6 Morin E., Introduzione al pensiero complesso. Gli strumenti per af rontare la crisi del a complessità, Sperling & Kupfer, 1997 7 Biennal exhibition: How wil we live together 2021 8 Awan N. et al., Spatial agency. Other ways of doing architecture, Routledge, 2011 9 Giddens A., Social Theory and Modern Sociology, Cambridge, 1987 10 Barbieri P., Contests in flight, in Ardeth 1, pp125-136. 11 Palermo P.C., I limiti del possibile, Donzel i Editore, 2009 12 Ricœur P., Architettura e narratività, in: Francesco Riva (Ed.), Leggere la città, Lit Edizioni, 1996 13 Ingold T., Making: Anthropology, Archaeology, Art and Architecture, Routledge, 2013 14 Haraway D., Staying with the trouble, Duke University Press, 2016 University Campus between Urban Resilience and Typological Innovations Research by Design on “Ciudad Universitaria” of the Universidad Nacional de Colombia in Bogotá Pablo Gamboa, Politecnico di Milano Intermediate doctoral stage Supervisor: Andrea Gritti, Politecnico di Milano # uni ver si ty cam pus, urban and archi tec tur al design, resilience Abs The aim of this Research by Design is to explore how a t project that is interlinked both at urban and ra architectural scales can understand and delve into ct innovative solutions to the contemporary programmatic and environmental chal enges the university campus model faces today in the American Continent. The project uses drawings as its primary research tool, with the intention of comparing 30 case study campuses in terms of form, scale, settlement elements and the use of compositional devices like grids and modules applied simultaneously to their urban and architectural scales. A typological study of spatial and organizational aspects of the university’s buildings wil also be carried out. The research is, additional y, complemented by a contextual study that inquires in the demands and chal enges of Urban Resilience and further explores the recent typological innovations made to university buildings in relation with the campus. The Research by Design case study project is the Ciudad Universitaria of the Universidad Nacional in Bogota, Colombia, a campus of noteworthy modern patrimonial and environmental worth. E The top ic of this research by design the sis is the uni ver ‐ xt si ty cam pus mod el and the dif er ent ver sions that have en been built in the Americas, fol ow ing the def in ition of de a cam pus as a set tle ment type of Anglo-Saxon ori gins d with its own dis tinct char ac ter is tics 1 . The lay out of an abs American uni ver si ty cam pus is built upon the cor re la ‐ t tion of a few ele ments: a con tin u ous and uni tary green rac plane of urban scale that serves as a con tain er, t a defined bor der that delim its, con tains and pro tects it, and, final y, an ensem ble of uni ver si ty build ings sep a rat ‐ ed from each oth er, which may or may not have for mal sim ilar ities in scale or style and that are placed with in the base plane in an order ly man ner. A cam pus could be enclosed in its own lim its as is the case of most Latin American cam pus es, or open to the sur round ing city, like the cam pus of Yale or Harvard University in the United States 2 . The orig inal aim of this spe cif ic dis tri b ‐ u tion was to cre ate an order ly dis po si tion of knowl edge in space, as wel as an aca d e m ic orga ni za tion based on fac ul ties that would high light the val ue of nature and green land scapes to encour age study ing and teach ing in places locat ed far from the city 3 (fig. 1). Figure 1: Virginia Academical vil age of the University of Virginia, 1856, J. Serz. Credit: alumni.virginia.edu But today, the plan et and soci ety have changed and there fore, so have the cities and uni ver si ties 4 . This fact rais es big ques tions both from an urban and archi tec ‐ tur al scale regard ing the design and plan ning of future uni ver si ty cam pus es, as wel as the nev er-end ing mod i‐ fi ca tion of the cam pus es that already exist. Based on these con cerns, this research by design the ‐ sis attempts to give an answer to the fol ow ing research ques tions: What inno v a tive forms can we explore to bet ter respond to the spa tial and orga ni za tion al changes that come with advances in teach ing, study ing and research? How could we adapt uni ver si ty cam pus es to bet ter work with in the cur rent trend of delo cal iz ing knowl edge, research, experts, and most recent ly (due to COVID), stu dents and pro fes sors con ‐ sid er ing al of them are now placed in dif er ent local, region al, and glob al net works? 5 How can we man age these alter ations which pose threat to the con cen tra tion of peo ple and knowl edge; the rea son itself behind the cre ation of uni ver si ty cam pus es? How could these changes in the urban form, and in the shape of uni ver si ‐ ty build ings, be addressed using an adap tive mit iga tion design approach that also takes envi ron men tal chal ‐ lenges such as Urban Heat Island Ef ect and Climate Change into account? 6 Figure 2: Washington University at Seattle Master Plan. 2018. Sasaky Associates, Inc. In attempts to face these chal enges, uni ver si ties have been forced to design new mas ter plans and build ings which have led in the last decades, and that are now lead ing, to sig nif icant changes in cam pus es (fig. 2). Previous stud ies on the sub ject have main ly focused on tech ni cal data, in spe cif ic archi tec tur al or mas ter plans projects, or in gen er al aspects and design rec om men ‐ da tions for such changes. There is, how ev er, a lack of research cen tred around the for mal and spa tial aspects that char ac ter ize the archi tec tur al and urban design of campuses. Assuming the notion of “Urban Resilience” as one of the par a digms sur round ing con tem po rary debates, research, and the design of strate gies to counter Climate Change or, to a few er extent, Urban Heat Island Ef ect; this research wants to study, reflect, and explore using a research by design method ol o gy, the adap tive changes and pos si ble “trans for ma tions to cre ate a new equi lib ri um” which could address those prob lems from uni ver si ty cam pus es them selves 7 . With this aim in mind, con cepts that belong to the New Urbanism such as “Transit Supportive Design”, “Pedestrianization”, “Multifunctionality”, “Urban Resilient Hub”, “Place Making”, and “Compactness” ‐as wel as oth er con cepts relat ed to the design of uni ver si ty cam pus es such as “Student Life”, “Inner City Campus”, and the impor tance of green spaces and “In between Spaces”- wil be used as input for this research with the objec tive to address the urban and archi tec tur al dimen sions of this project. Because the design of a cam pus is always the result of the inter ac tion of urban design and archi tec tur al design, this research aims at inves ti gat ing oth er aspects which have led to recent typo log ical inno va ‐ tions 8 at an archi tec tur al scale as wel , includ ing con ‐ cepts such as “ver ti cal cam pus”, “inte ri or pub lic space”, “inter link of inter nal and exter nal spaces”, “infor mal study” and “meet ing spaces”. Figure 3: Map of the initial campus study cases in the Americas. Drawing: Pablo Gamboa The objec tive of this the sis is to sur vey, study, reflect and explore using a project as research method. The project exper imen ta tion is divid ed in three phases: . Using the draw ing of the cam pus as a research tool in hopes to bet ter under stand what it is by mak ing a com ‐ par a tive analy sis of 30 case study cam pus es from North and Latin America (fig. 3). This com par ison wil be based on the redraw ing of plans and 3D mod els, as wel as the pro duc tion of ana lyt ical dia grams and map ‐ ping (fig. 4). The com bi na tion of these meth ods wil al ow for a mul ti scale approach that focus es on a com ‐ par ison both in form and in scale to retain the for mal ele ments and char ac ter is tics of this set tle ment type (fig. 5, 6). It wil also include the study of the use of the grid, the mod ule and oth er com po si tion al devices that link the building’s scale with the scale of the cam pus and that, we can hypo thet ical y assume, make the uni ver si ty cam pus a strong mod el that is present in al the American Continent. Final y, it wil focus on the ana lyt i‐ cal study of the pro gram mat ical aspects of the university’s build ings, espe cial y regard ing the aca d e m ‐ ic, admin is tra tive, ser vice, rep re sen ta tive and wel ness spaces draw ing from the study of some par a dig mat ic his toric and con tem po rary projects by using an ana lyt i‐ cal anal o gy with the struc tur al orga ni za tion of the mol e ‐ cules. This, in order to tran scend the tra di tion al typo log ‐ i cal point of view in this research. . Studying and defin ing dif er ent inter re lat ed design aspects and inputs that the research by design project wil be focus ing on, al main ly linked with top ics such as the for mal rules of the cam pus, its new pos si ble rela ‐ tions with the city, as wel as the theme of urban resilience and oth er typo log ical inno va tions. These inputs wil be the start ing point for the project research to pro pose new pos si ble and inno v a tive ways to adapt and change the cam pus mod el, as wel as its green spaces and build ings, by pro duc ing pro to types that wil be test ed, adjust ed, and reshaped. . The pro to types select ed wil then be test ed in the design and adap ta tion of a spe cif ic case study cam pus, using exter nal para me ters relat ed with the spe cif ic char ac ter is tics of the site, the cli mate, the par tic u lar needs of the uni ver si ty, the city, and the landscape. The place where the project explo ration wil be applied to is the cam pus of the Universidad Nacional of Bogotá, locat ed in Colombia. This cam pus was cho sen for mul ti ‐ ple his tor ical, archi tec tur al, and envi ron men tal rea sons 9 . Along with the con tem po rary cam pus of the Universidad de Concepción in Chile built in the 1930’s, this cam pus rep re sents the intro duc tion of the cam pus set tle ment type in Latin American uni ver si ties. “La Nacional”, also served as inspi ra tion for oth er note wor ‐ thy cam pus es such as the UNAM uni ver si ty cam pus in Mexico City and the Universidad Central Campus in Caracas, Venezuela (Arango) and holds a spe cial place due to its pat ri mo ni al val ue for the Modern Architecture move ment in Latin America. Final y, this edu ca tion al space is also in need of a type of expan sion mod el that is in accor dance with the social changes that take place in devel op ing coun tries, both urban and envi ron men tal, espe cial y as this expan sion could take place in a large area inside of its 122 hectares of land, con sid ered an impor tant green lung of the city of Bogotá 10 . Figure 4: Cornel University: its relationship with the landscape and its structural form. Drawing: Pablo Gamboa Figure 5: Comparison in for and scale of the campuses of Virginia University, Columbia University and Il inois Institute of Technology. Drawing: Pablo Gamboa Figure 6: Urban form and structural elements, Columbia University, New York. Drawing: Pablo Gamboa Figure 7: Axonometric view of the Universidad Nacional de Colombia Campus in Bogotá. Drawing: Pablo Gamboa 1 Martí Aris, Carlos (1990), Le variazioni del ídentità, il tipo in architettura, Milano, Edizioni Clup. 2 Stern, Robert A. M. (2010), On Campus, New York, The Monacel i Press; Coulson, J., Roberts, P. and Taylor, I. (2011), University Planning and Architecture – The Search for Perfection, New York, Routledge. 3 Martin, Reinhold (2021): Knowledge Worlds – Media, Materiality, and the Making of the Modern University, New York, Columbia University Press. 4 Diner, Steven J. (2017), Universities and their cities, Baltimore, Johns Hopkins University Press. 5 Olmo, Carlo (2021), “Una cultura politecnica in cerca di una identità”, Lecture in the semminar Milano – politecnica: città, cultura, design dal dopoguerra ad oggi, Datsu, Politecnico de Milano, 24 02 2021. 6 Kelbaugh, Doug (2019): The Urban Fix – Resilient Cities in the War Against Climate Change, Heat Islands and Overpopulation, New York and London, Routledge. 7 O’Connel , Kim (2017), “Preparedness beyond the coast”, AIA Architect, p.81; Gabel ini, Patrizia, (2017), “Urban design intentions: urbanism into the change”, ROWE/ROME Conference, Rome. 8 Postiglione, Gennaro y Rocca, Alessandro (2016), Campus contro Campus, Maggioli Editore. 9 Niño Murcia, Carlos (2003), Arquitectura y estado, Bogotá, Universidad Nacional de Colombia; Larrañaga, Enrique, et alt (1991), Obras de arte de la Ciudad Universitaria de Caracas: La Ciudad Universitaria y el Pensamiento Arquitectónico en Venezuela, Caracas, Monte Ávila. 10 Gamboa, Pablo (2018), “Elementos conceptuales de las ciudades universitarias en America Latina para la consolidación y conservación del Campus Bogotá de la Universidad Nacionla de Colombia” en Ciudades universitarias: un proyecto moderno en America Latina, Bogotá, Editorial Uiversidad Nacional. Learning from Dementia Vil ages Examining End-of-life Care Spaces as XXI Century Col ective Living Types Alberto Geuna, Politecnico di Milano Intermediate doctoral stage Supervisor: Pierre-Alain Croset, Politecnico di Milano # Assisted liv ing facil ities, end-of-life care, dwel ing forms and practices Abs Various trends have reignited a broad interest in t community living in recent years, particularly in the ra developed world. One of the main aspects of this ct current is that an aging population increases the demand for assisted living facilities in most nations. The emerging importance of assisted living facilities corresponds with healthcare architecture in academic and professional sectors. This Ph. D. research project focuses on end-of-life facilities as emerging col ective living types in the West, focusing specifical y on Dementia Vil ages, a recently developed end-of-life care facility type. Concentrating on the questions regarding the generation and transmission of architectural knowledge, the subject of the research consists of an ensemble of architects, developers, nurses, and physicians involved in their construction. This work wil provide insights regarding the logic underpinning these spaces and the skil s architects and developers acquired during construction, al owing for examining these building types’ influence on the broader field of col ective living architecture. Pa 1 / STRUCTURE pe The Ph.D. research il us trat ed here began in November r 2019 and wil be com plet ed by 2023. A par tial rep re sen ‐ ta tion of the sta tus of the study at this stage, this paper extends and revis es my con tri bu tion on the same sub ‐ ject to the November 2020 CA2RE Milan con fer ence and the 2021 CA2RE Hamburg conference. The struc ture of the research devel ops in three inter ‐ linked phas es. The first phase focus es on study ing select ed his tor ical test cas es and pro vides the nec es ‐ sary con text for the approach to a recent case study. The sec ond phase con sists of the in-depth inves ti ga tion of the cur rent case study: the Dementia Vil age, a recent ly devel oped end-of-life care facil ity type. The third phase con sists of pro duc ing a qual ita tive hand ‐ book for demen tia-dri ven archi tec ture. The research devel ops grad u al y from a reflec tive to a pro jec tive moment through each step of the study. With the first and sec ond stages pri mar ily com plet ed, the research is now enter ing the third phase. The research aims at crit ical y eval u at ing and exam in ‐ ing the con tro ver sial phe nom e non of demen tia vil ages. For this rea son, the study bor rows the “learn ing from” approach devel oped by Venturi, Scott Brown, and Izenour in the con texts of Levittown and Las Vegas. A set of dis tinct inves ti ga tion meth ods char ac ter izes each phase. Each deter mines a set of inter lock ing tools. Descriptive writ ing and com pil ing il us trate the first and sec ond phas es, while inter pre tive draw ing and argu ‐ men ta tive essays mark the sec ond and third phas es. Physical mod el mak ing becomes a tool lead ing to the third and last phase. Figure 1: Dementia Vil ages in Europe, March 2021. Alberto Geuna 2 / CONTEXT A recur ring aspect of recent archi tec tur al lit er a ture is atten tion to the body — human or oth er — and its rela ‐ tions with the space sur round ing it. In the intro duc tion to Warped Space, pub lished in 2000, Anthony Vidler writes: “ever more often space has been defined as the prod uct of sub jec tive pro jec tion and intro jec tion, thus the oppo site of a sta ble con tain er for objects and bod ‐ ies.” 1 As expressed here by Vidler, the rela tion ship between archi tec tur al space and the human body has become pro gres sive ly more cen tral in the dis ci pli nary debate. Architectural the o ry pro gres sive ly inter prets the human body as a mal eable enti ty that can deform and be deformed by archi tec tur al space. If “design always rep ‐ re sents itself as serv ing the human, but its real ambi tion is to redesign the human,” 2 the cre ation of end-of-life care facil ities puts archi tec ture in a sit u a tion of extreme stress that al ows for a recon sid er a tion of its ef ec tive ‐ ness in this domain. As report ed by Beatriz Colomina in her 2019 book X‐Ray Architecture, Robert Musil wrote in The Man Without Qualities that “Modern Man is born in a hos pi ‐ tal and dies in hos pi tal — hence he should also live in a place like a hos pi tal.” 3 Colomina sees this sen tence as a rep re sen ta tive state ment of how health care archi tec ‐ ture con tributed to devel op ing the mod ernist imag ina ‐ tion. In the same way, recent devel op ments in health ‐ care archi tec ture, set in an inter dis ci pli nary realm, can dri ve the archi tec tur al dis ci pline in new directions. Yet, as Fabiola Lopez-Duran exposed, med ical dis ‐ course is often mate ri al ized in archi tec ture imper fect ly, dis tort ed through an ide o log ical lens. 4 Thus, this research is not lim it ed to detect ing med ical influ ence on archi tec tur al spaces but instead con sid ers end-of- life facil ities as exam ples of col ec tive liv ing. Fol owing the cat e go riza tion il us trat ed by ETH Wohnforum in their History of Col ective Living5 , end-of-life facil ities are, in fact, cas es of shar ing based on social intentions. Locating these facil ities with in this realm also al ows for the con tex tu al iza tion of end-of-life facil ities as inten tion ‐ al com mu ni ties, or “self-con tained, planned com mu ni ‐ ties that attempt to pur sue a peace ful ide al instead of a com mu ni ty cre at ed and run with out an orga niz ing prin ci ple.” 6 This notion posi tions this work with in the dis ci pli nary plat form of archi tec tur al lit er a ture on the sub ject, par tic u lar ly of pub li ca tions such as Kommunen in der Neuen Welt by Liselotte and Oswald Mathias Ungers and, more recent ly, Young-Old: Urban Utopias for an Ageing Society by Diane Simpson. Looking at this top ic through this lens enables a geneal o gy that links a series of reform move ments with the devel op ment of assist ed liv ing facil ities, mate ri ‐ al iz ing ther a peu tic prac tices into dis tinc tive archi tec tur ‐ al types. Assisted liv ing facil ities often stem from reli ‐ gious or oth er wise spir itu al or ide al is tic orga ni za tions ded icat ed to phil an thropic work and the care of vul ner ‐ a ble pop u la tion strata. Figure 2: Typological study of European Dementia Vil ages. Alberto Geuna 3 / TEST CASE: DESIGNING FOR LATER LIFE FROM THE 1960s An arti cle titled “The Elderly” appears in the May 1967 issue of Progressive Architecture. It con sists of an atlas of archi tec ture for the elder ly, which was an emerg ing sub ject in the archi tec tur al debate of the 1960s. Its incip it states: Until fair ly recent ly, the aver age urban American devot ‐ ed him self so mer ci less ly to work, and spent the larg er part of his life-span so fre net ical y engaged in the pur ‐ suit of his liveli hood, that the prob lem of retire ment and grow ing old were always far thest from his mind. Today, how ev er, the prob lem has become a nation al one. The elder ly pop u la tion has increased sig nif icant ly. As sta tis ‐ ti cians are fond of remind ing us, one out of eleven per ‐ sons in the U.S. is 65 or old er: the pro ject ed total for the year 2000 is 28,500,000. Until the 50’s the prob lem of hous ing the elder ly remained large ly untouched. 7 The emerg ing issue of an aging pop u la tion in the 1960s spurred the devel op ment of new pub lic poli cies and ther a peu tic con cepts. These mate ri al ized into new hous ing types that replaced facil ities such as almshous ‐ es and sana to ria. Contemporary assist ed liv ing facil ities for the elder ly emerged in the 1960s, a defined archi tec ‐ tur al typol o gy under pinned by ded icat ed reg u la tions. 8 The issue of hous ing the elder ly gen er at ed an impor tant dis ci pli nary debate, which mir rored advance ments in geron tol ogy, as described by Deane Simpson in his arti ‐ cle Gerotopias9 . Most icon ical y, this dis cus sion was employed by Robert Venturi to il us trate his posi tion towards mod ernism in Learning from Las Vegas, where he pit ted his own Guild House against Paul Rudolph’s Crawford Manor. Both build ings are exam ples of inde ‐ pen dent liv ing facil ities for the elder ly appear ing in the Progressive Architecture issue men tioned earlier. Here Venturi ele vates the use of “the ugly and the ordi ‐ nary” in the Guild House design as a whole design the ‐ o ry. While he does not make the con nec tion between the use of the build ing and the design strat e gy explic it, it is clear that such a posi tion rep re sents a par tic u lar sen si bil ity towards the building’s spe cif ic user. Referencing the win dows of the Guild House, Venturi writes: The win dows look famil iar; they look like, as wel as they are, win dows, and in this respect, their use is explic it ly sym bol ic. But like al ef ec tive sym bol ic images, they are intend ed to look famil iar and unfa mil ‐ iar. They are the con ven tion al ele ment used slight ly uncon ven tion al y. 10 Aiming to pro mote a delib er ate ly con tra dic to ry and com plex archi tec ture Venturi con scious ly expressed the wil of cre at ing “inclu sion, incon sis ten cy, com pro mise, accom mo da tion, adap ta tion, super adja cen cy.” 11 As hous ing for the elder ly, the Guild house con sti tut ed the ide al test ing ground. The dis ci pli nary dis cus sion on elder ly hous ing in this era con sti tutes a bench mark for study ing com pa ra ble cur rent phe nom e na. The use of ver nac u lar, ordi nar i‐ ness, mun dan ity, and inclu siv ity remains a cru cial aspect of the dis cus sion. Yet, for this research, the cen ‐ tral recur ring ele ment in the debate on the sub ject remains the attempt at cre at ing qua si-urban con di tions with in assist ed liv ing facil ities, aim ing to sup port com ‐ mu ni ty life. This ten den cy, orig inat ing in the 1960s12 , has evolved over the decades and has been trans lat ed recent ly in cre at ing so-cal ed “vil ages” 13 ded icat ed to elder ly res idents in var ious age brack ets and phys i‐ cal conditions. Figure 3: Meeting space in the Dementia Vil age in Dax, France, designed by Nord Architects. Alberto Geuna 4 / DEMENTIA VILLAGES, A CASE STUDY FOR CONTEMPORARY END- OF-LIFE CARE FACILITIES The research focus es on con tem po rary man ifes ta tions of the pre vi ous ly dis cussed debate, focus ing on emerg ‐ ing assist ed liv ing facil ities and demen tia treat ment cen ters known as “Dementia Vil ages.” As dis cussed in the fol ow ing para graph, these facil ities are select ed for their instru men tal use of archi tec ture in a ther a peu tic envi ron ment and con se quent spa tial lay ‐ out and con struc tion inno va tions. These aspects, this the sis argues, qual ify Dementia Vil ages as an emerg ing archi tec tur al col ec tive liv ing type. Dementia Vil ages are nurs ing homes ded icat ed to the spe cif ic treat ment of demen tia. Despite their high spe ‐ cial iza tion, Dementia Vil ages are end-of-life facil ities as they pri mar ily host patients af ect ed by an advanced and often ter mi nal dis ease. 14 Dementia Vil ages repli cate com mu ni ty life in a con ‐ trol ed set ting. Their nature as sim u lat ed envi ron ments leads some to define them as Truman Show-Esque. 15 The demen tia vil age mod el appeared in the Netherlands in 2008, the first exam ple being De Hogeweyk in Amsterdam’s sub urbs. Since then, the mod el has spread al over the world. Today there are numer ous active Dementia Vil ages in Europe. They are locat ed in Germany, Italy, France, Netherlands, Denmark, Ireland, and Norway, while sim i‐ lar facil ities exist in Singapore, India, Canada, and the U.S.A. Their num ber is grow ing as more vil ages are to ini ti ate con struc tion in Switzerland, and U.K. Dementia Vil ages take the shape of gat ed com mu ni ties, most often locat ed in the out skirts of cities or the coun try ‐ side. Architectural y, Dementia Vil ages con sist of low- rise build ings orga nized around one or more open spaces. These open spaces define neigh bor hoods with ‐ in the vil age, each com posed of a series of hous es con ‐ tain ing 6 to 8 indi vid ual rooms, in line with recent guide lines and prac tices regard ing assist ed liv ing facil i‐ ties. 16 Yet, in addi tion to the hous ing units, spe cif ic vil ‐ lage sec tions have shared ser vices that include restau ‐ rants, bar ber shops, and oth er ameni ties sit u at ed in open spaces that mim ic urban envi ron ments. The the sis argues that this spe cif ic inno v a tive aspect qual ifies Dementia Vil ages as an emerg ing col ec tive liv ing type. A cru cial aspect of the Dementia Vil age is the instru ‐ men tal use of the archi tec tur al lan guage in fos ter ing patients’ wel -being. Developed by nurs es and archi ‐ tects, Dementia Vil ages are designed to pro mote a sense of com fort in peo ple af ect ed by neu rode gen er ‐ a tive diseases. From an archi tec tur al per spec tive, this inten tion mate ri ‐ al izes through the exten sive use of the ver nac u lar reg is ‐ ter. Despite being entire ly new ly built due to tech no log i‐ cal and eco nom ic con cerns, Dementia Vil ages often mim ic a sim pli fied ver sion of tra di tion al archi tec tur al lan guages, which pro vides their dis tinc tive “fake” 17 quality. In the case of the Hogeweyk (the first demen tia vil age, built in the Netherlands), a strat e gy of com pre hen sive design is employed to pro vide specif ical y craft ed inte ri ‐ or environments: Unique inte ri or dec o ra tion is intend ed to make res i‐ dents feel at home in famil iar sur round ings. The res i‐ den tial areas are divid ed into dif er ent lifestyles al o cat ‐ ed to the elder ly based on their past pref er ences. An opin ion research insti tute ana lyzed the sev en most com mon envi ron ments in the Netherlands for this pur ‐ pose, result ing in the fol ow ing cat e gories: tra di tion al, city, wealthy, cul tur al, Christian, Indian and home ly. 18 This archi tec tur al agen da advances under the aus pices of empir ical obser va tions by the nurs ing per son nel. Part of this work is aimed at crit ical y under stand ing and eval u at ing this trans dis ci pli nary influ ence. While numer ous sources have crit ical y ana lyzed demen tia Vil ages, most of the exist ing lit er a ture focus es on the case study’s ef i ca cy as a treat ment cen ter, thus focus ‐ ing on the patient. This the sis aims to exam ine the poten tial rel e vance of the Dementia Vil age for the archi tec tur al dis ci pline, there fore con cen trat ing specif i‐ cal y on the learn ing process that archi tects and devel ‐ op ers under go in the design and con struc tion of these facilities. Figure 4: General plans of the case studies. Alberto Geuna Figure 5: Comparative plan of the residential units. Alberto Geuna 5 / A QUALITATIVE HANDBOOK Since archi tects have real ized that the per cep tion of space isn’t objec tive, immutable, or uni ver sal. As described by Antony Vidler, archi tec ture can now be seen as a phe nom e non imbri cat ed with the instru ments that al ow humans to per ceive it. As clear ly pic tured by Peter Zumthor in his book Thinking Architecture, inhab ‐ it ing is a sen so ry expe ri ence in which space relates to the brain through the sens es and, cru cial y, through mem o ry. The process of rem inis cence, in par tic u lar, is described here by Zumthor as unconscious: There was a time when I expe ri enced archi tec ture with ‐ out think ing about it. Sometimes I can almost feel a par tic u lar door han dle in my hand, a piece of met al shaped like the back of a spoon. 19 The act of rem inisc ing is an uncan ny sen so r ial jour ney that leads Zumthor back to a famil iar place: in this case, a door way in his aunt’s house. The design of facil ities ded icat ed to demen tia care puts the archi tec tur al project under extreme stress that forces it to recon sid er a series of estab lished dis ci pli nary prac tices. Paraphrasing Colomina and Wigley: dementia’s real ambi tion is to redesign human space. At the core lies a debate around the ther a peu tic role of rem inis cence that push es archi tects to pro duce famil iar, reas sur ing spaces tai lored to the needs of peo ple with impaired intel ec tu al capac ities. It con sti tutes an archi tec ture no longer found ed on the quan ti ta tive ratios of ergonom ics but qual ita tive assess ments of per cep tion and mem o ry in a state of demen tia. Phenomenologist Dylan Trigg writes in his book “The Memory of place”: Over time, those places define and struc ture our sense of self, such that being dis placed can have a dra mat ic con se quence on our expe ri ence of who we are and even leave us with a feel ing of being home less in the world. Equal y, the mem o ries we acquire of the places we inhab it assume a val ue that is both immea sur able and vital. Without the mem o ry of places, mem o ry itself would no longer have a role to play in our con scious lives. 20 The pro posed design approach aims to struc ture instances from the phe nom e nol o gy of mem o ry into the archi tec tur al project, main ly through the graph ical tool. The thesis’s out come wil con sist of a qual ita tive hand ‐ book syn the siz ing mod els regard ing the con nec tion between mem o ry, place, and the cre ation of a ther a ‐ peu tic archi tec ture. Fol owing the steps of Venturi, Scott Brown, and Izenour, the final chap ter wil con sist of an iron ical y intend ed adden dum to the Neufert: Architect’s Data man u al, which wil focus on the vocab ‐ u lary of famil iar ity that con sti tutes the archi tec tur al atmos phere of demen tia vil ages. Figure 6: Example of spread from the thesis final chapter 1 Vidler, Anthony (2000): Warped Space - Art, Architecture, and Anxiety in Modern Culture. Cambridge: MIT Press, 10. 2 Colomina, Beatriz and Mark Wigley (2019): Are we Human? - Notes on an Archaeology of Design. Zurich: Lars Mül er Publishers, 23. 3 Musil, Robert (1965): The Man without Qualities, trans. Eithne Wilnkins and Ernst Kaiser. New York: Capricorn Books, p.16. 4 Lopez-Duran, Fabiola (2018): Eugenics in the Garden - Transatlantic Architecture and the Crafting of Modernity. Austin: University of Texas Press. 5 Schmid, Susanne, ed. (2019): A History of Col ective Living. Forms of Shared Housing. Basel: Birkhäuser, p. 21. 6 Young, Nigel, ed. (2010): The Oxford International Encyclopedia of Peace. Oxford: Oxford University Press. 7 Rowan, Jan C. (1967): “The Elderly”, in Progressive Architecture, Vol. 22, No. 5, pp. 124 - 148. 8 Institute of Medicine Committee on Nursing Home Regulation (1986):“History of Federal Nursing Home Regulation”, in: Sydney Katz (ed.), Improving the Quality of Care in Nursing Homes, Washington, DC: National Academies Press (US). 9 Simpson, Deane (2011): “Gerotopias”, in Giovanna Borasi and Mirko Zardini (ed.), Imperfect Health, Zurich: Lars Mül er Publishers, pp. 347 - 364 10 Venturi, Robert, Denise Scott Brown and Steven Izenour (1977) Learning from Las Vegas - the forgotten Symbolism of Architectural Form. Cambridge: MIT Press, p. 91. 11 Ibid. 12 Probably the most notable example of this tendency is the nursing home “De Drie Hoven”, designed by Herman Hertzberger and completed in Amsterdam in 1971. A critical evaluation of the building by Lyal Sutherland was published on Architectural Review in 1976: Sutherland, Lyal , (1976): Hertzberger’s Framework for Care. Architectural Review, https://www.architectural-revi. . from April 3, 2015. 13 The subject has been extensively covered, particularly in the North American context, here: Simpson, Deane (2015): Young/Old - Urban Utopias of an Aging Society. Zurich: Lars Mül er Publishers. 14 Jonathan Harris, Leigh-Ann Topfer, Caitlyn Ford (2019): “Dementia Vil ages - Innovative Residential Care for People with Dementia” in: CADTH, Issues in Emerging Health Technologies, No. 178, p.5. 15 Tobias Haeusermann (2018): “The Dementia Vil age - Between Community and Society”, in: Franziska Krause and Joachim Boldt (ed.), Care in Healthcare: Reflections on Theory and Practice, London: Palgrave Macmil an, pp. 135 - 167. 16 Regnier, Victor (2018): Housing Design for an Increasingly Older Population: Redefining Assisted Living for the Mental y and Physical y Frail, Hoboken, NJ: Wiley Publishers. 17 Tobias Haeusermann (2018): “The Dementia Vil age - Between Community and Society”, in: Franziska Krause and Joachim Boldt (ed.), Care in Healthcare: Reflections on Theory and Practice, London: Palgrave Macmil an, pp. 135 - 167. 18 Isabel e Rupprecht (2012): Dementia Vil age ‘De Hogeweyk’ in Weesp. Detail Online, https://www.detail-online.com/. . from September 6, 2012. 19 Zumthor, Peter (2006): Thinking Architecture – Second, expanded edition. Basel: Birkhäuser, p.7. 20 Trigg, Dylan (2012): The Memory of Place - A Phenomenology of the Uncanny. Series In Continental Thought, Athens, OH: Ohio University Press, p. 1. The Ecology of Coexistence in Groundscapes Francesca Gotti, Politecnico di Milano Initial Doctoral Stage Supervisors: Gennaro Postiglione, Politecnico di Milano; Paola Briata, Politecnico di Milano # ground scapes, ecosys tem, archi tec tur al ethnography Abs Which disciplines should be cal ed into question to t validate the quality of groundscapes design, from the ra point of view of inclusivity and circularity? Which ct aspects of the design process can support successful developments of groundscapes and how? The research aims at exploring the role of design for groundscapes with a closer look at its implications in terms of inclusivity and circularity, across time and transformations, looking at the way dif erent disciplines address this topic. The definition of groundscapes is developed through the production of architectural interpretations with a strong typo-morphological focus. In paral el, the "relationship between construction and occupation” is particularly investigated adopting an architectural ethnographic approach. These two approaches aim at revealing the ef ective contribution design can give in promoting the potential of groundscapes as spaces for co-existence and as pools of resources for alternative urban systems. E In the design and redesign of the urban ground, a lot xt hap pens around and in-between inten tion al archi tec ‐ en tur al actions: infor mal prac tices of spa tial appro pri a tion de recon fig ure con stant ly the pub lic land scape, expli cat ing d unplanned uses and devel op ing unex pect ed con fig u ra ‐ abs tions. In the con tem po rary con di tion of over lap ping t urban crises (migra to ry, envi ron men tal, eco nom ic, rac social), plan ning and design can not always of er a com ‐ t plete response to al kind of needs and al com mu ni ties, while infor mal ity and alter na tive con fig u ra tions rep re ‐ sent ef ec tive solu tions to every day life situations. The rela tion ship between planned spaces and infor mal inter ven tions rep re sents a great poten tial for the devel ‐ op ment of more acces si ble cities, it sug gests latent pos si bil ities for mar gin al users to pro duce space autonomous ly with in the of i cial sys tem. 1 It is about impro vised sleep ing units built between infra struc tures, tem po rary col ec tive struc tures for activ ities car ried out in squares and parks, mov able facil ities for sel ing and health arranged along the streets. The ques tion is what the impli ca tions between use and form are, what can the role of design be in this rela tion ship, and wether and how design ers can con tribute to the expres sion of this latent poten tial. 2 According to Colin Ward, direct expe ri ence and obser ‐ va tion of urban phe nom e na is what can best put us in con tact with these for mal-infor mal dynam ics, what can make us con scious about spon ta neous urban trans for ‐ ma tions as vivid mate r ial of the every day and as seed of the future. 3 If the ground of cities is the sce nario where these trans for ma tions can be expe ri enced at their finest man ifes ta tion, the del icate mat ter is to find the best way to deci pher them and to devel op design tac tics to sup ‐ port their expression. The scale of inves ti ga tion is there fore that of the body, of actions on the micro-scale of archi tec ture, of the phys ical per for mance on mate ri als and space. In this sense, a rel e vant approach is of ered by the realm of Architectural Ethnography: with this term, Atelier Bow- Wow refers to the appli ca tion of the approach of ethnog ra phy to archi tec ture research, to the inter sec ‐ tion between immer sive inves ti ga tion and design tools. 4 Quoting Atelier Bow-Wow, Architectural Ethnography guides into an insight ful under stand ing of the “rela tion between con struc tion and occu pa tion”, of the inter de pen dence between users and resources in a cer tain con text, and seek to unveil under stat ed impli ‐ ca tions from the point of view of spa tial actors. To work with Architectural Ethnography requires to devel op a toolk it of inves ti ga tion, start ing by iden ti fy ing the lim ‐ its rep re sent ed by time and tools avail able: ethno graph ‐ ic research es are devel oped over sev er al years, if not decades, defin ing time as a nec es sary work ing para me ‐ ter; tools of inves ti ga tion can be in addi tion of var ious nature (writ ing, sens ing, record ing, per form ing…) deter ‐ min ing very diverse process es and out comes. 5 A PhD research needs to con front imme di ate ly with these chal enges, and con se quent ly detect exist ing research ‐ es and active pro fes sion als that can rep re sent the start ‐ ing mate r ial and inter locu tors of the first step of the investigation. The toolk it should devel op on three lev els: a the o ret ical research lev el (on the top ic itself of how archi tec ture meets ethnog ra phy, what are impli ca tions and lim its); a back ground research lev el (on the his tor ical, eco nom ‐ ic and social con text of the main top ic and of the case stud ies); and an on-site research lev el (the phys ical dimen sion of the inves ti ga tion, to col ect, con front and test the site-spe cif ic micro sit u a tions on which the inves ti ga tion is based). The three lev els are not intend ‐ ed as con se quen tial, but they rather inter sect and alter ‐ nate, in a process of con tin u ous and cyclic anno ta tion, dia logue and ver ifi ca tion, from lit er a ture, through inter ‐ views, to case stud ies and back to literature. The method that Atelier Bow-Wow has been using in Japan in their works with rur al com mu ni ties — and at a University lev el at the ETH in Zurich — could be dif ‐ fused and imple ment ed to the study of infor mal trans ‐ for ma tions hap pen ing in the pub lic grounds in Europe, sim ilar ly to what the team of “The Drawing & The Space” has been doing at KU Leuven6 . These two ref ‐ er en tial research works high light the role of draw ing in the con struc tion of a method ol o gy of inves ti ga tion, a tool that would be inter est ing to fur ther explore and com pare with oth er more sen so r ial and per for ma tive appli ca tions — as the mem bers of the Centre for Imaginative Ethnography have been wide ly studying. This approach doesn’t aim at for mal is ing infor mal prac ‐ tice through design, but rather at of er ing design as an infra struc ture for infor mal prac tices to flour ish: it ques ‐ tions the pos si bil ity of devel op ing design inter ven tions that can sup port fur ther infor mal trans for ma tions, that can enhance spon ta neous actions of appro pri a tion (as a response to urgen cies), before they can even tu al y go through an actu al res o lu tive (and for mal) process. The top ic of infor mal appro pri a tion is inves ti gat ed more wide ly for what con cerns squat ting and anar chist adap ‐ ta tion of build ings for hous ing7 , while few er sys temic research projects — from an eth no-archi tec tur al per ‐ spec tive — can be found with respect to pub lic grounds (with in the European ter ri to ry), so to say the trans la tion of Colin Ward works in the con tem po rary con text. An exam ple from the Asian sphere can be found in the work of Borio and Wüthrich at the Hong Kong University, acces si ble through their pub li ca tion “Hong Kong in-between”, where they explore the appro pri a tion prac tices and infor mal archi tec tures devel op ing on the ground of the city. 8 The night shel ters built in Milan in Centrale Railway’s under pass es and under the arcades of of ice build ings, the tem po rary infra struc tures devel op ing around the Placa des Glòries and Mercat Els Encants in Barcelona (stud ied by Association Lemur and by a team at the KU Leuven), the first-aid ser vices assem bled in Navarinou Park in Athens: these (and more) cas es could be pos si ‐ bly stud ied and com pared look ing at the rela tion ship estab lished between prac tice and space, body and space, at the modal ities used by peo ple to appro pri ate archi tec ture; on the whole, they could be read as part of the same infor mal sys tem, sug gest ing implic it (and nec ‐ es sary) devel op ment and push ing for ef ec tive inter ven ‐ tions that maybe only design can support. 1 Borel a, Giacomo (ed.) (2016) Colin Ward - Architettura del dissenso, Eleuthera: Milano 2 Vanin, Fabio (2016) Use as form - An open question, in Social Poetics - The Architecture of Use and Appropriation, OASE #96, pp.79-82 3 Dennis, Hardy, and Ward, Colin (1984) Arcadia for al - The legacy of a makeshift landscape, Mansel : London 4 Kajima, Momoyo, Tsukamoto, Yoshiharu (2017) The incident - Architectural ethnography, Harvard University Press 5 El iott, Deniel e, and Culhane, Dara (eds) (2016). A dif erent kind of Ethnography: Imaginative practices and creative methodologies, University of Toronto Press 6 https://thedrawingandthespace.info 7 Truijen, Boer, and Verzier, Otero (2019) Architecture Of Appropriation. On Squatting As Spatial Practice, Het Nieuwe Instituut: Rotterdam 8 Borio, Geraldine, and Wüthrich, Caroline (2017) Hong Kong in-between, Park Books: Zürich Enabling Systems for Open Transformations with in the Existing Built Context Jakob Grelck, TU Berlin Intermediate doctoral stage Supervisors: Ignacio Borrego Gómez-Pal ete, TU Berlin; Ralf Pasel, TU Berlin # Existing Built Context, Enabling Systems, Open Design Abs The rise of the active user has prompted new t imaginaries in architecture- and design culture. ra Although there are several examples in architectural ct history attempting to integrate unskil ed workers within the design and execution process, some of them conditioned by times of economic hardship, this tendency doesn’t find a systematic approach in today's architectural design. By implementing this research within a series of both, past and running projects within my architectural design practise, this proposal is aiming to gain new perspectives for working within the existing built context through establishing a system, which enables the user for future changes and adaptations through its components. These concerns are explored through a consideration of the whole spectrum of a building's life to address issues such as durability, flexibility, demountability, and actual use and to create an organism-like architecture, rather than an object that wil be completed after its practical completion. The project argues that the interference the blending of existing built context and the enabling system gives rise to, can unlock new possibilities for architectural production today. Ex Introduction ten While the 20t hcen tu ry in archi tec tur al cul ture was de most ly char ac ter ized by the rise of pro fes sion als, whose d pro fes sion al ism was con sid ered as guar an tor for high abs stan dards, val ue and qual ity, a change towards a new t gen er a tion of active con sumers has tak en place with in ra the last few decades with the capac ity of blur ring the ct line between con sumer and pro duc er in an increas ing ly grow ing open-source nar ra tive. 1 In con trast to indus try pro fes sion als, their focus lies no longer on gen er at ing prof it but on the lim ita tion of con sumed resources, the idea of adapt abil ity for the change abil ity of designs over time, and the use of the exist ing built con text. Participants belong to a new cul ture in which open and con struc tive col ab o ra tion between col eagues and oth ‐ er spe cial ists is based on their per son al engage ment and exper imen ta tion. 2 Within this shift from the pas ‐ sive con sumer to the active user, who has decid ed to pro duce for him- or her self, a change has tak en place. Although there are sev er al exam ples in archi tec tur al his to ry attempt ing to inte grate unskil ed work ers with in the design and exe cu tion process es, some of them con ‐ di tioned by times of eco nom ic hard ship, this ten den cy doesn’t find a sys tem at ic approach in today's archi tec ‐ tur al design- and plan ning culture. Figure 1: Example in a 1:33 paper model for a schematic 2- dimensional system made of cnc-cut spruce plywood. Figure 2: A possible floorpan outcome of 2-dimensional system in existing context model for a community built conversion of a barn building. By imple ment ing this research with in a series of both, past and run ning projects with in my archi tec tur al design prac tise, this pro pos al is aim ing to gain new per ‐ spec tives on the pro duc tion of archi tec ture today. While al prac ti cal projects are locat ed with in a spe cif ic exist ‐ ing built con text, designs are aimed to become the main dri ver of this work. By reflect ing on the spe cif ic nature of the projects, this research aims to devel op a uni ver sal set of out comes, as this could pro vide use ful knowl edge to enable non-spe cial ists to trans form, use and adapt exist ing contexts. Figure 3: Initial explorations in 1:20 model. 3-dimensional enabling furniture system adapting to existing floor plans. Figure 4: 1:1 testing in workshop, production of 3-dimensional elements for a community-radios of ice transformation. Background While in the decades imme di ate ly before and after the 2n d World War archi tects increas ing ly became empow ‐ ered to influ ence every aspect of human con di tion, today's sit u a tion and con text presents itself dif er ent ly. Under the gen er al sen ti ment that European cul ture had been destroyed by wars or had become so clut tered with nos tal gic detri tus as to be unin hab it able, the image of the mod ern archi tect has emerged dur ing the past decades 3 . Fueled by the polit ical econ o my of the 20th cen tu ry and the rise of the wel fare state, this ten den cy cul mi nat ed in the emer gence of today’s glob al archi tect who “want ed to be free from the every day envi ron ment and its tra di tions, con straints, and lim ita tions, whose focus from now on was on inno va tion and a new way of build ing.” 4 After an ascen sion of the archi tect to near- mys tic sta tus and the emer gence of the star-archi tect, there was no rea son for them to be fet tered. Consequently this cul mi nat ed in the under ly ing idea of most of today’s com mer cial y devel oped archi tec ture, which as a result on a grand scale, too often pre vents future adap ta tion and con se quent ly, lim it ing the oppor ‐ tu ni ty for change and adapt abil ity and forces peo ple to move instead of evolv ing with it over time. In the after ‐ math of this ongo ing process, the mar ket was then left to deter mine the spa tial con di tions alone, 5 the cre ativ i-ty of many pro fes sion al archi tects was absorbed by cap ital, the pro fes sion al archi tect became an employ ee in the accu mu la tion of cap ital where as a result the idea of the new built was favoured over the use of work ing under the use of the exist ing and so he was inter wo ven with in increas ing con straints in the log ic of val ue cre ‐ ation. 6 Facing a sit u a tion today where, as the soci ol o ‐ gist Bruno Latour puts it, the chal enge for design ers ahead lies in find ing solu tions how the “reac tion of the sys tem to human actions” 7 8 can be coped with, this image of the archi tect seems obso lete. If fol ow ing the idea of plan e tary bound aries and the con cept of Anthropocene, it seems to be evi dent that the ques tion of val ue requires a rede f in ition for the com ing decades. Value today and in the future wil pre sum ably also mean: enjoy what we have and to make use of the existing. Figure 5: Example for a linear kit, printed elements in scale 1:33. Figure 6: Linear system in contextual model, connecting with existing floor plan and developing within 2 apartments. What, Why, How? Concerned with in this moment of time, this dis ser ta tion is aim ing to inves ti gate a spe cif ic poten tial emerg ing from work ing with the exist ing built con text. While deep en ing spe cif ic inves ti ga tions regard ing the poten ‐ tial of exist ing struc tures, this research is aim ing to estab lish a sys tem, which enables the user for future changes and adap ta tions through its com po nents. The work is imag ined to inves ti gate this by con sid er ing the whole spec trum of a building's life. For this pur pose it’s aim ing to address how acces si bil ity and open ness can be trans lat ed into a design and issues such as dura bil i‐ ty, flex ibil ity, demount abil ity, and actu al use can cre ate an organ ism-like archi tec ture, rather than an object that wil be com plet ed after its prac ti cal com ple tion. What would hap pen, for exam ple, if build ings and objects could be adapt ed accord ing to chang ing life sit u a tions? Why not “have the courage, where prac ti cal, to let peo ‐ ple shape their envi ron ment”? 9 Imagine, for exam ple, “Ikea was to work with this sort of grid and when the child's bed you bought from them was out grown, you could use this open sys tem of com po nents to turn the bed into a bicy cle, into an extra piece for your mod u lar kitchen, or even a cof ee machine.” 10 If, fol ow ing the posi tion out lined by archi tect John Habraken, “inten ‐ tion al archi tec tur al inter ven tion should be ground ed in a diag no sis based on inves ti gat ing and ana lyz ing the exist ing built envi ron ment to cre ate frame works that cul ti vate user-gen er at ed design.” 11 The main Idea for this research ini tial y emerged from a design-project for a con ver sion of a space locat ed in a for mer exist ing bunker-build ing into an edi tors of ice for a local inde pen dent radio sta tion in north ern Germany. While at first the exist ing build ing with its mass and dom inance seemed to set the rules for the design, a series of dif er ent ly assem bled 3 d ele ments, became an inte gral part in cre at ing an expand able space, with the capac ity to enable its users to grow and change the space over time. Further inves ti ga tions with in prac ti cal design projects con tin ued last year, when Covid-restric tions start ed to set new rules and added an exper imen tal atmos phere to some of the projects. A cur rent ly run ning com mu ni ty-dri ven liv ing- and work ing-exper iment in the coun try side of Berlin wil imple ment anoth er inves ti ga tion to this research, where ques tions of com mu ni ty-led trans for ma tion of an exist ‐ ing built con text wil be devel oped over time, con tin u ing the line of this reseach with the aim of 1D and 2D ele ‐ ments fab ri cat ed on site as wel as pre fab ri cat ed 3 d ele ‐ ments that can be assem bled for dif er ent sce nar ios with in the exist ing context. Starting from the fact that “design tools don’t real y al ow us to engage with the under ly ing social rela tions with in which design is con duct ed and the fact that design is often con duct ed through a series of tech nolo ‐ gies ‐main ly draw ing and its deriv a tives- that have cre ‐ at ed an elit ist pro fes sion al and expert dis course” 12 this dis ser ta tion aims to fur ther re-exam ine and devel op ade quate design tools. Other meth ods and for mats such as spec u la tive design work shops and a futurescope and the open-source plat form wil also be explored for their poten tial to open up new ways of com mu ni cat ing design and cre at ing acces si ble solu ‐ tions. New tools could be con sid ered nei ther to “mask spe cif ic social, polit ical or envi ron men tal issues” 13 but to enable peo ple to over come their sense of lack of influ ence and rec og nize and ulti mate ly use their resources and opportunities. Al images by the author. 1 Dunne, A., F. (2010): »Fictional functions and functional fictions«, in: Troika, Digital by design, Thames & Hudson, p. 264. 2 Bouchez, Hilde (2017): »The Wild Thing«, APE, p. 22. 3 Ratti, Carlo, Open Source Architecture, Thames & Hudson Ltd., London, 2015, p. 13. 4 Habraken, N. John (2003, 2006): »Questions that Wil Not Go Away: Some Remarks on Long-Term Trends in Architecture and their Impact on Architectural Education«, in: Keynote speech at 6th EAAE/ENHSA meeting of Heads of European Schools of Architecture, Open House International 31:2, 5 Goodbun, Jon; Rumpfhuber, Andreas; Klein, Michael; Til , Jeremy (2014): »The Design of Scarcity«, Strelka Press, p. 53. 6 Bröckling, Ulrich (2007) »Das Unternehmerische Selbst: Soziologie einer Subjektivierungsform«, Suhrkamp, Frankfurt am Main 7 Latour, Bruno (2018) »Das terrestrische Manifest«, Suhrkamp Verlag, p.120 8 Latour, Bruno (2019) We don’t seem to live on the same planet—A Fictional Planetarium, Beyond the Horizon: Designs for Dif erent Futures, Yale University Press, http://www.bruno-latour.fr/sites/default/files/162-SEVEN-PLANETS-CHICAGO.pdf from September 1st, 2019. 9 Banham, R.; Price, C.; Hal , P.; Barker, P. (1969) »Non-Plan: an Experiment in Freedom«, in: New Society 338, p.34. 10 Bouchez, Hilde (2017): The Wild Thing, APE, p. 28. 11 Habraken, N. John (1998): Structure of the Ordinary: Form and Control in the Built Environment, MIT Press, Cambridge, Mass. and London 12 Goodbun, Jon; Rumpfhuber, Andreas; Klein, Michael; Til , Jeremy (2014): The Design of Scarcity, ePublic, Strelka Press, p. 108. 13 Oosterman, Arjen (2017): »Volume 51: Augmented Technology« Archis, p.29. How to Use a Monument Reformulating the Role of Monuments in Today’s Cities Or Haklai, The Hebrew University of Jerusalem Enrico Chinel ato, University of Bologna MA research thesis at The Hebrew University of Jerusalem - Cultural Studies Program (supervisor: Dr. Dani Schrire); practice-based research by QUIZEPO Col ective # mon u ments; pub lic art; urban phenomenology Abs This research is concerned with the shifting meaning t and role of monuments in the social context of cities ra nowadays. Monuments play a significant role in ct shaping a col ective memory of people, cultures, and places. Yet, the architectural proclaim of a situated ideology reveals the controversial nature of the monument’s meaning due to its inability to achieve and retain unanimity through time. In order to think dif erently of a monument, one that would chal enge the power order that promotes a specific idea of history, the study argues that the col ective meaning of the urban monuments must be investigated in relation to the practice of everyday life. Can the notion of use be applied to a monument? What defines a useful monument? The research fol ows a design-driven methodology, initiating an investigation through a performative art-based architectural project cal ed How to Use a Monument, which took place in February 2020 at Saint-Denis victory gate in Paris. Ex 1. Introduction ten For us, it was built in the past. For them, it was built for de the future. Now, we want to build a mon u ment of the d present, for the presents. abst There is a wide vari ety of mon u ments, ones that ra accom pa nied our cities for hun dreds of years, along ct with new ones that appear with ongo ing events shap ‐ ing our cur rent cul ture. However, for ini ti at ing research that dis cuss es the mon u ment and its expe ri en tial aspects in the city, one should clar ify what a mon u ment is. The dic tio nary def in ition by HarperCol ins 1 explains that a mon u ment is a large-scale built form cre at ed to remind a par tic u lar event or a per son al ity from the past. The term itself comes from the Latin mon u men tum, which in turn derives from the verb mon ere (to remem ‐ ber), linked in the col ec tive imag inary to an ele ment char ac ter ized by pre cise iconog ra phy. A mon u ment would be built with mate ri als designed to last over time, such as mar ble, gran ite, or bronze, and sim ilar ly to a stat ue, it wil stand on a pedestal, act ing as a medi a tor between the earth and the sky. In 1781, Francesco Milizia defined mon u ments as “any work of archi tec ture or sculp ture that pre serve the mem o ry of the most il us ‐ tri ous men and the most ven er a ble events” 2 . Each mon u ment is built with the aim of pass ing on a mem o ry; there fore, it is the car ri er of a pre cise mean ‐ ing and a sym bol ic func tion that makes it one of the great est expres sions of remem brance, stand ing as sig ‐ ni fiers of pow er, order, and his tor ical storytel ing. Monuments play a sig nif icant role in shap ing a col ec ‐ tive mem o ry of peo ple, cul ture, and places; as a visu al sym bol of mem o ry, imme di ate or dis tant, it af ects the tem po r al iza tion of space, expressed in a spe cif ic place. They rep re sent and eter nal ize a par tic u lar local his to ry, stand as sig ni fiers of pow er and order, even tu al y reflect ing a polit ical idea of his to ry pro mot ed by the state as a vis ible ele ment in the urban landscape. The mon u men tal built form stands out for its rhetoric, solem ni ty, and dimen sion al hyper tro phy. However, the archi tec tur al pro claim of a sit u at ed ide ol o gy reveals the con tro ver sial nature of the monument’s mean ing due to its inabil ity to achieve and retain una nim ity through time. This unveils an issue regard ing its embod iment into a shared urban his to ry, espe cial y in the accel er at ‐ ed dynam ics of the 20t -c h en tu ry urban sphere, where it is per ceived as an archa ic fea ture far from the present times. Nevertheless, we can wit ness this trend stil tak ‐ ing place in cities world wide, with instances such as the new ly built Statue of Unity com mem o rat ing Sardar Val abhbhai Patel, in the state of Gujarat, India. As an archi tec tur al object, a mon u ment has a deep rela tion to the arts. Adolf Loos writes “only a very smal part of archi tec ture belongs to art: the tomb and the mon u ment. Al the rest that is at the ser vice of a pur ‐ pose must be exclud ed from the realm of art” 3 . Fifty years lat er, Rosalind Krauss sees this con nec tion as wel . In her Sculpture in the Expanded Field, she notes how the log ic of sculp ture is intrin si cal y linked to that of the mon u ment. 4 For cen turies, sculp ture main ly had a com mem o ra tive and sym bol ic role, while in mod ern times new def in itions and prac tices arose toward the medi um of sculp ture. Krauss’s notions on sculp ture relate to that of the evo lu tion of the mon u ment and its role. The mon u ment, in turn, shift ed into a con cept that con tains artis tic prac tices and inter ven tions no longer relat ed only to the field of sculp ture but which also includes archi tec ture, land scape, pub lic art, as wel as per for mance, in their broad est sense. It was in the 20t -c h en tu ry, and more pre cise ly since the end of the Second World War, that the idea of mon u ‐ ment under went a rad ical process of refor mu la tion which rede fined its fun da men tal ele ments, both in sym ‐ bol ic and for mal terms, lead ing to exper imen ta tions far from the tra di tion al con cep tion. As James Young writes in his Memory and Counter-Memory, major social shifts and rev o lu tions have marked and mod ified com mem o ‐ ra tive prac tices and their forms. “As the inter sec tion between pub lic art and polit ical mem o ry, the mon u ‐ ment has nec es sar ily reflect ed the aes thet ic and polit i‐ cal rev o lu tions, as wel as the wider crises of rep re sen ‐ ta tion, fol ow ing al of this century’s major changes. In every case, the mon u ment reflects both its socio-his tor ‐ i cal and aes thet ic con text. The result has been a meta ‐ mor pho sis of the mon u ment from the hero ic, self- aggran diz ing fig u ra tive icons of the late 19t hcen tu ry, which cel e brat ed nation al ideals and tri umphs, to the anti-hero ic, often iron ic, and mod est con cep tu al instal ‐ la tions that mark the nation al ambiva lence and uncer ‐ tain ty of late 20t -c h en tu ry post mod ernism” 5. Starting from the sec ond post-war peri od, mon u ments such as Eisenman’s Memorial to the Murdered Jews of Europe in Berlin, or Maya Lin’s Vietnam Memorial in California, acquired com plex spa tial ity: spaces to walk through, spaces to cross, to enter, to live in, which also have a func tion, albeit min imal or reduced. Spaces for med i‐ tat ing, spaces to reflect, spaces to remem ber. Ultimately, spaces for the present expe ri ence. These instances are draw ing on the ideas of direct, shared, and par tic ipat ed expe ri ence of mem o ry aimed at the for ma tion of new sub jec tiv ities, as this approach ques ‐ tions not only the role of the mon u ment pure ly as an inan imate object but also its use. 2. What is a useful monument? In order to think dif er ent ly of a mon u ment, one that would chal enge the pres ence of any impos ing, author i‐ ta tive force in pub lic spaces, bypass ing the pow er order that pro motes a spe cif ic idea of his to ry, this study argues that the col ec tive mean ing of the urban mon u ‐ ments must be inves ti gat ed in rela tion to the prac tice of every day life 6 . The places in cities we spend most of our time in, the day-to-day prac tices tak ing place in them, are the ones lead ing to the com plex net works of sto ries and nar ra ‐ tives each cul ture entails. Therefore, the ques tion at hand here is: can the notion of use be applied to a mon ‐ u ment? What defines a use ful monument? This obser va tion requires a process of con stant refor ‐ mu la tion: a recon cep tu al iza tion of notions of shared urban mem o ry, through engag ing with people’s every ‐ day urban rit u als, sets of actions, and uses ‐for mal and infor mal- under stood as per for ma tive events in the urban envi ron ment. If the phys ical pres ence of mon u ‐ ments could be dis cussed and worked through every ‐ day com mu nal dis cur sive and per for ma tive acts, the city could refor mu late and revive its cul tur al col ec tive mem o ry, while form ing and cul ti vat ing con nec tions between peo ple, place, and com mu ni ty. Public places could be thought of as mon u ments of the city for their dai ly hap pen ings and uses, in that they rep re sent moments of con stant refor mu la tion of the mem o ry of the every day, a par tic ipat ed mem o ry. For instance, Place de la Republique in Paris gen er ates its mon u ‐ men tal form and sym bol ism as a place of both con sen ‐ sus and con flict, accom mo dat ing per for ma tive and col ‐ lec tive actions. Such pub lic places are realms where the con ver sa tion starts, where peo ple come togeth er form ‐ ing the social organ ism 7 . Figure 1: Monument Against Fascism, Jochen and Ester Shalev Gerz, Hamburg. [Photos: Shalev Gerz] Another kind of mon u ment could recal the for mal mod ‐ el of the built form while at the same time de-sacral iz ing it by crit ical y bring ing it to the realm of the every day. James Young defines those as counter-mon u ments, in that they fol ow “the muta tion, decay, and dis ap pear ‐ ance” 8 , and where the rela tion ship between object and vis itor con verges into that of active par tic ipant and co- cre ator, stim u lat ing a first-per son reflec tion on the hap ‐ pen ing tak ing place rather than on the phys ical ele ‐ ment. An excel ent case is the Hamburg’s Monument Against Fascism of 1986 by Jochen and Ester Shalev Gerz, a "mon u men tal" twelve meters high squared col ‐ umn, des tined to slow ly dis ap pear into the ground after sev en years. A tem porar ily per ma nent memo r ial where the inhab itants are active ly cal ed to write com ments on the out er sur face. The artists wrote about the per for ma ‐ tive process behind the work, “as more and more names cov er the 12-meter high col umn, this wil grad u ‐ al y dis ap pear, and the site wil be emp ty. In the end, it is only our selves who can rise up against injus tice” 9 . More than any thing, these instances out line what is an approach for look ing at the con cept of mon u ‐ ment nowadays. 2.1. How can we think of a useful monument? A methodology Practice-based research and design-dri ven research are cru cial method olo gies for this study, as they cycli ‐ cal y trans fer ideas and the o ries into prac ti cal actions in the urban set ting. They seek trans for ma tive change through the simul ta ne ous process of tak ing action and doing research, which is linked togeth er by crit ical reflec tion. In itself, every archi tec tur al project is an act of research, yet one focussed on par tic ipa to ry uses, and sen so r ial attrib ut es, of a place. In order to dis cuss a crit ical approach toward the use ful notions of mon u ment, a mul ti dis ci pli nary and phys ical site-based inquiry action need to be set as method ol o ‐ gy. The chang ing rela tions between the built forms and social process es can be exam ined by con struct ing a prac tice around a frame work of phas es, cycles, and loop ing feed backs, exam in ing chang ing rela tions between the built forms and social process es, as wel as those between the spa tial dis ci pline and per for ‐ mance arts, their prac ti tion ers, and people’s own per ‐ for ma tive set of actions in the urban envi ron ment. In order to gen er ate a cycli cal process of refor mu la tion, we turn to the dynam ic idea of the event, devel oped in the sec ond half of the 20t -c h en tu ry by archi tects and artists such as Cedric Price, Bernard Tschumi, Al an Kaprow, among oth ers, togeth er with sys tem mod els such as the one con cep tu al ized by schol ars like Kurt Lewin. This process involves three steps, each com posed of a cycle of map ping, action, and remap ping — in this case, defined as pre-event, event, and post-event — and ver ified by con stant on-and-of -site feed back loops. Within this approach, it is ulti mate ly the body itself that is under stood as the real place-in-tran sit where to renew a rela tion ship with the urban space at large and stim u late a dif er ent aware ness while elab o rat ing new polit ical and cit izen ship forms through participation. Figure 2: Process of Reformulation - methodology scheme drawing from the action-research diagram as elaborated by Kurt Lewin. [Content: Or Haklai, Enrico Chinel ato] 3. A case study: Porte Saint-Denis, Paris To under stand how this method ol o gy works, we now turn to a case study. Two years ago, as QUIZEPO we start ed ven tur ing into mul ti dis ci pli nary research invit ed by the PSA- Paris School of Architecture and the Ecole des Beaux-Arts. We focussed on Paris’ Porte Saint- Denis vic to ry gate. The result was the project “How To Use A Monument”, which was real ized in February of 2020 at the case study site. Porte Saint-Denis is a vic to ry arch dat ing 1672, locat ed in the 10t hArrondissement at the cross roads of Boulevard Saint-Martin and Rue Saint-Denis. It is the first of four tri umphal arch es built in Paris in the late 17th cen tu ry, on the course of Paris’ old wal s. Its archi tec ‐ ture fol ows the pro por tions of the Arch of Titus in Rome, flanked by obelisks applied to the 25 meters high facade, with al e gor ical fig ures relat ed to the pas sage of the Rhine, designed to sym bol ize and glo ri fy the vic to ‐ ries of the French Armies. The gate was con ceived to con trol and tax the incom ing goods from the area sur ‐ round ing Paris and form a crit ical part of the defen sive archi tec ture of the French cap ital. Today the gate is a cen tral ized back ground of a vibrant and chaot ic urban set ting, as it hap pens to be an uncon scious mark er of Paris’ near by cul tur al dis tricts. As a cross road between the nightlife of Faubourg Saint-Denis, the the atres of Saint Martin, the touris tic Grands Boulevards, a mix of new unof i cial activ ities and gen tri fy ing real estate are simul ta ne ous ly occur ring in the area, cre at ing a fas ci ‐ nat ing mix of usages and new city life. Yet, the gate remains a silent actor in the live ly every day dia logue of this scene. This con di tion was already wel depict ed in 1833 by the paint ing “The Porte Saint-Denis” by Wil iam Turner. The work's unfin ished ness helps us to quick ly grasp the alien at ed, often vio lent real ity of mon u ments against the present time. Turner sketched the gate amidst the detailed, dynam ic, busy street life in the fore ‐ ground, stand ing as a blur ry blank space passed by unno ticed by every one, yet that mas sive ly tow ers over the life of the dis trict. We would argue that the paint ing visu al y sum maris es the issue to investigate. Figure 3: Joseph Mal ord Wil iam Turner, The Porte Saint- Denis, Paris. ca. 1833; Tate Modern. 3.1 How to Use a Monument: from state ment to question Fol owing the method ol o gy pre sent ed ear li er, the design-dri ven inves ti ga tion has been struc tured on three lev els. The pri ma ry stage (A) aimed at ana lyz ing the built and spa tial means of cities and their mon u ‐ ments through a phe nom e no log ical analy sis of the per ‐ cepts and sen so r ial af ects 10 of the monument's time ‐ line of uses, his tor ical y and in the ongo ing urban scene. This hap pened togeth er with an explo ration of the sit u ‐ at ed con di tion of the phys ical site and its vir tu al pres ‐ ence through the action of map ping, tex tu al y and visu ‐ al y. Wylie explains the notions of pre cepts and af ects as con di tions of the place that res onates with our nerves. By describ ing the expe ri ence of a trail as a site 11 , they are seen as a state that influ ences the sub jec tive expe ri ‐ ence of vis it ing the site with in its spa tial relations. Figure 4: Initial mapping: diagrams and reflections during and after site visits, and mapping of the social media presence of the Porte Saint-Denis victory gate. [Content: Or Haklai, Enrico Chinel ato] The ear ly expe ri ence vis it ing the site was chaot ic, a ful - on street rush of a vari ety of peo ple and hap pen ings. The mon u ment is cen tral ized but remote, untouched, ren dered near ly inac ces si ble by the car traf ic sur round ‐ ing it, and there fore almost invis ible. A blank spot in the junc tion, just like in Turner’s paint ing. The expe ri ence of the mon u ment con tin ued with the analy sis of its rep re ‐ sen ta tion in the dig ital media, and lat er, by tak ing part in the col ec tion of shared dig ital rep re sen ta tions, tak ‐ ing pic tures, and rep re sent ing our selves in them 12 . We saw one’s rep re sen ta tion with the mon u ment as part of the cur rent expe ri ence of mon u ments over al , cer tain ly a per for ma tive one. Yet, this prac tice is stil aligned with the tra di tion al def in ition of a mon u ment, in that the use and pur pose are embed ded in rep re sent ing the absolute, the sacred, or the sec u lar virtues, as ulti mate ‐ ly the “true” rel e vance of the mon u ment is retained by what it rep re sents. This was fol owed by for mu lat ing a tex tu al rep re sen ta tion of the mon u ment. In oth er words, refor mu lat ing its dic tio nary def in ition and gen er ‐ at ing a fic tion al one that reflects a dif er ent under stand ‐ ing, a dif er ent nar ra tive, was a reflec tive tool for the desired design action. The sec ond stage (B) of the research acti vat ed a design action, wish ing to change the form con di tions through a phys ical meta mor pho sis. The pri ma ry goal was to make the Porte Saint-Denis vic to ry gate a usable arti ‐ fact. To do so, the spa tial and sen so r ial fea tures of the built struc ture need ed alter ation. We metaphor ical y scaled-down and dis sect ed the exist ing mon u men tal arch. This process cre at ed a new object, a 150 cm high urban fur ni ture that resem bled a clos et. By break ing down the scale to a human lev el, we envi sioned a mon ‐ u ment serv ing the city’s every day actions, and that sup ‐ port ed the inter ac tions and rela tions hap pen ing in the streets. Playing with scale and mate ri al ity, the gate trans fig ured: the lime stone turned into sim ple ply wood, and the form and the dec o rat ed facade of the vic to ry arch were remapped, flat tened, and engraved on the wood en sur face as a rem inis cence of the exist ing stone mon u ment, while its vol ume was cut into 12 pieces, suit ing its new scale — a human-sized object. Figure 5: Preliminary sketches of the temporary structure. [Content: Or Haklai, Enrico Chinel ato] Simultaneously, we planned an event at the site. The idea was to pro vok ing ly place this mod u lar urban clos et under the Porte Saint-Denis arch, invit ing artists, per ‐ form ers, and the pub lic through an open cal , as wel as the passers by on the day of the event, to use this urban fur ni ture as they wish. To move it, flip it, store their belong ings in it, sit on it, or play with it. We saw it as an open-end ed per for ma tive and par tic ipa to ry action and moved by pure curios ity we expe ri enced a good degree of uncer tain ty at the on-site event. The event could have been shaped in end less forms, yet the artist's inter ac tion with the street was cru cial for achiev ing new rela tions in the street. The per for mance artist drew the pub lic atten tion from afar, while the visu al artist draw ing on the fur ni ture engaged with the peo ple cross ing the street, invit ing them to par tic ipate, leave a mark on the wood en sur face, or sim ply start a con ver sa tion. Through that, both design ers and the artists moved from being the sole authors of the work, to being one of many with the com mu ni ty. Here we start ed to ques tion what it means to par tic ipate in the urban scenery. At var ious times, peo ple from dif er ent loca tions around the mon u ment stopped to look at the hap pen ing, uncer tain of what we were doing at this aban doned spot. They stopped, looked, got clos er, as what caught their eyes was unusu al to see. Towards the end of the day, the par tic ipa tion lev el increased sig nif icant ly. At its core, the event enabled mul ti ple and spon ta neous actions into the city stage, bring ing a deep er under ‐ stand ing of its spa tial ele ments through the par tic ipa to ‐ ry acts, as raw and direct as it could be. Figure 6: Photos from the day of the event. [Photos: Or Haklai, Enrico Chinel ato] The research out come unfolds in the third stage ( C ). It is embed ded in this paper by once again map ping and ana lyz ing the new con di tions of the place after the design-led event, oper at ing a com par a tive eval u a tion with the first map ping and its known fea tures. The sin ‐ gle-day-event sen so r ial expe ri ences exist with in the con nec tions made at the site, between the fur ni ture, the artists, and the passers by. It is per ceived and imple ‐ ment ed through people's com mu ni ca tion address ing the mon u ment-arti fact and the his tor ical mon u ment. This first inves ti ga tion revealed the need for con tin u ous action research that works to find, cre ate and main tain sites of dif er ent cul tur al val ue through new city visu al ‐ iza tions and aware ness. An arts-based mech a nism for urban dwel ers to meet their social, cul tur al, and mate r i‐ al uses at a local ized scale in the city, with an accom pa ‐ ny ing inter est in how places are made in the city and who is mak ing it. With eyes toward the future, this study aims to grow and expand to dif er ent sites, includ ing dif er ent types of mon u ments, while using the same tools with unex pect ed results. Figure 7: A virtual representation of the monument in its three forms during the exhibition [Content: Or Haklai, Enrico Chinel ato] 1 Monument definition from the Col ins English Dictionary [Internet]. [accessed 2021 Oct 10]. Available from: https://www.col insdictionary.com/dictionary/english/monument. 2 Milizia, F. (1781): Memorie degli architetti antichi e moderni. Tomo primo. Stamperia Reale. (Italian Edition). 3 Loos, A. (1987): Spoken Into the Void: Col ected Essays, 1897-1900. United Kingdom: Graham Foundation for Advanced Studies in the Fine Arts, Chicago, Il ., and the Institute for Architecture and Urban Studies, New York, N.Y. 4 Krauss, R. (1979): Sculpture in the Expanded Field. October, 8, 31–44. https://doi.org/10.2307/778224 5 Young, J. E. (1999): Memory and Counter-memory, in Harvard Design Magazine, n.9, [accessed 2021 Oct 10] Available from: http://www.harvarddesignmagazine.org/issues/9/memory-and-counter-memory. 6 Monument Against Fascism [Internet]. [accessed 2021 Oct 22]. Available from: https://www.shalev-gerz.net/portfolio/monument-against-fascism/. 7 Thrift, N. (2007): Non-Representational Theory: Space, Politics, Af ect. International Library of Sociology. 1st ed. Milton Park, Abingdon, Oxon: Routledge. 8 Wylie, J. (2005): A Single Day’s Walking: Narrating Self and Landscape on the South West Coast Path. Transactions of the Institute of British Geographers. 30(2):234. 9 Frosh, P. (2015): The Gestural Image: The Selfie, Photography Theory, and Kinesthetic Sociability. International Journal of Communication. 9. Design Method of Low-tech Ecological Rural Settlement in China Qiang Vil ages as an example (Early Stage of Research) Dan Hu, Politecnico di Milano Initial doctoral stage Supervisor: Marco Bovati, Politecnico di Milano # low-tech, rur al set tle ment, China Abs In 2021, the Chinese government reiterated the t importance of the “rural revitalization strategy”. Due to ra concentrated development of lands, there has been an ct urgent need to build settlements for a large number of farmers losing their farmlands. Nevertheless, these residential settlements, located at faraway and backward places, are usual y ignored by the government, and even turn into an embodiment of low- end residences. Moreover, problems, such as cultural loss and violation of ecological principles, have emerged in the design and construction process of these settlements. This research which remains undone chooses the Traditional Qiang vil ages for a case study, and proposes an after-use evaluation of the settlements after the 5.12 earthquake, in terms of materials and residents’ satisfaction. On that basis, a low-tech ecological rural settlement model and design method is developed to realize the combination between the wisdom of traditional folk residences and the modern residential requirements, let the regional architecture be inherited and developed sustainably, and attempt to al eviate a series of economic and social problems existing in rural settlements. Ex 1. Critical Reflection ten China’s rur al areas take up 94.7% of China’s total land d area, and the rur al pop u la tion take up 53.4% of the total. ed The year 2021 wit nessed (the pro mul ga tion of) the “rur ‐ abs al revi tal iza tion strat e gy” by the Chinese gov ern ment as t a major basic nation al strat e gy. Because of the con cen ‐ ra trat ed devel op ment of rur al lands, con struc tion of ct a large num ber of set tle ments for land-los ing farm ers has become an imper a tive. However, these set tle ments are usu al y locat ed far away and faced with the back ‐ ward eco nom ic devel op ment. This has led to a lot of prob lems in these set tle ments. Firstly, lack of fund ing has result ed in poor qual ity of design and archi tec ture; sec ond ly, the gov ern ment and the design insti tute dom ‐ i nate the design plan, depriv ing res idents of any say in archi tec tur al design, and caus ing the incon sis ten cy between the use sta tus and the res idents’ expec ta tions; Thirdly, the design plan shows no respect for tra di tion al crafts and lost region al char ac ter is tics, al vil ages looks the same; Fourth, the design The design ignores and even goes against the prin ci ple of eco log ical design. The con struc tion destroy the envi ron ment1 . How to com bine between the wis dom of tra di tion al architc ture and the mod ern res iden tial require ments, how to let the region al archi tec ture be inher it ed and devel oped sus tain ably is an issue of con cern. My research is car ried out under this background. 2. Theory of Low-tech Ecological Architecture Low-tech eco log ical archi tec ture refers to con struc tion of eco log ical archi tec ture com bin ing tra di tion al tech ‐ niques but using few er or even not using mod ern tech ‐ niques. General y, low-tech eco log ical archi tec ture can be clas si fied into four mod els, includ ing heat adap ta ‐ tion, wind ef ect, light adap ta tion and land scape adap ‐ tion 2 . So far, schol ars have explored low-tech eco log i‐ cal archi tec ture from the fol ow ing per spec tives, includ ‐ ing mod ern appli ca tions and devel op ment of tra di tion al tech niques (such as rammed earth and earth-shel tered archi tec ture); tech ni cal improve ments of tra di tion al mate ri als (such as improve ments of bam boo mate ri als); reuse of indus tri al waste (such as reuse of tires); and in- depth pas sive archi tec tur al research. Charles Correa pro posed the “Form Fol ows Climate”, which holds that archi tec ture should cap ture cli mate ele ments from the plane and ver ti cal per spec tive, and he reflect ed this idea in “tube house space” 3 . Hassan Fathy put for ward “coop er a tive con struc tion” 4 . Simon Velez stud ied the “Umbrel a” archi tec ture of the bam boo, and advo cat ed improve ments of tra di tion al mate ri als, sim pli fi ca tion of design charts, and par tic ipa tion in the con struc tion process 5 . As a rep re sen ta tive of the mod ern low-tech archi tec ture. Philip Jones is com mit ted to the sus tain ‐ able car pet design, and has suc ceed ed in estab lish ing the build ing ener gy mod el 6 . Tyin Tegnestue Organization devotes itself to the human is tic archi tec ‐ ture and recy cling of indus tri al waste 7 . Figure 1: The Low-tech renewal of traditional sunken cave, Source: draw by author. 3. Applications of Low-Tech Ecological Rural Settlement in China The tra di tion al vil age pat terns are great in vari ety and con tain a great wealth of low-tech wis dom. This enables them to find appli ca tions in mod ern design, For exam ple, Building raised from the groundTo avoid mois ‐ ture; Nomadic build ings that can be built quick ly; The sunken cave dwel ings embed ded in moun tains of Northern Shaanxi are capa ble of air-con di tion ing, they are warm in win ter and cool in summer. The trans for ma tion in ven ti la tion, light ing and insu la tion is used in the Low-tech renew al of tra di tion al sunken cave [ 1 ]. In the design case of Jintai Vil age, Sichuan Province, the design er made one impor tant break through. The design er decreased the earth work by increas ing the num ber of ter races. The plant ed roof ter race has not only inher it ed the plant ing habits of the farm ing soci ety, but also ensured the heat insu la tion of the roof. The raw-water col ec tion sys tems and grey wa ter rec ol ec ‐ tion sys tems also com bined live stock keep ing facil ities and bio fu el pool to make ful of bio log ical ener gies 9 . This design also inte grat ed the con cept of “low impact devel op ment”. The per me able floor was adopt ed for the vil age, and “wet land” was con struct ed for stor ing and recy cling of water resources 10 [ 2 ]. Figure 2: Post-earthquake reconstruction of Jintai vil age, Sichuan Province, Source: draw by author. 4. Locality – Traditional Qiang vil ages The tra di tion al Qiang vil ages locat ed in Sichuan, China is cho sen for a case study. Traditional Qiang archi tec ture demon strates unique region al char ac ter is ‐ tics, includ ing use of stones and watch tow er as a sym ‐ bol ic ele ment. Being one of the 55 eth nic groups in China, the Qiang peo ple are main ly dis trib uted in the riverbed of the high moun tain which is 3,000m above the sea lev el in Southwest China, and whose topo ‐ graph ic slope ranges from 20°to 50°11 . The cli mate is dry and cold, and the tem per a ture is 3 – 24 degrees Celsius. The first floor of archi tec ture is used for keep ‐ ing and cul ti va tion of live stock. The sec ond floor is for res idents to live in. The semi-open third floor can receive ade quate sun light For Drying Crops. The mate ‐ ri als used are main ly local rub ble, loess and wood [ 3 ]. Figure 3: Traditional Qiang Vil ages, Source Figure 4: The exterior wal , Source: Research on Modern Pattern of Qiang Vernacular Dwel ings in Region of Sichuan Province. Xi'an University of architecture and technology. Figure 5: The corner block stones, Source: Research on Modern Pattern of Qiang Vernacular Dwel ings in Region of Sichuan Province. Xi'an University of architecture and technology. Architecture of the Qiang People rep re sents a crys tal ‐ liza tion of wis dom of the folk res idence over the past thou sands of years, which can wel adapt to the envi ‐ ron ment. For exam ple, the wal that is thin by the upper part and thick by the lat ter part can increase its sta bil ity [ 4 ]. The alter nat ing mason ry of cor ner block stones can play an anti-seis mic role [ 5 ]. A mov able lad der can get rid of pursuers，which is a defense tech nique in war [ 6 ]. The thick exte ri or wal and smal win dow can wel guar an tee ther mal insu la tion. From the 48 hour indoor and out door tem per a ture curve，we can see that the indoor tem per a ture changes lit tle com pared with the exter nal tem per a ture [ 7 ]. The exter nal wood ‐ en rooms can col ect heat [ 8 ] 12 . The area is known for the fre quent out break of earth quakes and oth er nat ur al dis as ters. In the after math of “Wenchuan Earthquake” hap pen ing on May 12, 2008, the tra di tion al Qiang vil ‐ lage suf ered a seri ous blow. Over the years, recon ‐ struc tion has been car ried out due to con tin u ous after ‐ shocks. But the recon struc tion ef ects of most vil ages were not sat is fac to ry. In spite of that, al these cas es have been lay ing the foun da tion for our post-use eval u ‐ a tion. Investigation and solu tion of the exist ing defects can facil itate the fol ow-up research. Figure 6: The movable ladder, Source: draw by author. Figure 7: Smal window and 48 hour indoor and outdoor temperature curve Figure 8: The external wooden room, Source: Research on Modern Pattern of Qiang Vernacular Dwel ings in Region of Sichuan Province. Xi'an University of architecture and technology. 5. Research Procedures I hope I can come to sci en tif ic con clu sions through the fol ow ing research procedures: . Col aborative design and cyclic feed back: I wil seek col ab o ra tive design with vil agers, con sid er the res i‐ dence as a whole, and use demon strate research results via draw ing, phys ical mod els, 3D mod els, ani ‐ ma tions, etc. Additional y, I wil make adjust ments and cyclic design in accor dance with feedback; . Literature research: study the o ries and cas es of low- tech eco log ical archi tec ture, and explore how to apply these achieve ments to local res idences, and study the social and his tor ical back ground, nat ur al con di tions, region al archi tec tur al pat terns, tra di tion al low-tech tech niques and exist ing research find ings of local residences; . Field sur vey: I wil choose rep re sen ta tive rur al set tle ‐ ments to record the sta tus of vil age plan ning, archi tec ‐ ture, infra struc tures, land scapes and so on. I wil take a look into which low tech niques are used and what are the prob lems. Meanwhile, I wil use instru ments to put down var ious index es of the archi tec ture and the environment; . Post-use eval u a tion: I wil con duct a post-eval u a tion of exist ing vil ages to gain feed back from vil agers. The feed back cov ers vil agers’ sat is fac tion of res iden tial spaces, low-tech needs, and adapt abil ity towards changes of lifestyles and social iz ing styles; . At last, based on the exist ing expe ri ence and knowl ‐ edge, sci en tif ic evi dences are pro vid ed for low-tech plan ning and design of rur al set tle ments, aim ing to design a low-tech eco log ical set tle ment mod el that is con sis tent with the local con di tions on the basis of post-use eval u a tion, inher it the tra di tion al archi tec ture while accom mo date to the mod ern res iden tial needs, and help al e vi ate the afore said prob lems and improve vil agers’ res idence quality. 1 Zhang, Li (2021): »Farmers' new expectation and response to resettlement houses«, in: Xinjiang agricultural reclamation economy 2021 (03), pp. 32-37. 2 Wang, Pu (2007). Morphological analysis of low-tech ecological architecture. Hefei University of technology. 3 Ye, Xiaojian (2003). Architectural space of Charles Correa, Beijing,: China Construction Industry Press. 4 Liu, Chongyi (1985): »Hassan Fathy and adobe architecture«, in: World architecture1985, pp. 62-68. 5 Liu, Yubo(2009): »Simon Velez and his bamboo buildings«, in: World Architecture 2009 (06), pp. 94-97. 6 Coma, Bassas/Ester/Joanne, Patterson/Phil ip, Jones(2020): » A Review Of The Evolution Of Green Residential Architecture«, in: Renewable And Sustainable Energy Reviews 125: 109796. doi:10.1016/j.rser.2020.109796. 7 Lisbet, Harboe(2015): »Integrating On‐Site Education and Practice«, in: Architectural Design 2015(85), pp. 82-87. 8 Luo, li (2015) Application of Reseach on Low Technology in Rural Housing in Terms of Regional Perspective, Beijing: Beijing University of Civil Engineering and Architecture. 9 Lin, John/Bolchover, Joshua/Jinqiu Zhang(2018): »Jintai Vil age Reconstruction, Bazhong, China«, in: World Architecture 2018(8), pp. 32-38. 10 Kwan, Crystal (2018): » From Envisioning to Bui ding: A Modern Chingese Vil age«, in: Architecture Journal 2018(1), pp. 29-35. 11 Xiong, Mei (2017): » A review of the research on Qiang traditional settlement in recent 30 years«, in: Journal of West China Normal University 2017(2), pp. 96-100. 12 Chengbin(2015): Research on Modern Pattern of Qiang Vernacular Dwel ings in Region of Sichuan Province. Xi'an University of architecture and technolog Autotrophic Economy An example economy echoed by the sun Pepa Ivanova, KU Leuven Intermediate doctoral stage Supervisors: Esther Venrooij, KU Leuven; Stefaan Poedts, KU Leuven # Ecocentrism, inter con nec tion, sun-earth Abs Autotrophic Economy is a speculative concept and an t art project about biosphere processes on the earth, ra powered by solar radiation. In this later stage of my ct Ph.D. research, I look into the light-fueled evolution processes. How to redraw ecology through biomass, oxygen production, and pol ution in a society of sleep- deprived consumers. This is a sensible deviation from the initial data modeling looking into the interspecies dependencies and how diversity is a key factor in ecological survival. Instead of modeling an estimation, volume, or scale of the visual light using techno-centric data col ections, this reformulation of the research focuses on light-harvesting mechanisms in living organisms. How the sun and the earth are cohabitants in a constant transformation through interdependent ecosystems intertwined in electromagnetic frequencies? How do plants provide an example for the human economy and survival? This seeming deviation from the main research topic I find close to the thematic of the DDr framework, where researchers can reflect and add new reformulations to their research framework. The Autotrophic economyI presented during CA2RE+, Ljubljana is a draft of my future post-doc research project. A When we were lit tle, we played grown-ups and shop rte mud with mon ey — leaves of shrubs and trees, as if fa we real ized their true val ue. (P.I.) ct Money grows on trees. (folk wisdom) Background This project relates to larg er research on pic tur ing the earth's light and the autopoi et ic of obser va tion al data of the sun jux ta posed with obser va tions of the earth. Those com par isons lie at the core of my Ph.D. “An echo of the Sun” at KU Leuven/LUCA, School of Arts, Ghent. While work ing on the data archives and tools for map ‐ ping the light on the earth, I acknowl edge how tech no- cen tric my data sources are. The project maps how light emit tance and dis tri b u tion af ect the earth’s ecosys tems using a sum ma rized mod el of al the light data on the earth. The project I sub mit for CA2RE+Ljubljana instead of link ing astro physics to biol o gy through light fac tors rethinks the econ o my in the liv ing ecosys tems. One of the first steps of the “Autotrophic Economy” was to estab lish the “Bank of Plants', which was pre sent ed in a group bio- art exhi bi tion in Sofia, Bulgaria in March 2021. Here is an excerpt of the bank descrip tion and policy: The Sun is the ulti mate cur ren cy. Bank of Plants is the fur ther most cen tral bank on Earth because its cap ital con sists of the world wide avail able resources. Plants are the pri mal ener gy pro duc ers capa ble of trans form ‐ ing nonor gan ic mat ters into sug ars: sun light, air, water, and min er als are trans formed through pho to ‐ syn the sis in organ ic mat ter. The anthro pocene is entire ly fed and depen dent on plants and bac te ria. Dr Natasha Myers cal ed this inter twined coex is tence between plants and humans, a Planthroposcene. Currently, The Bank pro motes plan thro pocen ‐ tric policy. Figure 1: “Picturing Earth's Light” at Scopitone festival, Nantes, September 2021 For exam ple, plants ben e fit from humans' excess pro ‐ duc tion of CO₂ and humans exist thanks to plants byprod uct pro duc tion of oxy gen. Plants are the major food source, a fun da men tal ingre di ent in phar ma ceu ti ‐ cals, care, and beau ty prod ucts. They pro duce bio mass to fuel ecosys tems and human indus tries. The sta bil ity of the world’s econ o my thrives on the plants’ flour ish ing and dispersion. In self-orga nized ecosys tems, we care for, enrich and recov er al ele ments involved in order to sup port a sta ble econ o my, not based on excess pro duc tion and growth but on ener gy flow and sustainability. Autotrophic Economy speculative draft This project is a sort of spec u la tive doc u men tary about the largest and most impor tant ener gy pro duc ers on the plan et — the autotrophs. Unlike many oth er ener gy sources, autotrophs are essen tial for plan e tary process ‐ eses and eco log ical sur vival. Those liv ing organ isms are pri ma ry pro duc ers of organ ic mat ter and oxy gen and are the most numer ous liv ing organ isms on the earth. They feed the het erotroph ic organ isms who on oth er hand can’t absorb food from inor gan ic sub stances and rely on devour ing oth ers. Human sur vival is large ly depen dent on autotroph ic organ ic ener gy producers. Habitat Solar light feeds the earth, where a huge num ber of tiny crea tures shape sym bi ot ic ecosys tems to pro duce organ ic mat ter. They see with pro teins and grow in dif ‐ fer ent shapes, sizes, and colours, reflect ing light as they appear to oth er beings in many hues and shades. Those crea tures are so numer ous, that they can be found every where. They float in the water, rise from the soil, climb the rocks, and rest in our lunch boxes. Light as currency The light exchange hap pens in a sub con scious ter ri to ry, where every one dances. It is a liv ing place where bio ‐ chem ical process es facil itate the feast. In fact, it's a par ‐ ty of autotroph ic beings inter twined and stretched towards the nour ish ing light or cir cling around the ther ‐ mal vents at the bot tom of the ocean. The most healthy econ o my of autotrophs on earth con tains the most diverse pop u la tions than those with homo ge neous pop ‐ u la tions. The dan ger in the col apse of this econ o my are fac tors like the earth's cli mate, geo log ical process es, and human activities. The ulti mate cur ren cy of the autotroph econ o my is the sun’s con tin ues ener gy flux. Therefore this light cur ren ‐ cy fluc tu ate depend ing on the earths cli mate, albe do, anthro pocen tric activ ities and ener gy pro duc tion and distribution. Figure 2: Bank of Plants, instal ation view during Occurrences of Abundance bio-art exhibition at Sofia Arsenal-Museum of contemporary Art (SAMCA), Sofia 4-28 March, 2021 Objectives in the process Several objec tives aim to trans late this eco nom ic result in the process. A spec u la tive text on the autotroph ic econ o my as an exam ple for human-dri ven economies and how to learn from oth er supe ri or ecosys tems about the impor tance of diver si ty in our survival. An instal a tion with a video essay, dimen sion al objects in var ious mate ri als, grow ing plants, light and sound Figure 3: Authotropic economy at "Tools for Things and Ideas" exhibition organized by Jerry Gal e and Elias Heuninck iMAL – Center for digital culture and technology, Jan/Feb 2022 image@Paulius Sliaupa Feedback and during CA2RE+, Ljubljana The aim of my pre sen ta tion dur ing the con fer ence was to receive a cri tique on the sub ject and test its val ue in the cur rent urgen cies. How do fel ow researchers and pro pro fes sion als con sid er the gen er al con cept and pro ‐ posed objec tives? It was a great expe ri ence because my peers and audi ence were very gen er ous in the com ‐ ments. Most agree that the pre sen ta tion of such a spec ‐ u la tive nar ra tive must be of per for ma tive char ac ter, where the audi ence must be involved as wel since the autotroph ic econ o my presents equal impor tance to al the agents involved. In that sense — how to shape knowl edge with inclu siv ity? And how to chore o graph future pre sen ta tions and stages of the project? Being pre cise and more per son al echoed in feed back as wel . I per son al y aimed for a hum ble sta tus, as an agent in this econ o my and not an inven tor. To con struct a pre cise struc ture of the econ o my might be cru cial for under stand ing and trans lat ing the con cept. Maybe as an artist, I don't share the same pres sure of ful respon ‐ si bil ity and con trol embod ied in the archi tec tur al realm. An inter est ing point dur ing the dis cus sion was how I com mu ni cate with plants and how plants talk to me? What inter face do we use to com mu ni cate? How do plants pay me for my ser vice of pre sent ing their bank and econ o my? Artist Marcus Coates was men tioned as an exam ple of how to present an inter species inter face, in his case, with ani mals. I feel my project is clos er to Slovenian artist Špela Petrič, who is an advis er and trustee in devel op ing of this econ o my, and Sasa Spacial and her work on fun gi and inter s piecies rela tions. Philosophers Natasha Mayers and Donna Haraway, and sci-fi writ ers like Octavia Butler and Ursula Le Guin witht heir work in inter de pen dence and the impor tance of inter s piecies under stand ing in eco log ical survival. Thank you for the car ing and the gen er ous feed back and the trust. Literature Mayers, N, “on Growing the Plantroposcene, For the Wild online publication, October 2020 Dr. NATASHA MYERS on Growing the Planthroposcene — FOR THE WILD Haraway, D. J. (2016). Staying with the trouble. Duke University Press. Butler, O. E (1989). Xenogenesis trilogy, Grand Central Publishing, USA The Interpretation of “Interiority” through Research in Design Context of Public Space Reformulation of Hypothesis Sarah Javed Shah, Politecnico di Milano Initial doctoral stage: 1st year PhD Candidate Supervisor: Carles Muro, Politecnico di Milano # Interiority; Public space; Continuity; Research in design con text; Reformulation Abs The term “interiority” means inner character or t subjectivity and adhere to the vocabulary of ra confinement, enclosure, privacy, shelter, etc. In the ct architectural discourse, the notion of interiority has been frequently used to refer to conscious awareness, individuality, subjectivity, along with the inherent characteristic of the interior, besides the description of the nature of certain urban or exterior spaces. As a prospect to retort to various design questions of public space, this paper attempts to interpret interiority where it is formed by many conditions such as psychological, environmental, spatial, formal, programmatic, or a combination of al . With an assumption that interiority is a shared underlying aspect contributing towards the ef ective public qualities, some key instances of urban public space have been discussed and synthesized to il ustrate the potential paradigm of the design practice. For further research, the paradigm wil be “reversed”, in the realm of interior public spaces, as complex settings with a continuous flow of space, surfaces, forms, and voids, beyond architectural façade, through a blurred threshold between interior and urban (or exterior). Pa Introduction pe The term “inte ri or ity” denotes inner char ac ter or sub jec ‐ r tiv ity and con jec tures a state of inward ness and indi vid ‐ ual con tem pla tion. Its gener ic inter pre ta tion fol ows the lex icon of con tain ment, con fine ment, enclo sure, pri va cy, secu ri ty, shel ter, etc. 1 . The notion of inte ri or ity has been tra di tion al y used in dis ci plines out side of design, such as psy chol o gy, phi los o phy, lit er a ture, abstract art, and film, fre quent ly refer ring to inner psy cho log ical life, or the inner voice form ing the nar ra tive, or a retreat into self-aware ness and reflec tion. Interiority recog nis es that there exists a rel a tive con ti nu ity with its dialect “exte ri or ity” through the imag ina tive ten sion of inside and out side; between one’s house and the world out ‐ side 2 , vis-à-vis pri vate thoughts, self-reflec tion, and the sub jec tiv ity of oth ers. Self-reflec tion is not a process of leav ing the world and con sid er ing one’s iso lat ed sub ‐ jec tiv ity, as Merleau-Ponty states, “Reflection does not with draw from the world towards a uni ty of con scious ‐ ness as the world’s basis…; it slack ens the inten tion al threads which attach us to the world and thus brings them to our notice” 3 . This paper responds to the con tem po rary instances of pub lic space prac tices while con sid er ing mul ti ple inter ‐ pre ta tions of inte ri or ity. This holis tic approach explores the notion of inte ri or ity in the design con text of urban (or exte ri or) pub lic spaces which incites fur ther explo ‐ ration for its diver si ty and com plex ity, in the “reversed” par a digm of inte ri or pub lic spaces. Interiority in the Design Context of Public Space Over the past few decades, many researchers in archi ‐ tec ture and relat ed design fields have addressed inte ri ‐ or ity and expand ed its inter pre ta tion in terms of inhab i‐ ta tion in space. Original y entwined with the moral notion of “truth”, the notion of inte ri or ity changed to more explic it spa tial mean ing, fol ow ing an eco log ical and com plex approach, such as con scious aware ness, indi vid u al ity, sub jec tiv ity, along with the inher ent char ‐ ac ter is tic of the inte ri or, besides the descrip tion of nature of cer tain urban or exte ri or spaces. It estab lished the anthro po log ical idea of the his tor ical and spa tial con tex tu al iza tion of human beings, sig ni fy ing the spa ‐ tial, tan gi ble, and intan gi ble aspects of human life, par ‐ tic u lar ly of the inhab it able space. In con tem po rary archi tec tur al dis course, this devel op ‐ ment found ed the notion of spa tial inte ri or ity, which is not bound ed to the inter nal ity of archi tec tur al space and is not lim it ed to the phys ical enclo sure of the envi ron ment 1 . Although the term inte ri or ity is every so often used to char ac ter ize the inher ent qual ity of the inte ri or; as feel ing immersed or con tained, it is dif er ent from the inte ri or, as it implies sub jec tiv ity and self- reflec tion. Stepping out of the con fine ment of inte ri or space, the notion of inte ri or ity repo si tions into the urban con text, emerg ing as urban inte ri or ity beyond the fixed bound aries of inte ri or and urban (or exte ri or). Various gra da tions of inte ri or ity appear in urban spa tial set tings, occur ring at var ious lev els of poros ity of the bound aries between spaces and var ious forms of tra vers ing bound ‐ aries 4 . Though this idea con cedes sub jec tiv ity, it can be explained and expe ri enced through the sen so r ial encounter, per son al engage ment, and social inter ac tion 5 . In pub lic spaces, inte ri or ity can be formed by many con di tions such as psy cho log ical, envi ron men tal, spa ‐ tial, for mal, pro gram mat ic, or a com bi na tion of al 6 . Given the unlim it ed pos si bil ities, this paper attempts to inter pret dif er ent typolo gies of inte ri or ity that can be uncov ered with in some of the key instances of pub lic space, with an assump tion that inte ri or ity is a shared under ly ing aspect con tribut ing towards their ef ec tive pub lic qualities. Spatial Interiority Spatial inte ri or ity is mate r ial, cor po re al and per haps most straight for ward inter pre ta tion; pri mar ily an expe ri ‐ ence of being con fined and enclosed in a space. As Michael Benedict observes, “This feel ing of being immersed, sur round ed, and enclosed – tran scends the expe ri ence of indoor enclo sures and extends to the out- of-doors in gar dens, squares and parks bound ed by trees or low wal s” .7 The shel tered place under the great roof of the Stadshal mar ket hal in Ghent, designed by Robbrecht & Daem / Marie-José Van Hee (2012), gath ers peo ple in one big room, one that is open to the city al around them [ 1 ]. It is an open porch that pro tects pedes tri ans from rain and sun and is often used as a shel ter for con certs, gath er ings, and week ly mar kets .8 It is a place where one can be one self, and con cerns rela tions between peo ple rather than pow er, a place that per mits reflec tion and inte ri or ity. It exem pli ‐ fies the pos si bil ity to expe ri ence inside while being phys ical y out side, here inte ri or ity is cre at ed in exte ri or i‐ ty, intend ed to rep re sent free dom with a sense of being in con fine ment [ 2 ]. One of the key con sid er a tions here, is the rela tion ship between the archi tec tur al shel and the inhab it ed inte ri or, mak ing spaces that flow and ques tion the tra di tion al dual ities of inside and out, approached with the tech niques and tac tics of what Suzie Attiwil cal ed an “inte ri or izt” approach 9 . Figure 1: Formation of Interiority in Exteriority of Stadhsal (market hal ), Ghent (2012) Bravo, David (2018): “Stadshal”: Market Hal and Central Squares. Public Space, https://www.publicspace.org/works/-/project/h031-stadshal-market-hal -and-central-squares from June 16, 2021. Figure 2: Questioning the Duality of Inside and Outside, Stadhsal (market hal ), Ghent (2012) Drawings by the author (Sarah Javed Shah) Interiority as Psychological Reflection Furthermore, in this con text of pub lic space, a dis tinc ‐ tive approach to inte ri or ity as a psy cho log ical con di tion was pre sent ed by Richard Sennett, as he pro posed that inte ri or ity is not nec es sar ily linked to mere ly a pri vate inte ri or space, but rather al o cat ed to an exte ri or pub lic space. Interiority is not detach ment from the world, it is a par tic u lar kind of rela tion ship with the world, which is reflex ive, obser va tion al and most impor tant ly, “work of mem o ry”. These con di tions pro duced an envi ron ment, in Sennett’s words of “open ness, frank ness and shar ‐ ing”, con sti tut ing inte ri or ity 10 . Sennett described inte ri ‐ or ity through the thoughts of Georg Simmel, who sug ‐ gest ed that it was the street rather than the home that pro duced sub jec tiv ity with in the indi vid ual. The street and expo sure to oth ers thus pro duced feel ings and thoughts, cre at ing sub jec tiv ity, indi vid u al ity, and interiority. The inter pre ta tion of inte ri or ity as psy cho log ical reflec ‐ tion has been the cen tre of the phi los o phy of Maurice Merleau-Ponty. He empha sised “… the body as the pri ‐ ma ry site of know ing the world”, and the con ti nu ity of inner and psy cho log ical life, which he cal ed inte ri or ity, and the mate r ial world or exte ri or ity 11 . The dis course even tu al y reach es the ques tion of the abil ity to unfold the expe ri ence of inte ri or ity in the design con text of pub lic spaces, with a con tin u ous inter play between indi vid u als and soci ety. Russel Rodrigo 12 account ed for the con tra dic tion in the imag ined and inhab it ed inte ‐ ri or ity of Peter Eisenman’s Memorial to the Murdered Jews of Europe in Berlin (2005) [ 3 ]. He stressed the af ec tive poten tial of memo r ial space focus ing on mem ‐ o ry-mak ing, or it can be expressed in Sennet’s words as “work of mem o ry” 10 , as an embod ied expres sion of inte ri or ity through phys ical and emo tion al engage ment. The spaces with in the field and along the periph eries have a strong con trast of indi vid ual and col ec tive reflec tion [ 4 ]. However, the memorial’s imag ined inte ri or ity of reflec tion as a place of remem brance is some what negat ed due to lack of sig ni fi ca tion with in its design; the absence of “link ing objects” as denot ed in Karl Ochsner’s the o ry 13 . While the inhab it ed inte ri or ity of the memo r ial beyond the tra di tion al com pre hen sion is pre dom inant ly expe ri en tial or per for ma tive. In archi ‐ tec tur al dis course, the term “per for ma tive” is asso ci at ed with the con cepts of open-form and flex ibil ity, which enables a space to antic ipate, and host pre dict ed and unpre dict ed occur rences and to adjust to future changes. It also gives archi tec ture the char ac ter of unfold ing an event in time and space 14 . Figure 3: Individual and Col ective “work of memory” in the Memorial to Murdered Jews of Europe (2005) Map of the Memorial to murdered Jews of Europe, Berlin. Google Earth, 2009. https://earth.google.com/web/search/memorial+of+murdered+jews/ from June 14, 2021. Figure 4: Imagined and Inhabited Interiority Formation in the Memorial to Murdered Jews of Europe (2005) Drawings by the author (Sarah Javed Shah) Interiority as an Expression of Qualities of a Space Interiority is about per cep tion, or a state of mind, the char ac ter of a place, and not a par tic u lar space; and it must be under stood in con nec tion to its sur round ings 15 . Aside from the appar ent sim ilar ities, an impor tant refine ment is made by Jacqueline Power, as she con ‐ cep tu al ized inte ri or ity as an expres sion of the qual ities of urban space, freed from the con straints of archi tec ‐ tur al forms 16 . It can also be inter pret ed as “pub lic inte ‐ ri or ity”, which is a per ceived con di tion that grounds the built envi ron ment in phe nom e nol o gy, var ied human expe ri ences, and every day con di tions with in exte ri or (or urban) pub lic spaces. While we fre quent ly expe ri ence inte ri or ity inside struc tures, pub lic inte ri or ity is also a per ceived con di tion found in the pub lic sphere, with ‐ out struc ture. 15 Figure 5: Interiority as an expression of the qualities of urban space of Superkilen Park (2012) a. Original file source (site map): Map of Superkilen Park, Copenhagen. Google Earth, 2016. https://earth.google.com/web/search/Superkilen+Park,+N%c3%b8rrebrogade,+Copenhagen +Municipality,+Denmark/ from June 12, 2021. b. Original file source (sections): Aga Khan Trust for Culture (2016): Superkilen, Copenhagen, Denmark https://archnet.org/sites/15124/media_contents/112972 from June 23, 2021. The impli ca tion of this kind of inte ri or ity is the focus on pub lic space as a space con sid ered as pub lic and il us ‐ trates the soci etal val ues and people’s rela tions; space where peo ple appear, move, act, become con scious, expe ri ence plea sure, and per ceive free dom of per son al inte ri or ity. This expres sion can be read through the urban revi tal iza tion project, Superkilen Park, Copenhagen (2012), a cre ative col ab o ra tion of the team BIG archi tects, Superflex, and Topotek 1 [ 5 ]. The project exhibits eth nic diver si ty and mul ti-cul tur al ism through a col ec tion of glob al found objects of the 60 dif er ent nation al ities inhab it ing the area 17 . It embraces al age groups with a vari ety of activ ities in three unique envi ron ments, colour cod ed as red, black, and green. The red square, con ceived as an urban exten sion of the sports and cul tur al activ ities of the Norrebrohal , inte ‐ grat ed the same colours and mate ri als. Its sur face merges inside at the foy er of the new main entrance of the Norrebrohal , thus tra vers ing or blur ring the bound ‐ aries between inte ri or and exte ri or. The free wide-open space with ample sun shine fal ing on the bright colour pal et of sur faces and objects, togeth er with exten sive night lights cre ates a sense of safe ty and in turn pro ‐ duces lumi nous inte ri or ity. The black square, Mimers Plads, also known as the “urban liv ing room”, is a place where the locals meet 17 . The straight white lines on the black asphalt sur face curves around the fur ni ture and objects, high light ing it, cre at ing an explic it spa tial inte ri ‐ or ity. The green park fea tures sculpt ed grass hil s and a con vex bas ket bal court and is a pre ferred space for pic nics and sun bathing. The Superkilen Park has become pop u lar for social inter ac tion and pub lic encoun ters, cre at ing psy cho log ical inte ri or ity, part ly for ‐ mal and part ly sub jec tive, as stat ed by Liz Teston, the inter ac tion between a per son and the built envi ron ment shapes the per cep tion of inside-feel ing places 15 . Besides per form ing activ ities and sports, abun dant sit ‐ ting spaces al ow peo ple to devel op an inte ri or insight not through inter ac tion but through free dom of being able to observe with out inter act ing. It cre ates the oppor tu ni ty of obser va tion al cruis ing, as it is not about engag ing the out side but observ ing it 10 . Programmatic Interiority Suzie Attiwil ’s idea of research through the design of the “urban room” design stu dio addressed the process of inte ri or-mak ing shaped by spa tial and tem po ral con ‐ di tions with in the urban envi ron ment 9 . Her idea is stim u lat ed by Lois Kahn’s tri ad con cept, “the room, the street, and the city”, as he denot ed the street as a room of the city. The pri ma ry idea of urban inte ri or ity emerged through the belief that urban space was not only enclosed but also defined by the dif er ence of its actu al use, emerg ing from the prac tice of open-air rooms to the ef ort of place mak ing for the com mu ni ty 18 . This inno va tion of pub lic spaces in the form of urban (out door) rooms through intro duc ing pro grams and func tions that are pri mar ily asso ci at ed with inte ri or envi ron ments can be appre ci at ed as the pro gram mat ic inte ri or ity. The open-air street libraries, out door cafes, and al-fres co of ice spaces are the instances where peo ple per form activ ities that are con sid ered func tions of the inte ri or. This inter pre ta tion of inte ri or ity can also be found in the sur re al ist tech niques of Le Corbusier, as he put togeth er the famil iar ele ments of the domes tic inte ri or in the exte ri or in the Beistegui apart ment roof gar den (1933). He man ifests the rela tion ship between the spa tial sequence of inte ri or and exte ri or and writes “… a plan pro ceeds from with in to with out,. ” 19 and il us trat ed it through elim inat ing the exter nal wal s in some of his projects and often con sid ered exte ri or as a framed interior. Interiority in the Environmental Realm Interiority can also be explored and con cep tu al ized in the envi ron men tal or eco log ical realm, such as the nat ‐ ur al flow of light and air with in a space. It can be explained as the land scape inte ri or ity, formed by the align ment and jux ta po si tion of nat ur al ele ments, or as sen so ry inte ri or ity with in the nat ur al envi ron ments. The design of Paley Park by Architect Robert Zion (1967) is focused on pro vid ing a qui et escape from the noise of the city, every detail of the park was craft ed to mit igate city noise and cre ate a peace ful space 20 [ 6 ]. The entire park is slight ly ele vat ed from the street lev el by sev er al steps, the dense ivy on the wal s and the low tree canopy work as a sound bar ri er beside the water ‐ fal fea ture on the back wal pro duces white noise which at up to 90 deci bels sound masks the noise of the busy city [ 7 ]. This may be rec og nized as audi to ry or acoustic inte ri or ity. Seasonal changes in the tree canopy mod er ates the tem per a ture and sun expo sure, as wel as the evap o ra tive cool ing ef ect of the water fea ture, pro vid ing ther mal com fort to the peo ple, thus gen er at ing ther mo dy nam ic inte ri or ity. Limited visu al access into space from the street, inward-fac ing mov ‐ able seat ing, and an infor mal arrange ment of trees cre ‐ ate a feel ing of safe ty, seclu sion, and pri va cy, which are the fun da men tal aspects of the spa tial interiority. Figure 6: Formation of Interiority in Paley Park NYC (1967) Sikiö, Sampo. (2006). “Paley Park @ 53rd St.”. Online Image. Flickr. https://www.flickr.com/photos/sampos/203024733/ from June 12, 2021. Conclusion: Reformulation of Hypothesis The com pre hen sion of inte ri or ity is regard ed as a prospect to retort to var ious design ques tions of pub ‐ lic space intend ed for an improved indi vid ual and col ‐ lec tive expe ri ence. Through mul ti ple inter pre ta tions of inte ri or ity, this paper dis cussed and syn the sized some icon ic cas es and il us trat ed the poten tial par a digm of the design prac tice of urban (or exte ri or) pub lic space. In the broad er con text of my PhD research, I wil analyse whether this par a digm of inte ri or ized pub lic spaces can be reversed through research in design con text and explore how these inter pre ta tions of inte ri ‐ or ity can be “exte ri orised” to explore the par a digm of inte ri or pub lic space [ 8 ]. As Mc Carthy sug gest ed that inside and out side are archi tec tur al elu ci da tions of the bound aries, where as inte ri or ity and exte ri or ity inter lace with in and with out the built con straints of archi tec ture 1 , the reversed par a digm wil focus on the con ti nu ity of out side to inside. The hypoth e sis does not encom pass the dialec tic cor re la tion between urban (or exte ri or) and inte ri or, rather it envis ages the con ti nu ity of the pub lic realm beyond the archi tec tur al façade with the per me ‐ abil ity of bound aries; a blurred thresh old between inte ‐ ri or ity and exte ri or ity. This con ti nu ity can be inter pret ed through the con tin u ous flow of sur faces, forms, voids, or as described as the “con tin u ous inte ri or” of Mark Pimlott 21 , or, as the case of “con di tioned space” 22 and would seek com mon al ities and poten tial compatibilities. Figure 7: Interiority in the Ecological Realm of Paley Park, NYC (1967) Drawings by the author (Sarah Javed Shah) My PhD research on inte ri or pub lic spaces, as com plex set tings with a con tin u ous flow of space, would con test the notion of the (pub lic) inte ri or as lit er al y being bound or enclosed. It wil explore the qual ities of inte ri or pub lic space, such as places for gath er ing and inter ac ‐ tion pro mot ing free doms of move ment, asso ci a tion and action, and advo cat ing con scious ness of the self and oth ers 23 , while con sid er ing the expe ri ence of inte ri or ity beyond the tra di tion al under stand ing, in terms of tran si ‐ tion, move ment, and ephemer al ity 24 . Here, inte ri or ity is per ceived as an engage ment and not a spa tial con di ‐ tion, that can be expe ri enced when the out side is brought in or the inside out. Hence, I would like to com plete with the state ment posed by Gaston Bachelard “… out side and inside are both inti mate – they are always ready to be reversed” 2 . Figure 8: Reformulation of Hypothesis Concept diagram by the author (Sarah Javed Shah) 1 McCarthy, Christine (2005): “Toward a definition of interiority”, in: Space and Culture 8, n.2, pp. 112-125. 2 Bachelard, Gaston (1964): The poetics of space. (M. Jolas, Trans). New York: The Orion Press. 3 Merleau-Ponty, Maurice (1962): The phenomenology of perception (C. Smith, Trans.). London and New York: Routledge. 4 Atmodiwirjo, Paramita, Yandi AndriYatmo, and Verarisa Anastasia Ujung (2015): “Outside interior: Traversed boundaries in a Jakarta urban neighbourhood”, in Idea Journal 15, n.1, pp. 78-101. 5 Atmodiwirjo, Paramita (2018): “Multiple perspectives on Interiority”, in: Interiority 1, n.1, pp.1-3. 6 Teston, Liz (2018): “Public interiority: An urban experience, independent from architectural interiors”, in: Interior-Inferior-In Theory? Contemporary Positions in Interior Design Theory Conference, BAU International, Berlin, Germany. 7 Benedikt, Michael (2002): “Environmental Stoicism and Place Machismo”, in: Harvard Design Magazine, 16, pp. 1-8. 8 Bravo, David (2018): “Stadshal”: Market Hal and Central Squares. Public Space, https://www.publicspace.org/works/-/project/h031-stadshal-market-hal -and- central-squares from April 20, 2021. 9 Attiwil , Suzie (2011): “Urban Interior: interior-making in the urban environment”, in: Proceedings of the 2011 IDA Congress Taipei Education Conference, pp. 217-224. 10 Sennett, Richard (2016): Interiors and Interiority. Symposium on Architecture: Interior Matters. Harvard Graduate School of Design, www.youtube.com/watch? v=hVPjQhfJfKo from April 23, 2021. 11 Olkowski, Dorothea, and James Morley, (eds) (1999): Merleau-Ponty: Interiority and Exteriority, Psychic Life, and the World. New York, NY: Suny Press. 12 Rodrigo, Russel (2012): “Minimalist Aesthetics and the Imagined and Inhabited Interiority of Peter Eisenman’s Memorial to the Murdered Jews of Europe”, in: Idea Journal 12, n.1, pp. 46-59. 13 Ochsner, Jef rey Karl (1997): “A space of loss: the Vietnam Veterans Memorial”, in: Journal of Architectural Education 50, n.3, pp. 156-171. 14 Kassem, Ayman (2019): “Performative Interiors: Terminological and Theoretical Reflections on the Term ‘Performative’”, Interiority 2, n.1, pp. 95-106. 15 Teston, Liz (2020): “On the nature of Public Interiority”, in: Interiority 3, n.1, pp.61-82. 16 Power, Jacqueline (2014): “The liminality of interiority: Australian indigenous cosmological space”, SITUATION Symposium and Exhibition, pp.88-90. 17 Frearson, Amy (2012): Superkilen by BIG, Topotek1 and Superflex. Dezeen Magazine, https://www.dezeen.com/2012/10/24/superkilen-park-by-big-topotek1-and- superflex/ from June 13, 2021. 18 Leveratto, Jacopo (2019): “Urban interiors: a retroactive investigation”, in: Journal of Interior Design, 44, n.3, pp. 161-171. 19 Le Corbusier (1923): Towards a New Architecture. Oxford: Architectural Press. 20 Project for Public Spaces (2015): Great Public Spaces: Paley Park, New York City, NY, USA, https://www.pps.org/places/paley-park from April 28, 2021. 21 Pimlott, Mark (2010): “Notes on the very extensive or continuous interior”, in: Peressut, Luca Basso, Imma Forino, Gennaro Postiglione & Roberto Rizzi (eds.), Interior Wor (l) ds, Umberto Al emandi & C: Torino, Italy, pp: 45-55. 22 Koolhaas, Rem (2002): “Junkspace”, in: October, 100 (Spring 2002), pp. 175-190. 23 Pimlott, Mark (2018): “Interiority and the conditions of interior”. Interiority 1, no.1, pp. 5-20. Peressut, Luca Basso, Imma Forino, Gennaro Postiglione, and Roberto Rizzi. "Interior Wor (l) ds." (2010). 24 Poot, Tine., De Vos, Els and Marten Van Acker (2018): “Thinking beyond dualities in public space: The unfolding of urban interiority as a set of interdisciplinary lenses”, in: Interiors, 9, no.3, pp. 324–345. Development of a Handover Approach in Design for Dementia Lieke Lenaerts, KU Leuven Niels Hendriks, LUCA School of Arts – KU Leuven Andrea Wilkinson, LUCA School of Arts – KU Leuven Initial doctoral stage Supervisors: Niels Hendriks, LUCA School of Arts – KU Leuven; Bart Geerts, LUCA School of Arts – KU Leuven; Andrea Wilkinson, LUCA School of Arts – KU Leuven; Rita Maldonado Branco, University of Minho; Rens Brankaert, Dépôts des Arts; Roel Vandebeek, Dépôts des Arts # peo ple liv ing with demen tia, demen tia, design for demen tia, han dover tools Abs In design practice it’s often chal enging for designers to t meet PLWD – People Living with Dementia referring to ra people with dementia and their (in)formal caregiver ct network (Brankaert, 2016). In these cases there’s a need for handover approaches to transfer unique experiences with PLWD from one designer who had experiences with PLWD to members of the design team who are unable to meet PLWD. This paper describes 3 concerns in the development of handover approaches, that emerged from a literature review combined with ethnographic research. These concerns provide a framework for the creation of a video as a tool to handover unique experiences with PLWD. This video was presented at the CA²RE / CA²RE+ Ljubljana conference and provided valuable insights for future research. Ex The need for a handover in design te for dementia nde To design prod ucts for PLWD 1 , design ers have to fos ter d an under stand ing for the PLWDs expe ri ences 2 . The abs involve ment of PLWD in the design process enables t design ers to estab lish a deep design er-user rela tion ra result ing in a more suc cess ful out come 3 , 4 . However ct there are lim ita tions to their involve ment; the vul ner a bil ‐ i ty of PLWD, impair ments of demen tia, the lack of empa thy of the design er… 5 , 6 . These lim ita tions can result in an unbal anced design er-user rela tion that can bur den PLWD 7 , 8 , 9 . In addi tion, lit er a ture sug gests that includ ing PLWD in the design process requires an addi tion al invest ment in time and resources 10 , 11 , 12 Although the inclu sion of PLWD should always be con ‐ sid ered, han dover approach es are need ed when it’s hard to include PLWD in the design process, or in times when con tact with PLWD is denied (e.g. Covid-19). There are exist ing means (e.g. mar ket ing data, quan ti ta ‐ tive reports, stereo type inter pre ta tions about PLWD) to com mu ni cate about PLWD to design ers, but giv ing them lit tle under stand ing into the lives of PLWD 13 , 14 . The aim of the doc tor al research is to devel op acces si ‐ ble han dover approach es to trans fer the expe ri ences from PLWD, to mem bers of the design team who are unable to meet PLWD. Ethnographic research and literature review The doc tor al research start ed with ethno graph ic research and a lit er a ture study to pro vide a frame work for the cre ation of han dover approach es. PLWD were vis it ed on a week ly basis with in dif er ent con texts (e.g. at home, a day care cen ter, a care home; from ear ly diag no sis to more advanced stages; elder ly and peo ple with young onset demen tia). Through these inter ac ‐ tions, obser va tions and inter views, insights were gained into mul ti ple aspects of the every day life of PLWD. These lived expe ri ences were visu al ized with il us tra ‐ tions pro vid ing moments of auto-ethno graph ‐ ic reflection. Figure 1 Simultaneously lit er a ture was reviewed, focus ing on rel ‐ e vant top ics to the doc tor al study (e.g. demen tia, empa ‐ thy in design, han dover tools). Commonalities were iden ti fied with the insights from the ethno graph ic research. Both addressed sev er al points of con cern in the design of han dover approach es main ly due to the diver si ty and com plex ity inher ent to demen tia. These con cerns were cat e gorised and three main chal ‐ lenges emerged; 1. The first identified chal enge revolved around the influence of the designer on the transferred experience The prin ci pal design er (i.e. the design er with expe ri ence with PLWD) has the task to devel op a rela tion with PLWD and trans fer these expe ri ences to oth er mem ‐ bers of the design team. The prin ci pal design er has to under stand the struc ture of the design team in order to tai lor the han dover approach and rep re sent PLWD at design-team meet ings 15 , 16 . Since not al design ers pos sess these skil s, a chal enge is decid ing who wil per form this task. 2. The uniqueness of each experience with PLWD A suc cess ful trans fer of expe ri ences is dif i cult to achieve 21 , but trans fer ring expe ri ences with PLWD makes it even more chal eng ing 22 . During the week ly vis its with PLWD an ‘unique ness’ with each PLWD was per ceived. The dif er ences (e.g. per son al ity, con text, stage of demen tia) between PLWD, turns every design ‐ er-user rela tion into an unique expe ri ence 23 , 24 , 25 . The sec ond con cern deals with the unique ness of each PLWD, oppo site to the design of prod ucts for a wide user-group of PLWD. Should the han dover approach trans fer this unique ness? Or would it be ben e fi cial to gen er al ize expe ri ences with PLWD? 3. The search for approaches that are able to transfer these experiences Which approach es sup port the trans fer of expe ri ences with PLWD from the prin ci pal design er to oth er design ‐ ers? Future research wil exper iment with dif er ent media (e.g. lit er a ture, doc u men taries, video, sto ry ‐ boards, per sonas), and exist ing han dovers; expe ri ence pro to typ ing 26 , han dover meet ings 27 , ideation work ‐ shops 28 , and the use of an exter nal spe cial ist 29 . These exist ing approach es lack test ing in the con text of demen tia. The only tool known to han dover insights from PLWD to design ers is the empath ic han dover approach 30 , but fur ther research is need ed for this approach to be used in the design process of prod ucts with PLWD as the main user 31 . A framework for handover approaches The ini tial research pro vides a frame work that sup ports the design of ways to han dover expe ri ences with PLWD. In this paper the focus lies on the cre ation of a 10 min video, as a han dover tool. This choice wil be explained using the frame work of the three chal enges; 1. The influence of the designer on the transferred experience A video for mat was cho sen to trans fer the expe ri ences from the prin ci pal design er dur ing the ethno graph ic research. To stay as close to the orig inal expe ri ence of the PLWD as pos si ble, first an empath ic under stand ing between the design er and PLWD was estab lished by reg u lar vis its. Secondly, video footage with out heavy alter ations shows the orig inal expe ri ence, oppo site to il us tra tions visu al iz ing an inter pre ta tion of an expe ri ‐ ence. And third ly, a video can show the mul ti ple sides of demen tia instead of focus ing on the stereo type inter ‐ pre ta tions often seen in the media. Instead of con tribut ing to the stig ma sur round ing demen tia 32 , the aim of the video is to trans fer insights into the lives of PLWD. 2. The uniqueness of each experience with PLWD Literature sug gests that when empa thy is built towards one rep re sen ta tive, this can lead to an empath ic atti ‐ tude towards the entire group 33 . Designing for one results in an indi vid ual out come, but often this out come can be scaled to a wider group of PLWD 34 , or the empath ic atti tude pro vides inspi ra tion for more gen er al prod ucts 35 , 36 , 37 ). On the oth er hand the video can gen er al ize some sim ilar aspects of the larg er group of PLWD (e.g. user and care require ments) 38 . The video became a com bi na tion of the two; por tray ing the gen er al aspects of demen tia (e.g. stages, con texts, require ments), while recog nis ing the per son hood of each PLWD (e.g. per son al ity, inter ests, aes thet ics). Additional y by show ing mul ti ple PLWD in the video, the risk of con fronting the view er with one per son that might evoke spe cif ic feel ings, is avoid ed 40 . 3. The search for approaches that are able to transfer these experiences A video leaves room for flex ibil ity to be used in many pro fes sion al design con texts (i.e. num ber of design ers, com pa ny atmos phere, prod uct cat e go ry) 41 . The for mat can be eas ily inte grat ed into the already exist ing design prac tice 42 or as part of exist ing han dover approach es. Taking Covid-19 restric tion into con sid er a tion, a video instal a tion is suit able for both phys ical and online purposes. Figure 2 CONCLUSION In this paper a frame work of three chal enges was pre ‐ sent ed for the cre ation of han dover approach es. A 10 min video43 was made as a con crete exam ple to tack le the three con cerns raised in the frame work. The pan el mem bers from the CA²RE / CA²RE+ Ljubljana con fer ence watched the video as a mate ri al isa tion of a han dover approach to start a larg er dis cus sion on the top ic at the con fer ence. The pan el mem bers agreed that the video trans ferred an over al respect and dig ni ty for PLWD, while show ing the unique ness of each case of demen tia (i.e. 2n d con cern). By not show ing the faces of the PLWD in the video, a view er estab lish es an empath ic band with the PLWD por trayed and auto mat i‐ cal y fil s in the gaps with their own relat able expe ri ‐ ences. However the video was influ enced by the design er; use of fram ing, col or, back ground sounds, pace of talk ing… (i.e. 1s tcon cern). The main feed back from the pan el mem bers was to analyse the PhD stu ‐ dents' own way of com mu ni cat ing about PLWD and trans fer ring her expe ri ences with PLWD. This analy sis wil pro vide a bet ter under stand ing into the abil ities of approach es to trans fer expe ri ences (3r d concern). 1 People Living with Dementia, referring to people with dementia and their (in)formal caregiver network (Brankaert, 2016). 2 Kitwood, T. (1997): Dementia Reconsidered. Berkshire: Open University Press. 3 Kensing, F., & Greenbaum, J. (2012): International Handbook of Participatory Design: Heritage: having a say. London: Routledge. 4 Branco, R.M., Quental, J., &, Ribeiro, O. (2015): Getting Closer, Empathising and Understanding: Setting the Stage for a Codesign Project with People with Dementia. Interaction Design and Architecture(s) Journal 26, pp. 114-131. 5 Smeenk, W., Sturm, J., & Eggen, B. (2017): Empathic handover: How would you feel? Handing over dementia experiences and feelings in empathic co-design. CoDesign 14(4), pp. 259-274. 6 Hendriks, N. (2019): The involvement of people with dementia in the design process. Leuven: KU Leuven. 7 Van Rijn, H., Sleeswijk Visser, F., Stappers, P.J., &, Özakar, A.D. (2011): Achieving empathy with users: the ef ects of dif erent sources of information. CoDesign 7(2), pp. 65-77. 8 Postma, C. E., Zwartkruis-Pelgrim, E., Daemen, E., &, Du, J. (2012): Chal enges of doing empathic design: Experiences from industry. International Journal of Design 6(1), pp. 59-70. 9 Smeenk, W., Sturm, J., and Eggen, B. (2017): Empathic handover: How would you feel? Handing over dementia experiences and feelings in empathic co-design. CoDesign 14(4), pp. 259-274. 10 Postma, C. E., Zwartkruis-Pelgrim, E., Daemen, E., & Du, J. (2012): Chal enges of doing empathic design: Experiences from industry. International Journal of Design 6(1), pp. 59-70. 11 Pal, J. (2017): The Fal acy of Good: Marginalized Populations As Design Motivation. Interactions 24(5), pp.65–67. 12 Smeenk, W., Sturm, J., & Eggen, B. (2017): Empathic handover: How would you feel? Handing over dementia experiences and feelings in empathic co-design. CoDesign 14(4), pp. 259-274. 13 Sleeswijk Visser, F. S., &, Kouprie, M. (2008): Stimulating empathy in ideation workshops. Bloomington, IN: Indiana University. Conference on Participatory Design., pp. 174-177. 14 Pratte, S., Tang, A., &, Oehlberg, L. (2021): Evoking Empathy: A Framework for Describing Empathy Tools. Salzburg, Austria: TEI ’21. 15 Lindsay, S., Jackson, D., Ladha, C., Ladha, K., Brittain, K., & Olivier, P. (2012): Empathy, Participatory Design and People with Dementia. CHI, pp. 521-530. 16 Smeenk, W., Sturm, J., &, Eggen, B. (2017): Empathic handover: How would you feel? Handing over dementia experiences and feelings in empathic co-design. CoDesign 14(4), pp. 259-274. 17 Lindsay, S., Jackson, D., Ladha, C., Ladha, K., Brittain, K., & Olivier, P. (2012): Empathy, Participatory Design and People with Dementia. CHI, pp. 521-530. 18 Branco, R.M., Quental, J., & Ribeiro, O. (2015): Getting Closer, Empathising and Understanding: Setting the Stage for a Codesign Project with People with Dementia. Interaction Design and Architecture(s) Journal 26, pp. 114-131. 19 Buchenau, M., &, Suri, J.F. (2000): Experience Prototyping. Proceedings of the conference on Designing interactive systems processes, practices, methods, and techniques. New York: ACM Press, pp. 424-433. 20 Lindsay, S., Jackson, D., Ladha, C., Ladha, K., Brittain, K., & Olivier, P. (2012): Empathy, Participatory Design and People with Dementia. CHI, pp. 521-530. 21 Buchenau, M., &, Suri, J.F. (2000): Experience Prototyping. Proceedings of the conference on Designing interactive systems processes, practices, methods, and techniques. New York: ACM Press, pp. 424-433. 22 Hendriks, N. (2019): The involvement of people with dementia in the design process. Leuven: KU Leuven. 23 Kitwood, T. (1997): The experience of dementia. Aging & Mental Health 1(1), pp. 13–22. 24 Gove, D., Diaz-Ponce, A., Georges, J., Moniz-Cook, E., Mountain, G., Chattat, R., Øksnebjerg, L. & The European Working Group of People with Dementia. (2017): Alzheimer Europe’s position on involving people with dementia in research through PPI (patient and public involvement). Aging & Mental Health. 25 Hendriks, N. (2019): The involvement of people with dementia in the design process. Leuven: KU Leuven. 26 Buchenau, M., &, Suri, J.F. (2000): Experience Prototyping. New York: ACM Press. Conference on Designing interactive systems processes, practices, methods, and techniques, pp. 424-433. 27 Matthews, B. &, Clark, B. (2005): Practical action as inquiry: facilitating appropriation in a design handover event. Bremen, Germany: University of the Arts Bremen. International Conference of the European Academy of Design, EAD06. 28 Kouprie, M. &, Sleeswijk Visser, F. (2009): A framework for empathy in design: stepping into and out of the user's life. Journal of Engineering Design, Vol 20(5), 437-448. 29 Zingoni, M. (2019): Beyond Aesthetics, Empathy First. The Design Journal 22(3), pp. 351-370 30 Smeenk, W., Sturm, J., &, Eggen, B. (2017): Empathic handover: How would you feel? Handing over dementia experiences and feelings in empathic co-design. CoDesign 14(4), pp. 259-274. 31 Smeenk, W., Sturm, J., &, Eggen, B. (2017): Empathic handover: How would you feel? Handing over dementia experiences and feelings in empathic co-design. CoDesign 14(4), pp. 259-274. 32 Van Gorp, B. &, Vercruysse, T. (2011): Framing en reframing: anders communiceren over dementie. Centrum voor Mediacultuur en Communicatietechnologie. Leuven: KU Leuven - Koning Boudewijnstichting. 33 Pratte, S., Tang, A., &, Oehlberg, L. (2021): Evoking Empathy: A Framework for Describing Empathy Tools. Salzburg, Austria: TEI ’21. 34 Wilkinson, A. (2020): Designing for one: How designing for one enriches the student design process. Leeds: The University of Leeds, School of Design. 35 Boehner, K., Sengers, P., &, Warner, S. (2008): Interfaces with the inef able: Meeting aesthetic experience on its own terms. ACM Transactions on Computer-Human Interaction 15(3), No.12, pp. 1-29. 36 Holmquist, L.E. (2004): User-Driven Innovation in the Future Applications Lab. CHI, Association for Computing Machinery, pp. 1091-1092. 37 Lindsay, S., Jackson, D., Ladha, C., Ladha, K., Brittain, K., &, Olivier, P. (2012): Empathy, Participatory Design and People with Dementia. CHI, pp. 521-530. 38 Slegers, K., Hendriks, N., &, Wilkinson, A. (2013): Active Col aboration in Healthcare Design: Participatory Design to Develop a Dementia Care App. CHI 2013 Extended Abstracts, April 27–May 2, 2013, Paris, France. ACM 978-1-4503-1952-2/13/04. 39 Rochford-Brennan & Keogh, 2020 Rochford-Brennan, H., and Keogh, F. (2020): Giving voice to those directly af ected by the COVID-19 pandemic - the experience and reflections of a person with dementia. HRB 3(29). 40 Van Gorp, B. &, Vercruysse, T. (2011): Framing en reframing: anders communiceren over dementie. Centrum voor Mediacultuur en Communicatietechnologie. Leuven: KU Leuven - Koning Boudewijnstichting. 41 Pratte, S., Tang, A., &, Oehlberg, L. (2021): Evoking Empathy: A Framework for Describing Empathy Tools. Salzburg, Austria: TEI ’21. 42 Gould, R.K., Bratt, C., Mesquita, P.L., &, Broman, G.I. (2019). Integrating Sustainable Development and Design-Thinking-Based Product Design. Springer Nature Singapore Pte Ltd. ation towards. 43 https://www.youtube.com/watch?v=MUepkE5Zd_w Adaption through Design Coastal Ecological Corridor as a Nature- based Defense to Tackle Rising Sea Level Jiaxi Li, Politecnico di Milano Initial doctoral stage Supervisors: Matteo Umberto Poli, Politecnico di Milano; Andrea Oldani, Politecnico di Milano # sea-lev el rise, eco log ical cor ri dor, Chongming Island Abs Due to the lack of concentrate on ecology, land t subsidence caused by rampant urbanization, and ra therefore the consequences of absolute lowland rise ct pose a direct threat to cities. This research aims to explore the design of coastal ecological corridors combining recreation and tourism in order to let it absorb the impact of sea-level rise and, at the same time, curtail the speed of land subsidence. This research is Design-driven research based on the Chongming Island, located at the mouth of the Yangtze in China. This research seeks to provide designers with design references for this type of project. The paper briefly introduces nature-based ecological corridors and integrated solutions in the construction of coastal resilience and analyzes changes in land use and landscape pattern on Chongming Island. The outcome wil be applied to coastal wetlands, coastal ecological network construction, etc., to reduce the threat of land subsidence and slow lowland rise. E Due to the lack of con cen trate on ecol o gy, land sub si ‐ xt dence caused by ram pant urban iza tion, and there fore en the con se quences of absolute low land rise pose de a direct threat to cities 1 . This research aims to explore d the design of coastal eco log ical cor ri dors com bin ing abs recre ation and tourism in order to let it absorb the tr impact of sea-lev el rise and, at the same time, cur tail ac the speed of land sub si dence. This research is Design- t dri ven research based on the world's largest estu ary sed iment island, Chongming Island, locat ed at the mouth of the Yangtze in China. This research seeks to pro vide design ers with design ref er ences for this type of project. The paper briefly intro duces nature-based eco log ical cor ri dors and inte grat ed solu tions in the con ‐ struc tion of coastal resilience and ana lyzes changes in land use and land scape pat tern on Chongming Island. This research wil focus on coastal eco log ical cor ri dors' con nec tiv ity, width, and com po si tion. The out come wil be applied to coastal wet lands, coastal eco log ical net ‐ work con struc tion, etc., to reduce the threat of land sub ‐ si dence and slow low land rise, par tic u lar ly the impact of coastal dis as ters, where as improv ing cit izens' psy ‐ cho log ical perception. Figure 1: Chongming Island Ecological Network Planning Map(Within Shanghai) 2017-2035 Introduction Global y, the sea lev el has been ris ing for more than 100 years, and it is expect ed to rise faster in the fore see ‐ able future 1 . As the cen ter of the Yangtze River Delta, Shanghai faces the prob lem of ris ing water lev els and the prob lem of grad ual sink ing 2 . As a sig nif icant eco ‐ log ical bar ri er for Shanghai's future devel op ment, Chongming Island has been increas ing year by year through recla ma tion under the demand of rapid urban ‐ iza tion and land expan sion. However, the area of arable land and water bod ies has con tin ued to decrease. In par tic u lar, the water body has the largest decline, which has inten si fied land sub si dence on Chongming Island, increas ing pres sure on bio di ver si ty pro tec tion and increas ing pres sure in the face of ris ing sea lev els 3 . The gray infra struc ture built to "con trol" floods, espe ‐ cial y in extreme weath er con di tions, has become increas ing ly inef ec tive. 4 Policy”Eco-Chongming”: Nature- based solutions in coastal protection Studies have shown that solu tions based on coastal nature can reduce the dam age of floods and storms more ef ec tive ly than gray infra struc ture alone and are more resilient. Traditional, con crete-based coastal defence struc tures are not able to adapt to and com ‐ pen sate for sea-lev el rise and, there fore, need to be reg ‐ u lar ly main tained and rein forced. In addi tion, this struc ‐ ture often leads to unnec es sary ero sion of oth er sites. Ecological cor ri dor is an attrac tive option for coastal protection:they reduce wave strength and pro tect the coast from ero sion, there by sta bi liz ing the ris ing coast ‐ line. In con trast to con crete-based solu tions, Ecological cor ri dor can grow as sea-lev el rise or, if nec es sary, can be eas ily adapted(4). Broadly speak ing, the coastal eco ‐ log ical cor ri dor is com posed of green, blue, and gray infra struc ture. It wil involve green roofs, rain gar dens, sunken green spaces, per me able pave ment design, and the trans for ma tion of build ings to nat ur al envi ron ments. Therefore, with the "eco log ical Chongming" pol icy pro ‐ posed, com pared with the con struc tion of hard dams, the con struc tion of land scape eco log ical cor ri dors has become a mean ing ful way to slow down the speed of land sub si dence and absorb the impact of sea-lev ‐ el rise. Broken landscape and tourism Chongming Island has a flat ter rain and fer tile land. It is suit able for urban con struc tion and farm land devel op ‐ ment. Frequent devel op ment and uti liza tion activ ities result in the frag men ta tion of nat ur al land scapes, diver ‐ si fi ca tion of arti fi cial land scapes, and frag men ta tion of land scapes. This land scape made of frag ments dis ‐ persed in the ter ri to ry has proved to be an inef i cient mod el 5 . However, the tourist eco log ical cor ri dor can make the sys tem work prop er ly as a whole by con nect ‐ ing the nat ur al, social, and cul tur al areas by con nect ing dif er ent habi tat patch es in series Coasts.(Fig.2) On the oth er hand, the coast is vital for tourism and enter tain ment. There is evi dence that the devel op ment of nat ur al assets, bio di ver si ty pro tec tion, and dis as ters man age ment can improve the com pet itive ness of tourist des ti na tions, there by pro mot ing the pos itive cor ‐ re la tion between tourism growth and eco nom ic expan ‐ sion. Therefore, the splic ing of land scape frag ments for the pur pose of tourism devel op ment enhances the coastal resilience of nature-based solu tions 6 . Figure 2: Change rate of dif erent land use types Changes in the occupation and uses of the land With the sup port of GIS, aer ial pho tos in 2000 and 2020 were used to ana lyze the land-use changes in Chongming Island. In the past 20 years, the total area of the study area has increased year by year. The area of con struc tion land, for est land, tidal flats, and unused land increased by 5.47%, 18.39%, 42.30%, and 203.74%, respec tive ly; the area of cul ti vat ed land and water bod ‐ ies decreased by ‐3.82% and ‐39.81%, respectively. The changes between land-use types are main ly from tidal flats to agri cul tur al land, breed ing farms, green spaces, water bod ies; agri cul tur al land to aqua cul ture farms, res iden tial land, green spaces; and water bod ies to agri cul tur al land, and aqua cul ture farms, and tidal flats(3). In sum ma ry, Chongming Island is fac ing prob lems such as land sub si dence and fre quent floods and droughts due to the sharp decrease of the water body area, nat ‐ ur al wood land and oth er nat ur al areas, the increase of con struc tion land area which occurred in the urban devel op ment process in the past two decades. Nature- based coastal pro tec tion and sus tain able coastal land ‐ scape design pil s need to be applied in eco log i‐ cal corridors. Methodology The method ol o gy to approach this research pro pos al is a mix ture of meth ods used to cor rob o rate and val idate the research. . Literature review:The selec tion of stud ies to be includ ed in our review and the studying . Graphical analy sis: redraw and remod el cases . Critical sur vey: inves ti ga tion of qual ita tive aspects that define the iden ti ty of the place . Elaborate a replic a ble method ol o gy to apply the study to oth er coastal area. Good practice examples: I would like to men tion some projects that have devel ‐ oped these ideas. I have cho sen three types of projects relat ed to the topic: Landscape recov ery projects instal ed “Sustainable Urban Drainage System(SuDS): The Ekostaden Augustenborg ini tia tive, Sweden Spatial plans relat ed with tourism or recre ation : The case of Menorca, The liv ing breakwaters(Fig.3) Design of eco log ical corridor:Tomar Cultural Greenway(Portugal) Most of them have been recog nised with nation al and inter na tion al awards which show the inter est of their method olo gies and proposals. Figure 3: Revive recreational economics The living breakwaters 1 Nobuo MIMURA,(2013),Sea-level rise caused by climate change and its implications for society, 2013. 2 Gong,S.L.,(2008), Comprehensive Analysis of Influencing Factors of Land Subsidence in Shanghai and Research on Control Countermeasures of Land Subsidence System(in Chinese), p.p84-98. 3 Tong,L.,(2010), Analysis of Land Use and Landscape Pattern Changes in Chongming from 2000 to 2010. 4 McKenna Davis, Ina Krüger & Mandy Hinzmann,(2015), Coastal Protection And Suds - Nature-Based Solutions. 5 Miriam García García, (2015),Spanish Coastal Landscapes After the Speculative Tsunami. 6 Kelsey Schueler,(2017),Nature-Based Solutions To Enhance Coastal Resilience The Housing Issue in Global South Countries A methodological Approach to Define Innovative Housing Solutions and Policies in Informal Urban Settlements in Sub- Saharan Africa Alessia Macchiavel o, Politecnico di Milano Initial doctoral stage Supervisor: Laura Montedoro, Politecnico di Milano # Sub-Saharan Africa, African cities, Housing, Slum-Upgrading Abs The extended abstract is a reflection on the t methodological approach I’m using in my doctoral ra research which aims to use the projects as a research ct tool declined in two ways: on the one hand, the project wil be a tool for the analysis of reality through the observation of existing situations. On the other hand, the project wants to be an empirical instrument of knowledge: through the investigation of some projects, I aim to bring out the problems of social housing in the countries of the South of the world. In fact, the working methods that wil be privileged consists of two types: the analytical one, to describe, interpret, contextualise and deepen specific concepts or phenomena; the empirical one, used in the field with regard to the identification of implemented projects, instrumental in deepening problems and ways of using housing in Sub- Saharan Africa, necessary to understand possible strategies to guide a process of housing development. E The research project aims to analyse the hous ing issue xt in the coun tries of the Global South. In addi tion to en inves ti gat ing the phe nom e non, it wil focus on strate ‐ de gies to guide a process of devel op ing af ord able, low d envi ron men tal impact hous ing, max imis ing social abs accept abil ity, archi tec tur al and urban quality. tra Being at an ear ly stage of my PhD research, I based my ct pre sen ta tion for the Ljubljana CA2RE con fer ence by reflect ing on the method olog ical approach to the research top ic since the work ing meth ods that wil be priv ileged con sists of two types: the ana lyt ical one, to describe, inter pret, con tex tu alise and deep en spe cif ic con cepts or phe nom e na, based on the read ing, inter ‐ pre ta tion and con stant ver ifi ca tion of infor ma tion and data; the empir ical one, used in the field with regard to the iden ti fi ca tion of imple ment ed projects, instru men tal in deep en ing prob lems and ways of using hous ing in Sub-Saharan Africa, and through the design probes nec es sary to under stand pos si ble strate gies to guide a process of hous ing devel op ment aimed at improv ing the com fort, sus tain abil ity and af ord abil ity of buildings. It is only in recent decades that the theme of the social habi tat has tak en on a role of great rel e vance with in crit ical dis ci pli nary reflec tion. The 15t hArchitecture Biennale, "Reporting from the front" , curat ed by Alejandro Aravena, can be tak en as a syn the sis and as one of the high est moments in which these themes have been put at the cen tre of the debate, as the cura ‐ tor him self under lines: "[…] The con cept of qual ity of life extends from basic phys ical needs to the most abstract dimen sions of the human con di tion. It fol ows that improv ing the qual ity of the built envi ron ment is a chal enge to be met on many fronts, from ensur ing prac ti cal and con crete stan dards of liv ing to inter pret ‐ ing and real is ing human desires, from respect ing the indi vid ual to car ing for the com mon good, from accom ‐ mo dat ing the per for mance of every day activ ities to encour ag ing the expan sion of the fron tiers of civilisation." Figure 1 If we go deep into the dis ci pli nary tra di tion and recon ‐ struct the time line of the debate of low-cost hous ing in Global South con texts through some crit ical texts (D'Auria V. et. al., 2010), we go back to the roots of the debate on the social hous ing project: the CIAM IX of 1953. It was on this occa sion that the term habi tat was born, when, espe cial y the mem bers of Team Ten, under took to rein ter pret the tra di tion of the Modern Movement, bring ing the inhab itant to the fore front and assign ing him a fun da men tal role in the project. The main char ac ter is tics of the habi tats were typo log ical inde ter mi na cy, flex ibil ity and non-enclo sure, i.e. the unde fined a pri ori pos si bil ity to evolve, grow and change almost spon ta neous ly, like the vil ages, espe ‐ cial y the African and Maghreb vil ages and the sub ur ‐ ban squat ters of the Global South. This exam ple shows how reflec tion on hous ing issues in the African con ti ‐ nent has ancient roots and was a field of exper imen ta ‐ tion that al owed the pro tag o nists of those research es to rede fine the coor di nates of "anoth er moder ni ty", which con sist ed in the assim ila tion of mod ern archi tec ture through the search for a point of medi a tion with places and cultures. In spite of the rel e vance of the top ic and a wealth of research in dif er ent con texts in the glob al south, the research on social hous ing in Sub-Saharan African coun tries has not yet con sol idat ed a crit ical mass of expe ri ences that could spread new, more vir tu ous prac ‐ tices. While soci o log ical, eco nom ic and urban plan ning phe nom e na have been wel described in the lit er a ture, an accu rate look from a project per spec tive seems to be lacking. Therefore, the research aims to use the project as a research tool to under stand how it behaves in con ‐ texts of pover ty, inequal ity and the ef ects of cli mate change, declined in two ways: on the one hand the project wil be an ana lyt ical tool of real ity through which to observe the exist ing (com par ison of case stud ies sig ‐ nif icant to the under stand ing and descrip tion of the phe nom e non) and, on the oth er hand, the project wants to be an empir ical tool of knowl edge, through which to deep en some project probes to bring out more clear ly the prob lems relat ed to the social hous ing issue of the coun tries of Global South. My doc tor al research seeks to engage in the debate on low-cost hous ing in the Global South con texts with out, how ev er, fal ing into triv ial iza tion by con fus ing the for mal, and the con trol it implic it ly entails, with a kind of racial restric tion, result ‐ ing in the worst cas es in an ide al ized replace ment of the for mal with a naive and pic turesque cel e bra tion of infor mal ity as the only alter na tive to gov ern ment con trol over the pro duc tion of city space. In the face of such gen er al iza tion, it is nec es sary to refer to mod els that have been con sol idat ed in their process through agree ‐ ments between poli cies designed and direct ed from above and cit izen par tic ipa tion from below, and it is in the fur row of these stud ies that my research pro pos es to be inserted. Within the just out lined frame work, to look to projects thought ana lyt ical and empir ical approach, I com pared two case stud ies: PREVI Lima (1965) and Elemental Chile (2002) in order to start from the diag no sis of the cur rent sit u a tion and the best of the inter na tion al expe ‐ ri ence in this field. Both projects are in South America in fact, until the begin ning of the 21s tcen tu ry, it was Latin America that led the field of research on exper i‐ men ta tion and hous ing poli cies in infor mal settlements. PREVI is a par a dig mat ic con sol idat ed case that address es how to strike a bal ance between these extremes. Its evo lu tion and sub se quent changes were essen tial y antic ipat ed in the orig inal design, but four decades of infor mal muta tion gives evi dence that the for mal def in ition and con sol ida tion of its urban voids has proved the need for for mal con trol as a means to incor po rate the degrees of flex ibil ity and change that any com mu ni ty needs. ELEMENTAL is stil a “young project”, per haps is stil too ear ly to draw con clu sions about the process, which is stil ongo ing, but pre cise ly because of this it is inter est ing to under stand how it is evolv ing. In both cas es, PREVI and Elemental, the com ‐ mu ni ties were involved in the deci sions to be tak en and pos si bil ities were left open for future expan sion, mod ifi ‐ ca tion and cus tomi sa tion, accord ing to chang ing needs, growth in the num ber of mem bers or improve ments in the eco nom ic con di tions of the fam ilies to whom the accom mo da tion is al o cat ed. In order to com pare the two projects and learn, both from their suc cess es and fail ures, I pro pose to group the para me ters to eval u ate the qual ity of the liv ing space into sub-vari ables: the func tion al ity, spa tial ity and flex ibil ity of the hous ing solu tion, the tech ni cal con struc tion aspects and final y, the eco nom ic aspects that are con nect ed and relat ed to the two pre vi ous ones and the rela tion ship of the hous ‐ ing with the city, its link with the urban context. Figure 2 The aim for which I decid ed to approach the debate using these two case stud ies is to try to iden ti fy pos itive and neg a tive aspects of the process es and results in order to make con sid er a tions to improve the design qual ity of the social hous ing in Sub-Saharian Africa and to set the method olog ical scheme in order to repli cate it on a larg er num ber of case stud ies which are going to organ ise my ana lyt ical and empir ical work ing method. One of the first out come of this analy sis has been the recog ni tion of com mon denom ina tor of these projects, name ly the prin ci ples of flex ibil ity and adapt abil ity, addressed and devel oped by each design er accord ing to dif er ent cri te ria and expe di ents. Usual y, researchers and archi tects use “flex ible” for phys ical changes and “adapt able” for non-phys ical changes. Steven Groák pro posed a dis tinc tion between these two terms; he defined “adapt abil ity as capa ble of dif er ent social uses and flex ibil ity as capa ble of dif er ent phys ical arrange ‐ ments”. So, in gen er al, we can say that a house is not a sol id build ing; it is a sys tem of activ ity. Any changes in the house users, their needs and the phys ical and cul tur al envi ron ment require a flex ible sys tem to adapt itself accord ing to the changes. Literature Crawhal . Niegel. 2007. The Role of participatory cultural mapping in promoting intercultural dialogue. UNESCO Division of Cultural Policies and Intercultural Dialogue. D’Auria V., B. De Meulder, K. Shannon, 2010. The Nebulous Notion of Human Settlements, UFO2. Amsterdam: Sun Academia; Finlayson, K. A. Squatting and the Role of Informal Housing in Incremental Growth and Self Improvement. ITCC Review, Oct. 1978, v.7, n.4, pp. 42-52. Fondazione Bruno Zevi, 2012. Previ-Lima: Architettura come opera aperta col ettiva. Idee di housing sociale nel ’architettura moderna peruviana. Premio Bruno Zevi. Iacobel i, A., 2012. Elemental: manual de vivienda incremental y diseno participativo, Hatje Cantz. Land P. 1994. PREVI Twenty Years After. Architecture and Design Magazine, vol. 11, n. 2. PREVI/Lima: Low Cost Housing Project. Architectural Design, 1970, v.40, n.4, pp.187-205. Rudofsky B.1987. Architecture Without Architects: A Short Introduction to Non- Pedigreed Architecture. Albuquerque: University of New Mexico Pres. Bolhão Market Rehabilitation project: architectural and political strategies 1990-2020 Rita Machado Lima, Faculdade de Arquitectura da Universidade do Porto e Centro de Estudos de Arquitectura e Urbanismo Nuno Valentim Lopes, Faculdade de Arquitectura da Universidade do Porto e Centro de Estudos de Arquitectura e Urbanismo Initial doctoral stage Supervisor: Graça Correia, Universidade Lusófona do Porto # Bolhão mar ket, reha bil ita tion project, polit i‐ cal deci sion, tan gi ble her itage, non-tan gi ‐ ble heritage Abs Rehabilitating historical public markets in city centres t has been a political, human, and architectural ra chal enge. ct The goal of this paper, considering the case study of the Bolhão Market, is to contribute to further reflection on a much needed market aggiornamento and the modernisation of markets in historical buildings to meet current legal requirements - always bearing in mind material, non-material values, as wel as the architecture and purpose of each building. In the last thirty years the Bolhão Market had several rehabilitation proposals. Therefore, and by way of a comparative analysis to al proposed programmes and respective answers given by the authors of each project, this paper seeks to cross these four visions and models, enabling further reflection on dif erent political and architectural strategies. This interpretative approach also al ows for an understanding of the hierarchy of identified values - tangible and non- tangible - and of the way architectural knowledge and culture have intertwined with the process of political decision. Pa 1. Four programs – four projects pe The Bolhão Market is a dou ble list ed build ing: for its r archi tec ture and for its cul tur al val ue, intrin sic to its func tion. The soul of the build ing, or l’esprit de lieu, depends on the con ser va tion of the life expe ri ences it has always pro vid ed, as wel as of the estab lished form of trade. While the con ju ga tion with mod ern demands of any com mer cial activ ity is nec es sary, the place’s tra ‐ di tion and his to ry must be respect ed. There is a spe cif ic space and dimen sion to this rela tion ship, which requires the preser va tion of the strong cul tur al iden ti ty of this mar ket [ 1 – 2 ]. 1 2 Figure 1 With dis tinct pro grammes, al pro pos als seek an improve ment in com fort, acces si bil ity, hygiene, health, and safe ty. We wil thus make a thor ough analy sis here ‐ in of how the four reha bil ita tions for the Bolhão Market play out. Figure 2: Bolhão Market – tangible and intangible heritage, protected and listed at national level (Decree no. 613/2013 do 20 September, Listing of the Bolhão Market as a monument of public interest) The paper pur sues this analy sis by using archi tec tur al tools that com pare the sev er al pro pos als with respect to their pro grammes (func tion al dis tri b u tion) and to the con struc tion areas. The elab o ra tion of colour schemes to com pare the archi tec tur al design pro grammes of each pro pos al (floor plans and cuts) enables an accu ‐ rate, con clu sive analy sis, which demon strates the con ‐ trast between the exis tent build ing and what each pro ‐ gramme adds in al the reha bil ita tion projects [ 3 – 5 ]. Figure 3 Figure 4 Figure 5 1.1) 1992 – 1998, Architect Joaquim Massena In 1992, with Fernando Gomes as Mayor of the Porto City Council (CMP), an International Public Contest was launched. The win ning project belonged to archi tect Joaquim Massena and was devel oped from 1994 to 1998 up to the Execution Project stage. That project keeps the mar ket uncov ered and pro pos es the demo li tion of the cen tral pas sage, redefin ing the orig inal form of the block [ 6 ]. On the ter race, the user’s com fort issue was not addressed, leav ing the cir cu la tion paths exposed to the ele ments. In this way, the tents with frames are closed, which would bring unavoid able con se quences to the sel er-buy er rela tion ship [ 7 ]. At an inter me di ate lev el between Terrado and the pre- exist ing gal ery, a new floor/gal ery is cre at ed with the same exten sion as the pre-exist ing gal ery, inter rupt ing the ver ti cal read ing of the colon nade of iron cast pil ars. This new floor is accessed by two pairs of esca la tors that flank the main entrance to the Market [ 8 ]. Along al the wal s of the ter race, on two lev els (Terrado and new inter me di ate floor) new stores are cre at ed, closed with frames, for which the inte gra tion of an air con di ‐ tion ing sys tem was fore seen [ 9 – 10 ]. In the buried areas under Sá da Bandeira Street (cryp to por ti co) large rooms for exhi bi tions or events were envis aged [ 11 ]. Two base ment floors for sup port areas, park ing and load ing and unload ing areas, which accessed to would be made from the city’s high est lev el (entrance in a two-way ramp from the square on street Fernandes Tomás) [ 12 ]. The exca va tion would take place inside the block, the periph er al face of this base ment coin ‐ cides with the align ment of the iron cast pil ars which inevitably would jeop ar dize the preser va tion of the gal ery floor [ 8 – 9, 13 ]. Despite con clud ed and ready to car ry out the reha bil i‐ ta tion, works nev er began. Figure 6: Roof Plan – International Public Competition Figure 7: Tents closed with frames Figure 8: Cross section through terrado, showing the new intermediate floor Figure 9: New store detail (Terrado) Figure 10: Longitudinal Section Figure 11: Plan – Level 0 (large rooms for exhibitions or events under Rua Sá da Bandeira) Figure 12: Parking Access Figure 13: Cross sectionc 1.2) 2006 – 2008, Tram Crone During Mayor Nuno Cardoso’s man date at CMP (from 1999 to 2002) there were no devel op ments. It would only be in 2006, dur ing the sec ond man date of Rui Rio, that urban pol itics refo cused on reha bil itat ing this facil i‐ ty, under Council or for Urbanism Lino Ferreira. A new International Public Contest was then launched. The win ner was Dutch real estate project com pa ny Tram Crone. The read ing of the pro gram of the Contest, the records from the 13t hExecutive meet ing (21 February 2006) and the pro pos al approved by the Executive City Council and Parliament City Council, it can be noticed that the basic premis es for the reha bil ita tion of this build ing were pro found ly changed, trans form ing irre me di a bly the spir it of the inter ven tion sought by the CMP. For exam ple, it is sug gest ed that the usable floor space increas es as wel as that the tra di tion al mar ket should be con fined to the Terrado area or "equiv a lent". The inte gra tion of oth er areas is also request ed which func ‐ tion al typol o gy should be jus ti fied on the man age ment mod el and eco nom ic via bil ity research. In this way, the win ning pro pos al rep re sent ed a mas sive change of the pre-exist ing build ing, with a very expres sive expan sion of the gross build ing area, a total of 7 floors in a vol ume like the orig inal plan and also adding a five-floor hous ‐ ing tow er on the roof of the Market [ 14 – 15 ]. Figure 14: Axonometries of the Tram Crone proposal. The cross-section presents option B - build a housing tower on the market wing facing Alexandre Braga Street (five floors). Two base ment floors were rec om mend ed for park ing and load ing and unload ing, which would occu py the entire width of the block, com pro mis ing inevitably the build ing preser va tion. The access would be made from the same square, at the high est lev el of the city, and the access ramp hav ing only one cir cu la tion lane. On the base ment floors, it was envis aged the con struc tion of two com plete inte ri or floors of a cov ered shop ping cen ‐ tre, with a pas sage way to access con ve nience stores. On top of this vol ume try, there would be the open-air “tra di tion al mar ket” (lev el with entry from street Fernandes Tomás), with a pos si ble inte gra tion of a remov able cov er to enable the use of the mar ket through out the year. Final y, two new upper floors were advanced – to be locat ed on the out er edge of the block/quarter — with a hous ing pro gram [ 16 – 18 ]. Fol owing the above, it is clear that that project for Bolhão would cal for an impor tant demo li tion action of the pre-exist ing building. Despite win ning, this pro pos al received mas sive and con sen su al pub lic crit icism from the major ity of the pop u la tion and was also reject ed by the for mer Institute for the Management of Architectural and Archaeological Heritage (IGESPAR). This led to the can ‐ cel a tion of the ten der ing pro ce dure in September 2008. Figure 15: Tram Crone plans by level Figure 16: Conceptual cross section – project strategy Figure 17 Figure 18: Sketch of the final project image Figure 19: 3D image of the DRCN project, aerial view 1.3) 2008 – 2013, DRCN (Architect João Carlos Santos) In December of the same year, the Mayor cel e brat ed a coop er a tion project between Porto’s City Council, IGESPAR and Northern Portugal's Regional Directorate of Culture (DRCN) in order to quick ly car ry out a new reha bil ita tion project for the Bolhão Market. The project was to be elab o rat ed by the DRCN under the super vi ‐ sion and author ship of Architect João Carlos Santos. This new pro gram for the Market refo cus es the goal for the mar ket a local and a com mu ni ty mar ket. In this pro ‐ gram, the needs of pro vid ing cov er age for “the open area defined by the built-up inte ri or lim it”, an area for load ing and unload ing, and park ing area were defined. From the analy sis of the pro gram pre sent ed by the DRCN is high light ed the impor tance of respect ing the char ac ter is tics of the build ing and its clas si fi ca tion and the fact that the pro gram now deter mined is con tained and flex ible, al ow ing for its con fine ment to the exist ing area in the orig inal construction. This third pro pos al for the reha bil ita tion of the Bolhão Market was pre pared and it was devel oped up until the Execution Project stage. In this pro pos al, the con struc ‐ tion of a metal ic roof [ 19 ] over the entire cen tral square was con sid ered (rein ter pre ta tion of the roof of the orig inal project by Arch. António Correia da Silva — a roof that was not exe cut ed) and that nec es sar ily changes the per cep tion of the space expe ri enced in the Bolhão Market: on the one hand, eras es the gal ery's cov er age (com plete ly chang ing the scale of this place), and, on the oth er hand, trans forms the Market into an inte ri or space, with con trol ed light and demand ing air con di tion ing [ 20 – 23 ]. Figure 20 Figure 21: Comparison between the existent project and 3D image of gal ery The pro pos al pic tured the exe cu tion of two base ment floors for tech ni cal sup port, park ing and load ing and unload ing. This base ment would be in the align ment of the iron cast colon nade pil ars, in col i sion with the preser va tion of the gal ery [ 24 ]. The access to the base ment was by a two-way ramp from Alexandre Braga Street, con strain ing severe ly the traf ic (which con se quent ly would have only one car riage way), and dis turb ing one of the most rel e vant streets in the city [ 25 – 26 ]. In the pro pos al the ground floor was lev el ed forc ing the exe cu tion of cuts and/or the addi tion of pros the ses in al iron cast pil ars, and the also the build ing of new stairs and/or ramps in the tran si tion to the entrance at Formosa Street and the north stair case [ 27 ]. The cen tral walk way would be demol ished and a new one, much nar row er, was pro posed to which four glass lifts are attached to pro vide access to the dif er ent lev els [ 28 – 29 ]. Figure 22 Figure 23: Comparison between the existent project and 3D image of the main entrance Figure 24: Cross Section Figure 25: Longitudinal Section – Parking Access Figure 26: General Plan Figure 27: Longitudinal Section Figure 28 Figure 29: Comparison between the existent project and 3D image of walkway 1.4) 2014 – 2016, CMP (Arq. Nuno Valentim) By the end of 2013, new Mayor Rui Moreira takes of ice and names archi tects Manel Correia Fernandes and Pedro Baganha to be Council ors for Urbanism, as wel as Paulo Cunha e Silva to be in charge of Culture. Mayor Rui Moreira sought the revi sion of the entire project, more specif ical y the dele tion of the pro posed under ground park and the cov er ing over the open cen ‐ tral patio so as to sig nif icant ly reduce the inter ven tion areas. After solic it ing the DRCN a project revi sion, which was denied, the Mayor opt ed for a new reha bil i‐ ta tion project by archi tect Nuno Valentim, under CMP super vi sion. This pro pos al was devel oped between 2014 and 2016 up to the Execution Project stage and ongo ing works began in May 2018. The Preliminary Program announced by the City Council for Bolhão Market rein forces its role as a munic ipal and local fresh market. Figure 30: 3D image – Aerial view The fourth reha bil ita tion pro pos al for Bolhão returns to an uncov ered mar ket [ 30 ], pre serv ing the read ing of the open mar ket square, and return ing to the gal ery's roof reha bil ita tion pro pos al. Thus, with this project it is main tained the cur rent scale and its unique func tion ing [ 31 – 34 ]. At the ter race lev el some changes were intro duced to main tain the orig inal scale and geom e try: the exist ing slope is main tained and the rein ter pre ta tion of the roof tents and light ened struc tures to pro tect the traf ic [ 35 – 36 ]. This new cov er age is intend ed to respond to some prob lems detect ed by the obser va tion in loco. The old tents were not ade quate for a con tem po rary fresh mar ket, and they often end ed up as rub bish deposit as a result of the great inad e qua cy of the old tents to the require ments of a con tem po rary fresh mar ‐ ket, as their geometry/dimension, mate ri als and the very loca tion often led to their improp er use, name ly as a deposit [ 37 ]. Figure 31 Figure 32: Picture 31 and 32. Comparison between the existent project and 3D image of gal ery At the base ment lev el, the pro pos al fore sees the inte ‐ gra tion of a smal load ing and unload ing dock and sup ‐ port ing areas [ 38 ]. The out er perime ter of this floor is 2.5m away from the perime ter defined by the iron cast pil ars colon nade, enabling its con struc tion with out inter fer ing with the exist ing build ing [ 39 ]. The access to this base ment wil be made through a tun nel, at Ateneu Comercial street, free ing the sur round ing streets and pub lic space [ 40 ]. The walk way is replaced by a new one in iron, which copies the lan guage of the build ing, repro duc ing the met rics of the cof ers on the gal ery's slab. This walk way cre ates a new lev el at the low er lev el, direct ly con nect ‐ ing Alexandre Braga and Sá da Bandeira streets [ 41 – 42 ]. At the upper lev el, the mar ket wil have no roof, avoid ing inter rup tions between the sky line and the Beaux Arts pro file, al ow ing the pos si bil ity of read ing this pro file in the building's crown ing, evi dent in the move ment of the plat band, roofs, and slate domes [ 43 – 44 ]. Figure 33 Figure 34: Comparison between the existent project and 3D image of gal ery Figure 35 Figure 36: Comparison between the existent project and 3D image of Rua Formosa entrance Figure 37: New terrado structures Figure 38: Loading and unloading dock and support areas Figure 39: Cross section Figure 40: Roof Plan - Access to basement made through a tunnel, from Ateneu Comercial street Figure 41 Figure 42: Comparison between the existent project and 3D image of walkway Figure 43 Figure 44: Comparison between the existent project and 3D image of Rua Fernandes Tomás entrance 2) CONCLUSIONS The need for reha bil ita tion of the city's cen tral his toric mar kets is a polit ical, human, and archi tec tur al chal ‐ lenge — which today is at the cen tre of pol icy deci sions both nation al y and international y. The Bolhão mar ket is a unique case study as it has been the sub ject of four polit ical and archi tec tur al dif ‐ fer ent per spec tives in the last 30 years. The work that cur rent ly is being made cor re sponds to the project that pro pos es less con struc tion, inte grat ing more of exist ing mate ri als. It is also the project that less diverges from the orig inal Fresh Market pro gram which design, and devel op ment was close ly mon itored by an impor tant sur vey of the sel ers' socio cul tur al con di tions, pre pared by the Bolhão Market Of ice, cre at ed by the CMP for that end. It should also be men tioned that the new logis tic base ment is the least intru sive (exca vat ed only in the cen tre of Terrado) and does not occu py pub ‐ lic space above ground for road access. This pro pos al is nat u ral y the result of a cir cum stance root ed in three fun da men tal considerations: . It comes as a result of sev er al pro pos als for the reha bil i‐ ta tion of the Market, ben e fit ing from pre vi ous suggestions. . The polit ical deci sion was tak en in an informed way — archi tec tural y and cul tur al y — and with the courage to reduce the scale of inter ven tion and to believe in a cul ‐ tur al change in the pat tern of con sump tion which implies cre at ing con di tions for a return to the markets. . This project team makes a hier ar chy of val ues dif er ent from the pre vi ous ones, under stand ing that the first val ‐ ue is the activ ity of mar ket itself, togeth er with the main te nance of the uncov ered square, respect ing the orig inal ities of the building. 1 Decree no. 613/2013 of 20 September, Listing of the Bolhão Market as a monument of public interest 2 VALENTIM, Nuno - "Memória Descritiva e Justificativa do Projecto Geral de Arquitectura", in Anteprojecto do Projecto de Restauro e Modernização do Mercado do Bolhão, Porto’s City Council, August 2015 The Potential of a Tectonic Approach for the Experiential Qualities of Architecture Tim Simon Meyer, HCU Hamburg Intermediate doctoral stage Supervisors: Matthias Bal estrem, HCU Hamburg; Ignacio Borrego Gómez-Pal ete, TU Berlin # Tectonics, DesingBuild, Architectural Experience Abs The research project is investigating the relation t between the tectonics - understood as the poetics of ra the construction - and experiential qualities of ct architecture. This focus resulted from the observation of several DesignBuild projects I have realized within my architectural practice. The comparative study of those showed a high degree of af ordance, which became obvious through the wil ingness of their users to appropriate and interact with the architecture. These interactions as part of an architectural experience are considered as results of a dialogue between the perceiving subject and the architectural object respectively its tectonic expression. Thus Tectonics within the research wants to address not the structural elements in itself but rather their expressive potential in creating a tangible experience of the architecture. Along a series of several DesignBuild Projects, I am researching the question, how through designing and building yourself, tectonic qualities can be created and how these can generate specific experiential qualities. Ar Topic tef The research project is inves ti gat ing the rela tion ac between the tec ton ics — under stood as the poet ics of t the con struc tion1 — and expe ri en tial qual ities of archi ‐ tec ture. This focus result ed from the obser va tion of sev ‐ er al DesignBuild projects I have real ized with in my archi tec tur al prac tice. The com par a tive study of those showed a high degree of af or dance, which became obvi ous through the wil ing ness of their users to appro ‐ pri ate the archi tec ture. This became par tic u lar ly clear in the obser va tion of per form ers react ing to the phys ical nature of the archi tec ture and inter act ing with it. But how can the archi tec ture express an “invi ta tion to action” 2 , as Juhani Pal asmaa describes it? Or as the Swiss his to ri an Heinrich Wölf lin asks: „How can tec ‐ ton ic forms be expres sive?” 3 . His inves ti ga tion on empa thy pro pos es an expla na tion in anal o gy to bod ily expe ri ences we are mak ing as humans. The con cept of tec ton ics as it is defined here pays atten tion to those expe ri ences as itś giv ing visu al expres sion to process ‐ es of loads and load-bear ing and makes them per cep ti ‐ ble. Eduard Sekler talks in this con text about “… the noble ges ture which makes vis ible the play of forces, of load and sup port in col umn and entab la ture, cal ing forth our own emphat ic par tic ipa tion in the expe ri ence.” 4 In that sense Tectonics with in this research is not address ing the struc tur al ele ments in itself but rather their expres sive poten tial in cre at ing a tan gi ble expe ri ‐ ence of the architecture. The ori gin of these tec ton ic qual ities with in the men ‐ tioned projects is con sid ered in a spe cif ic design process that starts with a defined stock of mate ri als and is char ac ter ized by a “con ver sa tion” between the archi tect and the mate r ial in order to exca vate the mate ri als expres sive poten tial both struc tur al and sensual. Figure 1: POVERA Pavilion, 2015, Almada, Portugal, Atelier JQTS and Students from Lisbon, Photos by Diana Quintela Research question and goal Along a series of three DesignBuild Projects, I am research ing the ques tion, how through design ing and build ing your self, tec ton ic qual ities are enter ing the archi tec ture and why these can gen er ate spe cif ic expe ‐ ri en tial qual ities. The goal is to be able to define and char ac ter ize a work ing method that can gen er ate those tec ton ic qualities. Contextualization By mak ing use of com mon mate ri als and com pre hen si ‐ ble prin ci ples of con struc tion the artists of the Minimal Art intend ed to cre ate a pub lic art, which is acces si ble phys ical y and not intel ec tu al y – with out any need of spe cif ic knowl edge: “Such work that has the feel and look of open ness, extendibil ity, acces si bil ity, pub lic ness, repeata bil ity, equa nim ity, direct ness, and imme di a cy…”. 5 This inten tion of address ing a com mon knowl edge forms also one of the key aspects of the giv en research. The men tioned char ac ter is tics in the con text of the Minimal Art can also be applied to an archi tec ture that is open for inter pre ta tion and appro pri a tion. In con tem ‐ po rary archi tec ture we can find sev er al approach es that al ow the struc ture to simul ta ne ous ly define the spa tial qual ities as wel as the archi tec tur al expres sion. For instance in the work of BRUTHER a com pre hen si ble struc ture forms an ini tial point of cre at ing pos si bil ities for coin ci dences both with in the process as wel as in the expe ri ence of the archi tec ture. 6 My research is locat ed with in the con text of DesignBuild Projects but in dif er ence to cur rent inves ‐ ti ga tions on dif er ent themes (includ ing pro duc tion meth ods, con struc tion poten tials, eco log ical and eco ‐ nom ic sus tain abil ity, local con struc tion meth ods, social acti va tion), it pays spe cial atten tion to cre ative qual ities. Those seem to play an impor tant role in the out come of the DesignBuild projects like the Studio of Tom Emerson at the ETH for exam ple, which are often defined by a giv en mate r ial and result in a coher ence of the con struc tion, the spa tial struc ture and the archi tec ‐ tur al expression. However, there seems to be a lack of com pre hen sive stud ies of expe ri en tial qual ities in the con text of DesignBuild projects and the work ing meth ods under ‐ ly ing cer tain ef ects, to which I would like to respond. Figure 2: VERTIGO Pavilion, 2014, Lisbon, Portugal, Atelier JQTS, Photos by Diana Quintela Methodology and findings Three DesignBuild Projects serve as case stud ies and should pro vide find ings on the research ques tions. The ini tial point of the research is marked by the reflec tion on the DesignBuild projects real ized with in my prac tice through out the last years, for instance, the KAIROS Pavilion built with pre fab ri cat ed con crete pieces, the POVERA Pavilion assem bled with mod ules made of fil i‐ gree wood en slats or the VERTIGO Pavilion which is stacked from red-paint ed wood en blocks on top of a base of pre fab ri cat ed con crete pieces. Al these projects start ed from a giv en mate r ial and they al have cre at ed sit u a tions of bod ily inter ac tions. [ 1 — 3 ] Within the PhD the ALBERTO Pavilion (fig. cov er) was real ized in 2019 and gave me the pos si bil ity of observ ‐ ing and doc u ment ing each step and deci sion of the process, from the first sketch to the archi tec tur al expe ri ‐ ence with the final project. The analy sis of ered an insight into the mean ings of each step for the archi tec ‐ tur al expres sion and accord ing ly for the archi tec tur ‐ al experience. The fol ow ing sequence of five steps rough ly described here is an approach to define the spe cif ic work ing method – the tec ton ic approach — behind the men ‐ tioned qual ities and result ed from the reflection. . Universe of Instruments. Materials are lim it ed by an econ o my of means. Their exam ina tion forms the start ‐ ing point to get clar ity about spe cif ic prop er ties both phys ical and sensual. . Art of Joining. The Joint con nects the parts and puts them in a con text, it con sid ers the mate ri als inher ent prop er ties and answers to struc tur al needs but more ‐ over it ful fil s cre ative inten tions to give the act of join ing a mean ing ful expression. . Structure as Space. Through rep e ti tion ele ments and details are merged into a spa tial struc ture that expos es its inner log ic, vari a tions and excep tions can high light spe cif ic moments or cre ate tensions. . The Generic becomes spe cif ic. The con text comes into play and excerpts its influ ence on the archi tec tur al expres sion. By tak ing final deci sions in order to react to con tex tu al and func tion al cir cum stances the gener ic struc ture becomes its spe cif ic Gestalt! . Building as an Act of Design. Self-build ing al ows us to make deci sions dur ing con struc tion, fol ow ing pri mar ily intu ition and seek ing a strength en ing of the archi tec tur ‐ al expres sion. In the process of build ing, ideas can be test ed direct ly on the object at a scale of 1:1. The spec ifi ‐ ca tion of a gener ic design approach finds its continuation. It wil be ver ified and refined through out the research with the help of fur ther DesignBuild Projects. The expe ‐ ri en tial qual ities of the ALBERTO Pavilion could be eval ‐ u at ed by mak ing use of dif er ent strate gies (such as obser va tions, sur veys or per for mances) to doc u ment people’s per cep tion of the built archi tec ture. Reflecting on the two lives of the archi tec ture, the process on the one hand and the inter ac tions on the oth er, tec ton ics seems to take a medi at ing role, the role of com mu ni ca ‐ tion. 7 Figure 3: KAIROS Pavilion, 2012, Lisbon Portugal, Atelier JQTS State of research The Tectonic Approach has been test ed with in design stu dios with stu dents (due to Corona with out the real ‐ iza tion) and found a pre lim inary descrip tion. At the moment I'm inves ti gat ing the capac ity of the Tectonic Approach in the con text of reuse and Bricolage8 . “A defined stock of mate ri als that is not select ed by the archi tect nei ther itś con nect ed to a cer tain project” 9 cre ate the ori gin of two case stud ies in progress, one wil be a garage open for diverse uses, one a smal Biogas Plant with in an Urban Context as a place of com mu ni ty. Those projects are ques tion ing the abil ity of the Tectonic Approach to reveal tec ton ic qual ities by using dis card ed mate ri als. This inves ti ga tion research es the poten tial of a Tectonic Approach as an eco log ical approach. 10 Figure 4: ALBERTO Pavilion, 2019, Minde, Portugal, Atelier JQTS with Matthias Bal estrem and Students of HCU Hamburg and UAL Lisboa, Photos by Joao Barata 1 Frampton, Kenneth (1995): Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. US: MIT Press 2 Pal asmaa, Juhani (1996): The Eyes of the Skin - Architecture and the Senses. England: John Wiley & Sons. 3 Wölf lin, Heinrich (1886): Prolegomena zu einer Psychologie der Architektur. München: Gebrüder Mann Verlag 4 Sekler, Eduard F. (1965): Structure, Construction, Tectonics. 5 Morris, Robert (1995): Notes on Sculpture, in: Continuous Project Altered Daily. The Writings of Robert Morris. US: The MIT Press 6 ARCH+ (2020): Neuer Realismus in der französischen Architektur. Berlin: ARCH+ Verlag GmbH 7 Frascari, Marco (1983): The Tel -the-Tale Detail, in: Deely J.N., Lenhart M.D. (eds) Semiotics. Springer, Boston, MA. 8 Lévi-Strauss, Claude (1962): The savage mind. France: Librairie Plon 9 Lévi-Strauss, Claude (1962): The savage mind. France: Librairie Plon 10 Beim, Anne (2016): Towards an Ecology of Tectonics: The Need for Rethinking Construction in Architecture. Stuttgart: Edition Axel Menges Healing Homes A Search for a Future Home that Fosters Holistic Wellbeing Rose-Ann Mishio, Politecnico di Milano Initial doctoral stage Supervisor: Alessandro Rocca, Politecnico di Milano # Homes, Wel being, Architecture Design Abs The housing of today has been confronted with t concurrent design chal enges of not being ageing ra friendly and associated with poor wel being. With ct Europe’s population ageing faster than the average global population on one hand, and the growing societal need to focus on wel being on the other, it has become expedient that the home design is reconsidered. Since Europeans are approaching ageing and disability as a col ective crisis in an era where the home design is not child-friendly or promoting wel being, what kind of homes should we design and build? Although, housing typologies like care homes, retirement homes, co-housing and intergenerational housing are being explored, and other strategies like design health maps and guidelines have been introduced, these approaches either focus on aspects of wel being or do not include al people in design considerations, thus is incomplete. Therefore, the research hypothesis is that for a resilient future, home designs must be rethought to cater for everyone; irrespective of age or health status and promote wel being at the same time - what the research refers to as a healing home. The position taken is that the architectural design of the homes of tomorrow must strive to go beyond building codes and preventing il -health into one that is deliberate in considering al ages and abilities, and nudges towards wel being on the whole. The aim of the research is therefore to search for ‘how’ to design for holistic wel being for al , in a way that fosters ageing in place, inclusivity and healthy living. As an exploratory research, it is structured into six phases. It starts of with posing this question to scientific literature where it focuses on wel being and inclusivity in spatial terms (Phase I), analysing case studies from the discipline of architecture and design (PhaseII), Reformulation and manipulation of the design characteristics deduced from literature(Phase III), posing the question to architects and designers through interviews and surveys (PhaseIV), a design workshop (Phase V) and an architectural project of designing a home in the European context using knowledge drawn out from phases one to four as a testbed in three possible areas; adaptation to an existing housing design, a new typology or a hybrid building (Phase VI). Pa Healing Homes pe The home of today is faced with con cur rent prob lems r like not being age ing friend ly 1 2 3 4 5 , asso ci at ed with poor wel be ing 6 7 8 , pol u tion 13 , poor ef ects of the envi ron ment 9 , poor acces si bil ity and safe ty [ 1 ], and the design of our homes are a major con tribut ing fac tor. For an elder ly who spends about 72% or more of his time at home 11 , with declin ing phys ical abil ities and frail ties, the neg a tive impacts of the home are even more impor tant. On the oth er hand, Europe’s pop u la tion is age ing rapid ly 12 , and even though some solu tions are under way, such as mul ti-gen er a tional hous ing, retire ment facil ities and care homes, they have already proven not to be enough in quan ti ty to sup port an expo nen tial y increas ing age ing pop u la tion 3 and some of these solu tions present the idea of seg re gat ing the old er pop u la tion with pur pose-built facil ities which do not go hand in hand with the age ing in place con cept. Another option is the prag mat ic solu tions for adapt ing exist ing homes which address most ly phys ical wel be ‐ ing like enlarg ing cor ri dors to accom mo date stretch ers and wheel chairs, plac ing acces si ble handrails or adding ramps to accom mo date the age ing which although immi nent, does not present an out right solu tion. The role of archi tec ture and design of our homes not only lies in what we design (the prod uct) but also how we design it (the process) because in the end, it deter ‐ mines how we live, play, work, rest and ulti mate ly our wel be ing. Perhaps, instead of design ing dif er ent homes for dif er ent ages/abilities, we could design and plan to host every one, in a way that com bats issues like age ing, stress, iso la tion, soli tude, pol u tion etc? As Emily Chmielewski and David Hoglund dis cuss in Healthy places and heal ing envi ron ments, when design ing for age ing we should con sid er broad er sys ‐ tems to embrace the con cur rent chal enges because ‘every thing is con nect ed to every thing else’ 1 . Figure 1: Mapping the concurrent problems of housing design So then how do we design our homes in a way that tack les the mul ti-faceted nature of chal enges to be suit able for al inhab itants? What should the future home be like, and how can design help? The posi tion tak en in the devel op ment of the research is that we should design future homes cen tred on an al -round wel be ing ; one that is suit able for age ing in place and healthy liv ing, so that it takes into con sid er a tion the suit abil ity for every one irre spec tive of health sta tus and age , exact ly what the research refers to as — A heal ing home. The focus is on merg ing al three aspects of wel ‐ be ing: phys ical, men tal, and social instead on focus ing on sin gu lar or dual aspects because design ing for aspects has proven to be incom plete and retrans lates into poor wel be ing over al . In search ing for pos si ble solu tions, It pos es these dire questions; “How do we design build ings that fos ter holis ‐ tic wel being?” “How can these be repli cat ed in the design of the future home?” Figure 2: Hypothesis diagram of how to design a healing home The theory of Healing and therapeutic Architecture Healing and ther a peu tic archi tec ture is an inte grat ed approach of design ing that uses the o ret ical con cept of evi dence based design to evoke sens es of cohe sion of mind, body and spir it, pro mote phys ical , men tal and social wel be ing and sup port the health of the plan et 15 16 17 18 19. Although the archi tec ture itself does not heal, the design of these spaces cre ates ambi ences that influ ences the behav iour of the occu pant such that he is able to have an inter re la tion ship with his built envi ron ‐ ment, nature and peo ple. It appears to be the very def i‐ n ition of what Terri Peters refers to as “super archi tec ‐ ture” - one that of ers pos itive ben e fits for both human wel be ing and his envi ron ment 20 . However, they have a trend of being designed for the frail, the sick and the ‘unhealthy’. It is almost as though these designs are delib er ate ly con sid ered when health fails, just as Charles Jencks men tions in an inter view, “… The low er down the scale you feel … If you are deprived. in a hospital…then the more archi tec ture real y mat ters” 21 . Although the very con no ta tion of the word ‘heal ing’ or ‘ther a peu tic’ coin cides with the imag ina tion of a health ‐ care facil ity or some thing of its sort, for design ers and archi tects instead, it leaves in its wake the pos si bil ity of a build ing to be super: To be able to inte grate al aspects of wel be ing: phys ical, men tal and social and be sus tain able at the same time. This kind of archi tec ‐ ture in itself becomes evi dence that indeed the built envi ron ment could aim high er to be bet ter for al peo ‐ ple — irre spec tive of health sta tus, age or gender. Therefore, in answer ing to a kind of archi tec ture that could encom pass al aspects of wel be ing, the hypoth e ‐ sis of the research is intro duced as heal ing architecture. Case studies Even though the his to ry of heal ing spaces can be traced to Epidaurus in Ancient Greece, Ancient Roman baths and Florence Nightingale’s influ ence in hos pi tal design, the research turns to rel a tive ly recent cas es from 20t h‐21s tcen tu ry. It analy ses the design approach ‐ es and char ac ter is tics of how archi tects have designed heal ing archi tec ture and how they pre sum ably addressed holis tic wel be ing while pro tect ing the envi ‐ ron ment [ 2 ] . Other case stud ies cit ed from lit er a ture as being ‘heal ing archi tec ture’ are analysed to draw out the heal ing char ac ter is tics [ table 2 ]. Figure 3: Analysing Case studies of healing architecture Table 1: Analysing design characteristics of Healing architecture referenced from literature Defining a design concept The key themes of what should con sti tute a heal ing home are deduced from the design char ac ter is tics of heal ing and ther a peu tic archi tec ture, thus form ing the design con cept. [ 3 ] Figure 4: Defining the Key themes Figure 5: Reformulating key themes to define a design concept - integration As the main strat e gy for heal ing archi tec ture is inte gra ‐ tion [ 4 ] of the key themes, the research con tin ues by ana lyz ing case stud ies of res iden tial build ings in Europe by pio neer ing archi tects that inte grate the sev en defined key themes of wel be ing for the research: day ‐ light, com fort, nature, mate ri al ity, socia bil ity, acces si bil i‐ ty, and inclusivity. Figure 6: Research methodology Methodology: The main focus of the research is in two main parts; the reflec tive phase and the design phase. The reflec tive phase is based on the hypothe ses of the research and wil be used as a guide in the design phase. The reflec ‐ tive phase entails the study of the o ries, design prin ci ‐ ples and char ac ter is tics of heal ing and ther a peu tic spaces which would be assem bled, artic u lat ed, and analysed to give a frame work to the sec ond part- the design phase. The deduced results would be test ed in pos si ble test beds to make design pro pos als based on knowl edge devel oped in the first phase. Thus the research start ed with a care ful exam ina tion of the ensem ble of ideas, con cepts and design char ac ter ‐ is tics from lit er a ture; books, arti cles and reports on the theme from both inter nal and exter nal dis ci plines, which have result ed in the key themes of the research. The refor mu la tion of the key themes results in defin ing the design con cept – the inte gra tion of key themes. This projects a cri te ria for the selec tion, analy sis and refor ‐ mu la tion of case stud ies of res iden tial build ings in the 21s tcen tu ry by some pio neer ing archi tects in Europe. 1 Chmielewski E., Hoglund D. (2018): »Design for ageing«, in: Healthy environments, healing spaces, Charlottesvil e and London: University of Viginia press, pp. 186 -200 2 Healthy ageing project (2006): Healthy ageing: A chal enge for Europe: The Swedish National Institute of Public Health 3 Byles J., Mckenzie L. et al (2012): »Supporting housing and neighbourhoods for healthy ageing: Findings from the Housing and Independent Living Study (HAIL) «,in: Australasian journal on Ageing 33(1), pp. 29-35 4 Forsyth A., Molinsky J, Har Y., (2019): »Improving housing and neighbourhoods for the vulnerable: older people, smal households, urban design, and planning« in: Urban Design International 24, pp.171-186 5 World Health Organization (2015): World report on ageing and health: Geneva Switzerland 6 Rainer F., Capolongo S. (2016): »Healing environment and urban health« in: Epidemiologia e Prevenzione 40(3), pp. 151-152 7 Amelio A., Brambil a A. et al (2020) : »COVID-19 Lockdown: Housing Built Environment’s Ef ects on Mental Health« in: International Journal of Environmental Research and Public Health 17(16), pp.5973 8 Jackson, R. J., 2003. »The impact of the built environment on health: An Emerging field. « in: American Journal of Public Health 93 (9), pp. 1382-1384 9 Von Der Leyen U.(2020): A New European Bauhaus: op-ed article by Ursula von der Leyen, President of the European Commission, European Commission https://ec.europa.eu/commission/presscorner/detail/en/AC_20_1916 from October 2020 10 Van Hoof. J et al (2017): Handbook of Smart Homes, Health Care and Wel - Being: Springer nature. 11 Spalt E. Et al, (2017) : »Time-Location Patterns of a Diverse Population of Older Adults: The Multi-Ethnic Study of Atherosclerosis and Air Pol ution (MESA Air) « in: Journal of exposure science and environmental epidemiology 26(4) pp.436 12 United Nations (2017): World Population prospects: 2017 revision 13 Borasi G., Zardini M: (2012) Imperfect health: The medicalisation of architecture. Canadian Centre for Architecture 14 Lawson B.(2010): »Healing Architecture« in: Arts and Health 2(2), pp. 95-108 15 D.Sabar, Michael Djimantoro I. (2020) »The application of healing space concept in holistic care facilities: a brief guideline for design. « in: IOP Conference Series: Earth and Environmental Science 426 16 Sakal aris B. , Macal ister L et al.(2015) »Optimal healing environments « in: Global Advances in health and medicine 4(3), pp. 40-45 17 Zakaria M. Hassan A. Et al (2018) »Architecture for healing: Phenomenology of spatial awareness to evoke healing environment in urban realm« in: International Transaction Journal of Engineering, Management, & Applied Sciences & Technologies 9(3) pp.141-153 18 Schal er B. (2012): Architectural Healing Environments: Thesis- Syracuse University 19 Lundin Stefan (2015) : Healing Architecture: Evidence, Intuition, Dialogue. Thesis : Chalmers University. 20 Terri P. , (2015): » Super Architecture« in Architectural Design: pp.24-31 21 Charles Jencks (2015), interview - Cate St. Hil , “pile of hope-20 years of Maggie's centres” An Investigation of the Significance of Wilderness in Western Culture through Garden Design Silvia Maria Mundula, Politecnico di Milano Initial doctoral stage Supervisor: Alessandro Rocca, Politecnico di Milano # Wilderness, Garden, Perception Abs Wilderness is a theoretical notion based on cultural t values and therefore always open to re-evaluation. My ra thesis investigates the links between contemporary ct aesthetics in wild gardens and the questions arising from the Anthropocene crisis, such as the blurring between nature and artifice and man’s culpability, and concentrates on those gardens, which, for instance, al owed Elizabeth Meyer to talk about “a strange beauty.” The Anthropocene crisis needs design solutions at a planetary level.("Any such planetary level design should be contextualized in a wider realization about the political economic stakes of the environmental disaster and its possible solutions that involve an entanglement of politics, nature and design" Parikka, Jussi (2018): «Anthropocene» in Rosi Braidotti and Maria Hlavajova (Eds.), Posthuman Glossary, London: Bloomsbury Publishing Plc, p. 52.) Landscape design cannot change society, but it can alter an individual’s consciousness, restructuring one’s priorities and values. (Meyer, Elizabeth K. (2008): «Sustaining beauty. The performance of appearance. A manifesto in three parts» Journal of Landscape Architecture 5 (spring), p. 6-23.) In the case of the wild garden, this idea seems particularly apt for its clear link to ecological themes; however, since the concept of wilderness is in itself ambiguous, such idea is stil open to question. Therefore, the aim of this thesis is to explore this issue in depth by studying the diversity of approaches to the project of the wild garden in western countries, to highlight areas of conflict and to pinpoint areas where more research is needed. Pa Introduction pe The idea that wilder ness, by which I mean untamed r nature, is becom ing extinct1 has its roots in the Romantic peri od, 2 and con sti tutes a start ing point for the inter est in wilder ness in many fields, 3 from the realms of sci ence to those of mass cul ture. 4 This idea, how ev er, exists in par al el with the con cern engen dered by the new kind of wilder ness that is enter ing our cities. 5 Wilderness, in fact, is an abstract term which is based on cul tur al val ues and there fore is always open to re-eval u a tion. 6 The aim of this paper is to explore the diver si ty and resilience of dif er ent approach es to the project of the wild gar den in west ern coun tries, high ‐ light ing areas of con flict and pin point ing areas where more research is need ed. The first part of the paper details the rea sons for the renewed inter est in the top ic of wilder ness, by explor ing con tem po rary philo soph ical and eco log ical the o ries. The sec ond part exam ines the the o ries of some authors writ ing in the field of land ‐ scape design between the 1980s and the 1990s, who ques tioned the rel e vance of aes thet ics in dis cours es on sus tain abil ity and the role of ecol o gy in land scape archi tec ture. The final part pro vides some insights into con tem po rary approach es to wilder ness in gar den design, iden ti fy ing prac ti cal the o ries and open ing up a reflec tion on future per spec tives in the wild garden. 1. Wilderness and Gardening Contemporary philo soph ical the o rists argue that nature must be rethought as some thing which is nei ther in oppo si tion to the ideas of human beings and their cul ‐ ture, 7 nor in oppo si tion to the idea of arti fice. 8 Timothy Morton (2006) asserts that eco log ical think ing should be devel oped with no ref er ence to the con cept of nature at al . The tra di tion al philo soph ical dichotomies between nature and cul ture and between the wild and the domes tic are being rethought, and the idea of wilder ness as untamed nature has become obsolete. Figure 1: Anthropocene Observatory: #4 The Dark Abyss of Time, Exhibition at Haus der Kulturen der Welt, Berlin (2014), @ 2014 Anthropocene Observatory The start ing point is the Anthropocene cri sis the o ry pro posed by Rosi Braidotti, which has been turned into tan gi ble projects, such as the Anthropocene Observatory [ 1 ] by Territorial Agency, Armin Linke and Anselm Franke (from 2013 onwards) or The Anthropocene Project by Nicholas de Pencier, Edward Burtynsky, and Jennifer Baichwal (2018). These projects, indeed, doc u ment more expan sive ideas of nature and wild nature, recal ing the con cept of Fourth Nature intro duced in the 1990s, which was trans formed into an aes thet ic ref er ence for archi tects by the work of some pho tog ra phers. 9 This change in the per cep tion of land ‐ scape has been explored from the 1990s onwards by dif er ent authors: from ecol o gists such as Ingo Kowarik to archi tects such as Pierluigi Nicolin and Ignasi de Solà-Morale, who con tributed to the def in ition of this con cept by the use of terms such as ter ra incol ta10 and ter rain vague11 [ 2 ]. This vari a tion in the per cep tion of spaces such as the aban doned post-indus tri al sites, which went from being con sid ered as ‘waste land,’12 to becom ing objects of fas ci na tion, cer tain ly played a role in the his to ry of the wild gar den. But one could argue that the his to ry of the wild gar den itself played a role in this change of per cep tion, as the inter est in what is mar gin al in gar dens is a theme which orig inat ed towards the end of the nine teenth cen tu ry, 13 and per ‐ haps ear li er. How do these themes, which are some of the issues brought to light by the Anthropocene cri sis, influ ence con tem po rary gar den design? Figure 2: Quaderns 212 (1996), containing the article “Terrain vague” by Ignasi Solà-Morales, Cover book And do con tem po rary wild gar dens them selves con ‐ tribute to chang ing the per cep tion of these issues by users and design ers? The idea of the gar den as an inves tiga tive tool and as a ref er ence for a post-human design method has its ori gins in the ideas dis cussed by Marc Treib in Meaning in Landscape Architecture and Gardens (2011) and by Julian Raxworthy in Overgrown: Practice between Landscape Architecture and Gardening (2018). Starting from Charles Jencks’s book Meaning in Architecture (1969), Marc Treib explores the sub ject of mean ing, which, unlike in the field of archi tec ture, was of lit tle inter est in land scape archi tec ture and gar dens until the 1980s. Treib argues that the mean ing of gar dens, as inter pret ed by crit ics, is also sig nif icant because it can place a gar den with in the field of prac tice, rather than the o ry. This con cept pro vides a link to Julian Raxworthy’s argu ment. Raxworthy re-eval u ates the prac tice of gar den ing with ‐ in the con text of land scape archi tec ture, propos ing a new mod el for land scape archi tec ture based on gar ‐ den ing tech niques, which he cal s “the viridic . ” The term “viridis” is the Latin word for green, ver dant and grow ‐ ing, so “viri desco,” accord ing to Raxworthy, is to land ‐ scape archi tec ture what “tec ton ic” is to archi tec ture. The wild gar den push es this con cept to its lim it, as the form of this gar den emerges not only through gar den ‐ ing tech niques, but, in par tic u lar, through gar den ing tech niques, which are main ly con cerned with the process of growth. 14 2. The Authority of Ecology in Landscape Architecture Most land scape archi tects regard eco log ical sci ence as an impor tant source of prin ci ples in land scape design. According to Anne Whiston Spirn, in the last few decades “the author ity of sci ence” has been cit ed to aug ment “the author ity of nature,” over turn ing the tra di ‐ tion al role of nature. 15 In the 1960s, land scape design start ed to appro pri ate con cepts from ecol o gy, and this made a clear con tri bu tion to the dis ci pline. However, what pro fes sor Spirn and oth er the o rists talk about, is the fact that some design ers used “ecol o gy as the pri ‐ ma ry author ity for deter min ing the nat ur al — and there ‐ fore cor rect — way to design land scapes.” 16 A num ber of authors writ ing between the 1980s and the 1990s, such as Catherine Howett, 17 Anne Whiston Spirn, 18 Laurie Olin19 and Mark Francis, 20 ques tioned the rel e ‐ vance of aes thet ics in land scape design dis cours es on sus tain abil ity and the role of ecol o gy in land scape archi tec ture. I have based this piece of research on the work of these authors as they reflect on form, mean ing and per cep tion in gar dens and land scape archi tec ture. For instance, Whiston Spirn’s review of The Fens and the Riverway by Olmsted in Boston also under lines the impor tance of aes thet ics in eco log ical design. 21 This new kind of water marsh, designed by Olmsted, not only func tioned as a flood con trol reser voir but also con tributed to the def in ition of a new envi ron ment, which appeared to be a nat ur al site but was clear ly a human con struct. 22 This project, fur ther more, seems to fore shad ow the idea of urban nature. In The Granite Garden, 23 Spirn makes a com par ison between the Fens and Riverway designed by Olmsted in Boston (1880s) and Columbus Park designed by Jens Jensen in Chicago (1916). These two projects were sim ilar in appear ance, as they both brought urban dwel ers into con tact with wild nature, but they were very dif er ent in mean ing. 24 Jensen’s wild nature, indeed, just evoked his home land scape: “Every region should dis play the beau ty of its local land scape: this encour ages each race, each coun try, each state, and each coun ty to bring out the best with in its bor ders.” 25 Jensen’s vision recal s Wil y Lange’s the o ry at the begin ning of the twen ti eth cen tu ry about the use of native plants and the defence of the land scape. 26 On the con trary, Olmsted’s wild nature was rev o lu tion ary: its wild aspect was total y in con trast with the pre vail ing for mal and pas toral styles: the Fens and the Riverway, in fact, was con ceived by Olmsted as a new type of urban space. Rather than a park, it was a land scape sys tem. Whiston Spirn’s arti ‐ cle, apart from remark ing on Olmsted’s inno va tion in land scape design, sheds some light on the con fu sion around the use of nature as a mod el for land scape design. This top ic is stil an con tentious issue in the field of land scape archi tec ture. The same themes are explored through the texts of more con tem po rary authors, such as Elizabeth Meyer and Daniel e Dagenais. In Sustaining beau ty. The per for mance of appear ance (2008), Meyer high lights how land scape design prac ti tion ers and the o rists deal with the eco log i‐ cal aspects of sus tain abil ity but with out includ ing the con cept of beau ty. When they men tion beau ty, it is usu ‐ al y as a super fi cial con cern. Traditional y, indeed, there are three dis ci plines upon which sus tain abil ity is based: ecol o gy, social equi ty and econ o my, but not aes thet ics. “Can land scape form and space indi rect ly, but more ef ec tive ly, increase the sus tain abil ity of the bio-phys i‐ cal envi ron ment through the expe ri ences it af ords?” She believes, indeed, that “the expe ri ence of cer tain kinds of beau ty – grant ed new forms of strange beau ty- is a nec es sary com po nent of fos ter ing a sus tain able com mu ni ty, and that beau ty is a key com po nent in devel op ing an envi ron men tal eth ic.” 27 Figure 3: Forest garden of the BNF, Dominique Perrault (1995), Photo by Chiara Pradel 3. Wild Gardens An increas ing num ber of con tem po rary gar dens evoke wilder ness in dif er ent ways; some in an ide al is tic way, as in the case of the court yard of the BNF in Paris designed by Dominique Perrault in the 90s [ 3 ], oth er are planned accord ing to cer tain process es which al ow the plants to inter act with each oth er. 28 Piet Oudolf, for instance, as an unof i cial spokesper son for the plant ing design move ment, admits that he prefers to speak about gar dens which are inspired by nature and which aim to repro duce nature’s out ward forms as nat u ral is tic [ 4 ]. It is, in fact, mis lead ing to speak of nat ur al gar dens because this con tributes to cre at ing con fu sion between the terms nat ur al and organic. Figure 4: Piet Oudolf Field, Durslade Farm, Bruton, Somerset, Photo by Jason Ingram, @ 2021 Jason Ingram A first ques tion aris es: when the term aes thet ics is tak ‐ en to mean only the visu al, 29 does this lead us towards a super fi cial inter pre ta tion of the idea of the wild and wilder ness? 30 However, Nigel Dunnett, anoth er key fig ‐ ure in the plant ing design move ment, remarks on the rel e vance of visu al ef ects in plant ing [ 5 ]. According to Dunnett, his work is about evok ing nature. To evoke nature, one can be lit er al, using the tech niques of tax o nom ic ecol o gy,’ or one can think in terms of ‘visu al ecol o gy,’ as is the case with his work: For me, it’s not about try ing to re-cre ate some thing that I might have seen in the wild. Instead, it’s about using the forms, tex tures, colours and aes thet ics that reflect the way plants arrange them selves in nat ur al plant communities. – Dunnett, 2019, 15 – 16 Figure 5: The Barbican plantings, Nigel Dunnett (2015 – ongoing), @ 2021 Nigel Dunnett Despite the fact that Dunnett’s inten tions are not pure ly eco log ical, his gar dens are rich in bio di ver si ty and wildlife, and only require the input of a few resources such as water, fer tilis ers and time. These gar dens, indeed, require only sim ple main te nance tech niques such as cop pic ing, which are more com mon in nature con ser va tion than in gar den ing, and make nature very appeal ing to the pub lic, through visu al ef ects, which include the use of colour ful flow ers and plants. Dunnett men tions the con cept of “eco log ical sen si bil ity” to refer to the choice of veg e ta tion which fits into the site in a coher ent way. 31 According to Daniel e Dagenais, Gil es Clément him self, despite being con sid ered as the father of the trend in eco log ical land scape design, based his work pre dom inant ly on eth ical and aes thet ic themes, drawn from the his to ry of gar den art rather than from the dis ci pline of ecol o gy. She argues that Clément, in his work, applied eco log ical the o ry in a sec ‐ ond phase, after the prac tice. ‘Sensibility,’ indeed, seems to be a key con cept in the design of wild gar dens. A par tic u lar kind of sen si bil ity was expressed in Vita Sackvil e West’s book about English coun try hous es, whose archi tec ture is fun da men tal in under stand ing the evo lu tion of the English wild gar den [ 6 ]. “There is noth ing quite like the English coun try house any where else in the world.” English hous es are not only sit u at ed in the coun try, they are part of it, being in har mo ny with the land scape to which they belong. Figure 6: Vita Sackvil e-West at Sissinghurst Castle, Photo by Kurt Hutton (Kurt Hubschman) (1961), © National Portrait Gal ery A sim ilar theme was expressed in the diary of Geof rey Dutton, whose gar den is described through the sea ‐ sons in rela tion to the prin ci ple of mar gin al gar den ing, where a mar gin al gar den is one which is “min imal y dif ‐ fer en ti at ed from its sur round ings, and so requir ing min i‐ mal ef ort to make and keep up.” 32 The con cept of mar ‐ gin al ity, how ev er, has a dif er ent mean ing in oth er types of gar dens, which are out side the main stream, phys ical ‐ ly or metaphor ical y, such as the Dungeness Garden [ 7 ] by Derek Jarman (1988−1994), or the Le Jardin des Joyeux [ 8 ] realised by Wagon Landscaping in 2015 at Maladrerie, Aubervil iers. Furthermore, the word mar ‐ gin al evokes the idea of aban doned places. This was men tioned by Wil iam Robinson and became cen tral to the work of Gil es Clément, how ev er, with some dif er ‐ ences: Robinson spoke about the under-utilised spaces of the plea sure ground, but with out explic it ly men tion ‐ ing the idea of aban doned land, which is a cen tral theme in Clément’s theory. Figure 7: Derek Jarman at Prospect Cottage-Dungeness, Photo by Geraint Lewis, © The Geraint Lewis Photography Archive Final y, the theme of mar gin al ity pos es a ques tion about the mar gins, that is, the bor ders, of the wild gar den. The gar den, in fact, in its ety mo log ical sense, is an enclosed area. But how do the idea of wilder ness, and that of enclo sure, coex ist? What is the con tem po rary mean ing of this enclo sure in light of the cur rent re-eval u a tion of the rela tion ship between nature and cul ture (which has erod ed the dis tinc tion between nature and cul ture)? 33 There are var ious options with regard to the form of the wild gar den. However, Clément says that in order to counter for mal ity, he com bines a for mal style with an infor mal bio log ical order. He declared, in an inter view, that, even if curved lines (typ ical of the English style) pre dom inate in gar dens, he is fun da men tal y French. Behind the form of the “gar den in motion” there is also a long his to ry of gar den design and cul ture. In Dagenais’ inter pre ta tion, in Clément’s gar den in motion, wilder ness is nei ther linked to an infor mal design, nor to the choice of wild plants. The aspect that makes this gar den wild is the way the mate ri als and plants are used. 34 Clément’s inter pre ta tion of “the wild,” when he talks about wild plants, recal s “the wild” defined by Wil iam Robinson in The Wild Garden. However, also here there are some fun da men tal dif er ences: first ly, Robinson wrote about the pro lif er a tion of wild plants, but with no ref er ence to their appar ent move ment after their nat u ral isa tion in a cer tain place; sec ond ly, “Robinson did not men tion any inter ven tion apart from the ini tial plant ing, while Clément talks about the sophis ti cat ed man age ment the gar den requires.” Dagenais’ arti cle pro vides an inno v a tive view of Clément’s work. This might be con tro ver sial, how ev er it gives voice to the debate about the place of ecol o gy in con tem po rary gar den and land scape design. Figure 8: Jardin des Joyeux, La Maladrerie, Aubervil iers (2015), @ Wagon Landscaping Conclusion To plan a wild gar den is not just to design an art form attuned to nature, nor mere ly to cre ate a sys tem of plant com mu ni ties, but pri mar ily to com mu ni cate a par tic u lar feel ing about of wilder ness. The fact that cer tain gar ‐ dens are able to com mu ni cate this feel ing might con tribute indi rect ly to the improve ment of people’s rela tion ship with their environment. Figure 9: Parasteatoda lunata web, Neapolis, Siracusa (2021), © Olimpia Cavriani Comme si la domes ti ca tion des plantes deve nait un acte de sauvagerie de la part de l’homme, qui con trôle non seule ment leur développe ment mais égale ment leur devenir et leurs pos si bil ités d’évolution, en les soumet tant à une sélec tion dirigée par la seule volon té humaine. 35 This paper opens us up a to fur ther reflec tions on the com plex ity of plan ning the wild gar den and on its role in dis cours es about sus tain abil ity. The design of this kind of gar den, for instance, can cal var ious eco log ical prin ci ples into ques tion. The idea of using exclu sive ly native plants, indeed, is a very purist eco log ical prin ci ‐ ple in the the o ry pro posed by the native plant move ‐ ment. However, the main te nance of a gar den whol y cre at ed from native plants is not real y sus tain able in terms of resources. The deter mi na tion of what is native inevitably sug gests a broad er reflec tion on the con ‐ cepts that res onate polit ical y. An ef ec tive rep re sen ta ‐ tion of the diver si ty and com plex ity of the approach es to the wild gar den would be a web, where con cep tu al issues, tech ni cal issues and case stud ies inter sect [ 9 ]. 1 “We define our era as the Anthropocene, by which we understand the geological time when humans are having a lasting and negative ef ect upon the planet’s systems” Braidotti, Rosi and Maria Hlavajova (2018): Posthuman Glossary, London: Bloomsbury Publishing Plc. 2 “The thing we cal nature becomes, in the Romantic period and afterward, a way of healing what modern society has damaged” Morton, Timothy (2007): Ecology without Nature, Cambridge: Harvard University, p. 22. 3 Brevini, Franco (2013): L’invenzione del a natura selvaggia, Torino: Bol ati Boringhieri. 4 “La fascinazione per il selvatico va oltre i limiti plausibili del ’architettura del paesaggio, trovandosi nel e manifestazioni più diverse del a cultura contemporanea.” Metta, Annalisa (2019): «Verso la città selvatica» in Annalisa Metta and Maria Livia Olivetti (Eds.), La città selvatica. Paesaggi urbani contemporanei, Melfi: Casa Editrice Libri, p. 22. 5 Di Carlo, Fabio (2019) «Complessità e contraddizioni del selvaggio urbano» in Annalisa Metta e Maria Livia Olivetti (Eds.) La città Selvatica. Paesaggi urbani contemporanei, Melfi: Casa Editrice Libri, pp. 90-101. 6 A reflection about wilderness must be framed through a specific cultural background because. As argued by Daniel e Dagenais: “The words 'natural' and 'wild' are not scientific terms; they are part of everyday usage.” Dagenais, Daniel e (2004): «The garden of movement: ecological rhetoric in support of gardening practice» in Studies in the History of Gardens & Designed Landscapes 24 (4), p. 318. 7 For contemporary philosophical theories about the idea of nature and the wild, contrary to common sense, see: Descola, Philippe (2004): «Le sauvage et le domestique» in Communications, 76 (Nouvel es figures du sauvage) pp. 17-39; Descola, Philippe (2005): Par-delà nature et culture, Paris: Gal imard; Berque, Augustine (2010): «Le sauvage construit» Ethnologie française 40 (4), pp. 589-596. 8 Burkhardt, Lucius (2019): Il falso è l’autentico. Politica, paesaggio, design, architettura, pianificazione, pedagogia, edited by Gaetano Licata e Martin Schmitz, Macerata: Quodlibet. 9 Nicolin, Pierluigi (1995): «La terra incolta» Lotus 87, p. 32. 10 Nicolin, Pierluigi (1995): «La terra incolta» Lotus 87, p. 32. 11 Solà-Morales, Ignasi, “Terrain vague” in Quaderns 212 (1996) pp. 35-42. 12 Di Palma (2014) explored the relation between wilderness and wasteland: “At the turn of the nineteenth century, dichotomous ideas of wilderness as pristine nature and wasteland as ruined or defiled nature became ful y codified in Western philosophy, literature, and art” Di Palma, Vittoria (2014): Wasteland. A History, New Haven: Yale University Press, p. 2. 13 In 1870, Wil iam Robinson was one of the first gardener to point the attention on marginal spaces. Helmreich noted that Robinson situated his wild garden in the “underutilised spaces of the pleasure ground: along wal s, stream banks, boggy areas, woods, etc.” see Dagenais, Daniel e (2004): «The garden of movement: ecological rhetoric to support of gardening practice» Studies in the History of Gardens & Designed Landscapes 24 (4), p 318. 14 “Ideas of growth and change are now in the Zeitgeist of both architecture and landscape architecture in what I cal ‘the process discourse.’ The process discourse refers to designers and theorists who see natural and cultural processes, described in scientific terms, as the source of dynamic design suited to a world that is dif erent from the past because of flows of information, for example. The models of process they use general y come from nature. In architecture, morphogenesis and biomimicry seek to use parametric systems derived from nature to animate the inorganic. In landscape architecture, subfields like landscape urbanism look to ecology to develop instrumental ways of working with natural processes, such as hydrology, in the city” Raxworthy, Julian (2018): Overgrown: Practice between Landscape Architecture and Gardening, Cambridge MA: MIT Press. p. 3. 15 “Frank Lloyd Wright defined nature as the physical manifestation of God, and therefore he used nature as a model to augment the authority of his design choices.” Whiston Spirn, Anne (1997): «The Authority of Nature: Conflict and Confusion in Landscape Architecture» in Joachim Wolschke-Bulmahn (Ed.), Nature and Ideology Natural Garden Design in the Twentieth Century, Washington: Dumbarton Oaks, p. 250. 16 Whiston Spirn, Anne (1997) «The Authority of Nature: Conflict and Confusion in Landscape Architecture» in Joachim Wolschke-Bulmahn (Ed.), Nature and Ideology Natural Garden Design in the Twentieth Century, Washington: Dumbarton Oaks, p. 250. 17 Howett, Catherine (1987): «Systems, Signs, Sensibilities: Sources for a new Landscape Aesthetic» Landscape Journal 6 (1) Spring, pp. 1-12. 18 Whiston Spirn, Anne (1988): «The Poetics of City and Nature: Towards a New Aesthetic for Urban Design» Landscape Journal 7 (2) Fal , pp. 108-126. 19 Olin, Laurie (1988): «Form, Meaning, and Expression in Landscape Architecture» Landscape Journal, 7, (2) pp. 149–168. https.//www.jstor.org/stable/43322829/ from June 23, 2021. 20 Francis, Mark and Randolph T. Hester (1990): The meaning of gardens: idea, place and action, Cambridge Mass: MIT press. 21 “As original y conceived and constructed, the Fens and Riverway were innovative models for public open space serving a variety of human needs and for the integration of engineering, economics, and aesthetics” Whiston Spirn, Anne (1988): «The Poetics of City and Nature: Towards a New Aesthetic for Urban Design» Landscape Journal 7 (2) Fal , p. 118. 22 Olmsted's imitation of "wild" nature represented a divergence from the prevailing pastoral and formal styles, both of which were domesticated landscapes and abstractions of nature […] In this approach, Olmsted heeded the admonition of his contemporary, George Perkins Marsh (1864, p. 35) who advocated that “the task […] is to become the co-worker with nature in the reconstruction of the damaged fabric.” Whiston Spirn, Anne (1988): «The Poetics of City and Nature: Towards a New Aesthetic for Urban Design» Landscape Journal 7 (2) Fal , pp. 118.-119. 23 Whiston Spirn, Anne (1984) The Granite Garden. Urban Nature and Human Design. New York: Basic Books. 24 “The Fens and Riverway in Boston and Columbus Park in Chicago, for example, were built to resemble what the designers describe as the ‘natural’ scenery of their region, but the motivations that underlie them were quite dif erent in important respects.” Whiston Spirn, Anne (2006): «Urban Nature and Human Design» Bul etin of the German Historical Institute Washington, D.C. 39 (Fal ), p. 49. 25 “Jens Jensen designed Columbus Park in Chicago to “symbolize” a prairie landscape. He made a large meadow, excavated a meandering lagoon, and planted groves of trees as a representation of the Il inois landscape: prairie, prairie river, and forest edge. Al the plants used in the park were native to Il inois; they “belonged,” as Jensen put it.” Whiston Spirn, Anne (2006): «Urban Nature and Human Design» Bul etin of the German Historical Institute Washington, D.C. 39 (Fal ), p. 50. 26 Lange, Wil y (1909): Gartengestaltung der Neuzeit, Leipzig: J. J. Weber. 27 Meyer, Elizabeth K. (2008): «Sustaining beauty. The performance of appearance. A manifesto in three parts» Journal of Landscape Architecture 5 (spring), pp. 6-23. 28 In this paper, projects are selected by the theme they reflect and not by historical criteria, however, they are al set in Europe and North America during the last two centuries, so that they share a similar cultural background. See Mundula, Silvia M. (2019): «The Fair of Nature. Wild as a Norm of Beauty in Gardens» in Madalina Ghibusi, Maryam Khatibi and Chiara Pradel, Scales of Interiors. Parks, gardens, objects, Santarcangelo di Romagna: Maggioli. 29 “at a recent end-of-semester studio review at Harvard’s Graduate School of design, I felt compel ed to correct a younger col eague’s dismissive use of the terms beauty and aesthetics. Like many landscape architects, he equated beauty and aesthetics with the visual and the formal, and in doing so rendered them inconsequential. His fascination for the performative blinded him to the distinctions between beauty and beautification or ornamentation. He did not think that beauty mattered, or realize that appearance could perform […] I have come to believe that the experience of certain kinds of beauty – granted new forms of strange beauty- is a necessary component of fostering a sustainable community, and that beauty is a key component in developing an environmental ethic.” Meyer, Elizabeth K. (2008): «Sustaining beauty. The performance of appearance. A manifesto in three parts» Journal of Landscape Architecture 5 (spring), pp. 6-23. 30 “Horticulturalists and ecological landscape designers James Hitchmough and Nigel Dunnett have demonstrated how designs with Fourth Nature landscapes can create places that bring together natural, cultural and social aspects. They can look wild and abandoned, but do not have to. To be valued by the public at large, they say, such vegetation ‘must be strongly informed by aesthetic principles’, and ‘preferences can change through experience and learning’. In Germany, too, there are stil chal enges to the acceptance of Fourth Nature among the general public. This is evident in the case of the renaturalization of the Isar River […] they wanted ‘naturalistic’ curving riverbanks, and the design was revised.” Bakshi, Anita and Frank Gal agher (2020): «Design with Fourth Nature» Journal of Landscape Architecture 15 (2), pp. 24-35. 31 “It can be the case of an intuitive sense of rightness and compatibility – a sort of inbuilt ecological wisdom. Choosing plants from similar habitats often results in them having similar adaptations, and this in turn leads to a visual coherence across a planting. And it’s at this level also that the essence of ‘naturalness’ comes in: the overal character of the planting and the arrangement of the elements to achieve the lack of rigid formality” Dunnett, Nigel (2019): Naturalistic Planting Design: The Essential Guide. Bath: Filbert Pr, p. 31. 32 Dutton, Geof rey (1997): Some Branch against the Sky: The Practice and Principles of Marginal Gardening, Devon: David & Charles, p. 10. 33 “Giardino: Sfugge al e divisioni culturali. Il giardino, ovunque nel mondo, significa al contempo il recinto e il paradiso […] Il recinto protegge. Dentro il recinto si trova il «meglio»: ciò che si ritiene più prezioso, più bel o, più utile e più equilibrante. L’idea di «meglio» cambia nel corso del a storia. Conseguentemente, cambia l’architettura del giardino con la quale si traduce questa idea. Non si tratta soltanto di organizzare la natura secondo una scenografia rassicurante, ma anche di esprimere in essa un pensiero concluso del ’epoca in cui si vive, un rapporto con il mondo, una visione politica […] Non si intende dire che fuori dal recinto si trovi il peggio (in opposizione al meglio), ma che vi si trova ciò che è selvatico e ignoto, dunque l’inquietudine, la città a un tempo oppressiva e confortevole, il territorio degli incontri inattesi e degli scambi necessari, la mescolanza di doveri e divieti, la lunga serie di regole, obblighi e rapporti […] Fuori dal giardino si chiede al a società umana di sospendere un sogno per difendere una posizione sociale, o semplicemente per esistere. Dentro il giardino il logoramento esistenziale svanisce” Clément, Gil es (2013): Giardini, paesaggio e genio naturale, Macerata: Quodlibet, pp. 15-16. 34 “It is in fact the garden where […] the evidence of work is least obvious. Nature seems to be composed of ‘that in the world which is produced spontaneously, without the intervention of man.” Dagenais, Daniel e (2004): «The garden of movement: ecological rhetoric in support of gardening practice» Studies in the History of Gardens & Designed Landscapes 24 (4), p. 318. 35 Al ain, Yves-Marie (2020): «Jardins naturel, jardins sauvages: une apercu historique» Jardins 9, (Le Sauvage), pp. 15-20 Makerlabs Makerspaces in libraries as modern spaces of urban belonging Mar Muñoz Aparici, TU Delft Initial doctoral stage Supervisors: Roberto Caval o, TU Delft; Maurice Harteveld, TU Delft # pub lic build ings, mak er spaces, threshold Abs In the context of changing reference points that t characterizes contemporary late modernity, public ra buildings are demanded to adapt to transforming ct cultural values. Buildings, static long-lasting structures, must satisfy changing purposes, programs, and users. One example of this shift are libraries which are undergoing transformations both as an institution and as a built object. Since digital resources are broadly accessible through digital means, libraries are shifting from knowledge consumption to knowledge creation spaces. The concept of “making” appears as one upcoming approach to explore contemporary literacy in libraries. The project Makerlabs: Makerspaces in libraries shows how designing public buildings as unfinished publicity thresholds makes space for cultural values’ creation and transformation. In this study, theories on public buildings, liquidity, thresholds, and values ground the framework informing design propositions tested with spatial interventions. Design Driven Methodologies are used as a discursive communication medium between theory and practice, concepts, and approaches, as a generative and reflective tool. Ex Public Thresholds ten Public Buildings are pub lic space con den sa tions tra di ‐ de tion al y con cep tu al ized in bina ry per spec tives: pub lic- d pri vate, indoor-out door, acces si ble-restrict ed. abs Nevertheless, the com plex ity of social, polit ical and t eco nom ic struc tures deems such def in ition dat ed. ra Public Buildings are dynam ic thresh olds that change ct with the flow of pub lic ity where a thresh old is “a point […] above which some thing is true or wil take place and below which it is not or wil not” 1 . Therefore pub lic build ings are thresh olds defined by the point – or limen– at which indi vid u als enter pub lic life to under take col ec tive action in a momen tary foam that lat er dis in te ‐ grates again into indi vid ual bub bles 2 [ 1 ]. Figure 1: Public Thresholds: liminality and changing transitions Since pub lic space is pro duced social y by a class and pow er con flict, pub lic build ings also embody the self- aug men ta tion ten sion of engag ing in a col ec tive 3 [ 2 ]. This ten sion is not sta t ic but changes accord ing to the pub lic con di tion. Individuals of dif er ent back grounds come togeth er to col ec tive ly act, whether watch ing a the atre play or debat ing the future of their neigh bour ‐ hood. During that time-peri od, they re-define their shared cul tur al val ues of beau ty, iden ti ty, belong ing or democ ra cy. If designed con sid er ing their role in the pub lic sphere, pub lic build ings can be a pow er ful tool to strength en cul tur al val ues by pro vid ing a com mon space for civic con nec tions and social interaction. Cultural pub lic build ings –those relat ed to col ec tive and com mon human prac tices such as libraries, muse ‐ ums or cul tur al cen tres– are the par a digm of cul tur al val ue cre ation. They exist to host the birth and pro lif er a ‐ tion of cul tur al prac tices that through inter ac tion and con flict even tu al y become cul tur al val ues. Buildings last decades while cul tur al val ues trans form at the speed of soci ety. Therefore, con ceiv ing pub lic build ing as unfin ishedthresh olds could make room for the cre ‐ ation and trans for ma tion of cul tur al values. Figure 2: Engaging in public life in public buildings In recent late moder ni ty, archi tec tur al practice’s suc cess was defined by the amount and impact of its cul tur al building’s designs. Buildings were designed as glob al and inter change able rep re sen ta tions of moder ni ty: Museums in China that could have been libraries in the US or Theatres in Switzerland that could become Casinos in Thailand. Cultural build ings became con ‐ sumer prod ucts shap ing local, nation al, and glob al iden ti ties. Nevertheless, the lack of con nec tion with their imme di ate vis ible and invis ible agents and ecolo ‐ gies lim it ed their ef ect on the pub lic sphere to emi nent ‐ ly eco nom ic val ue (regen er a tion, gen tri fi ca tion, touris ti ‐ fi ca tion). To avoid unde sired ef ects and ensure pos itive impact on the pub lic sphere, pub lic build ings must incor po rate col ec tive knowl edge into a build ing that is an open-end ed process instead of a fin ished object. Public build ings as agents of the pub lic sphere keep the pur pose of facil itat ing through tech ni cal solu tions the union of indi vid u als to form a col ec tive through a com ‐ mon activ ity while embrac ing their con flic tive nature as spa tial agents of a com plex urban ecol o gy [ 3 ]. Cultural pub lic build ings com bine col ec tive inter est into af or ‐ dances and pos si bil ities that host civic relationships. Figure 3: Ecology mapping: public buildings as agents in a complex urban ecology As cul tur al pub lic build ings, libraries are a rep re sen ta ‐ tion of a spe cif ic civ iliza tion and demon strate the val ues and aspi ra tions of their imme di ate and exten sive com ‐ mu ni ty. In late moder ni ty, not only are exter nal ref er ‐ ence points flu id but there is also a con tin u ous process of “self-actu al iza tion” or “life pol itics” as Anthony Giddens artic u lates it. Individuals “who using their own resources try to change the course of their own life” 4 . From a time when our life was defined by sol id ref er ‐ ences (reli gion, pro fes sion, fam ily) we shift ed towards a sit u a tion where the def in ition of the self is com plete ly depen dent on the individual’s capa bil ity to con tin u ous ly improve one self. In this con text of liquify ing insti tu tions and reflex ive explo ration of the self is where Makerspaces as com mu ni ty spaces emerge as a space for belong ing to coun ter act alien at ing mod ‐ ern existence. Figure 4: MAKERLAB: Proposal for a spatial intervention Makerlabs: experimenting with makerspaces in libraries Democratization of knowl edge has turned cit izens into pro sumers: pro duc ers and con sumers. These terms not only refer to an eco nom ic exchange but also to a change of roles in cul tur al insti tu tions. Prosumerism has turned cul tur al insti tu tions –from which also libraries– into per for ma tive spaces 5 . In these spaces, users are expect ed to engage with the avail able tools in co-cre ation. Makerspaces in libraries are a great exam ‐ ple of per for ma tive spaces because of their crit ical role in repur pos ing spaces for lit er a cy. Whether focused on cre ativ ity or inno va tion, mak er spaces in libraries share the goal of enlarg ing lit er a cy beyond books. The chal enge of trans form ing libraries’ civic role is one of pro gram mat ic and spa tial mag ni tude. On the one hand, new func tions demand dif er ent activ ities, themes and ways of doing. On the oth er, giv ing new mean ings to tra di tion al build ing func tions requires orig inal design con cepts and meth ods. The objec tive of the Makerlabs project is to demon strate how a design inter ven tion in an exist ing pub lic library can acti vate the building’s agency in the pub lic sphere, moti vate use and human inter ac tion and there fore pro duce cul tur al val ue dynam ‐ ics in and around the makerspace. Figure 5: Research Synergy: non-linear design driven research The Makerlab project is a two-year col ab o ra tion between the Royal Library of the Netherlands, Delft University of Technology, Hogeschool Rotterdam and 4 pilot libraries per year cycle. The project departs from a co-cre ation process with library rep re sen ta tives, users and mak ing experts clar ify ing the themes and cul tur al val ues of each mak er space. Later the PhD can ‐ di date trans lates the received input into a design blue ‐ print where the func tions and spa tial ges tures are pre ‐ sent ed. In that phase, Industrial Design stu dents take over the giv en blue print to design prod ucts or expe ri ‐ ences that enhance the designed val ue-spa tial frame ‐ work. The last phase of this design exper iment is to inte grate the trans dis ci pli nary research find ings on mak er spaces’ pro gram, space and objects into a spa tial inter ven tion to be built in the library [ 4 ]. As the first case study of this Design Driven Doctorate, the project serves to prove a dis cur sive method ol o gy where there is a con tin u ous back and forth between the o ry and prac tice, think ing and doing, words and draw ings. Instead of fol ow ing a lin ear approach, the research is designed to devel op lit er a ture review and design premis es simul ta ne ous ly to max imise their syn ‐ er gy [ 5 ]. For exam ple, design ing the indoor-out door con nec tion of the mak er space wil bring the focus to what are the con di tions of spa tial pub lic ity. Inversely, read ing about Spinoza’s con tri bu tions to archi tec ture leads to dis cov er ing designs such as the Fun Palace. The exper iments wil con sist of a three-step test ing process: design ing, exe cut ing and reflect ing on the inter ven tion. Ultimately, the Makerlabs exper iments wil prove by design how the agency of a pub lic build ing in the pub lic sphere can be activated. 1 Merriam-Webster.com (2021): »Threshold« in: Merrian Webster Online Dictionary. https://www.merriam-webster.com/dictionary/threshold. 2 Palese, Emma (2013): »Zygmunt Bauman. Individual and Society in the Liquid Modernity« in: SpringerPlus 2, no. , pp- 2–5. https://doi.org/10.1186/2193-1801-2-191. 3 Lefebvre, Henri (1991): The Production of Space. Malden, MA: Blackwel . https://doi.org/10.4324/9781315565125-7. 4 Bauman, Zygmunt (2012): »Liquid Modernity Revisited« Lecture. Aarhus Universitet. https://vimeo.com/41344113. 5 Jochumsen, Henrik/ Skot-Hansen, Dorte/ Hvenegaard Rasmussen, Casper (2017): »Towards Culture 3.0–Performative Space in the Public Library« in: International Journal of Cultural Policy 23, no. 4, pp. 512–24. https://doi.org/10.1080/10286632.2015.1043291. Belgrade on Screens Before the War / Before the Truth (Cut 1) Miljana Niković, HCU Hamburg Intermediate doctoral stage Supervisor: Mona Mahal , HCU Hamburg # Belgrade, Discontinuity, Film Abs The project "Belgrade on Screens: Visions of t Continuous Discontinuities” explores Belgrade's urban ra destructions through (post-)Yugoslav moving images. ct Cities being self-paced to their built environment, architectural discontinuities refer to disruptions, losses, and traumas caused by wars, inner conflicts, or political decisions. However, while film cutting essential y constructs continuity, filmmakers use discontinuous editing to emphasize emotional response by atypical shot-arrangements. Af ecting col ective memories, films articulate and manipulate the image of a town and its inhabitants. Therefore, how do cinematic ef ects and scenography manifest Belgrade's discontinuities? How do audiovisual media impact our cognitive awareness of a city? Do they produce new interpretations or generate any misconceptions? Developed with a theoretical background, the first phase is an archival investigation within genres showing decisive historical urban "gaps" in the 20th century. Col ected data wil be analyzed, before being re-used for the second part of the research as immersive video-col age. Pa Background pe The top ic of the project "Belgrade on Screens", its ini tial r struc ture, pur pose, and rel e vance hav ing been intro ‐ duced dur ing the last CA2RE con fer ence in Hamburg (March 2021), it is per haps more ben e fi cial to con tin ue the dis cus sion based on pre vi ous remarks, includ ing implic it fur ther elab o ra tion on aspects list ed above. After some first reflec tions on the cen tral notion of this research — "dis/continuity" — one of the chal enges is to break such a wide and com plex con cept into sev er al sub cat e gories for an eas ier overview. By doing so, it is nec es sary to decide which types of dis/continuity wil be tak en into account. Moreover, val ued sub jec tive (indi vid ual) posi tion ing and emo tion al com mit ment are acknowl edged as cru cial start ing points. Thus, the main goal is to trans late this rela tion al-sit u a tion al prac tice to an ide o log ical-polit ical (glob al) sphere, and move pro ‐ gres sive ly away from the per son al approach. Discussing deep er eth ical sides of dis/continuity can, indeed, jus ti fy the project's rel e vance and its fur ther appli ca tion. Lastly, it seems essen tial to insist on the nature and the tar get of the out come, because it wil vary depend ing on whether the goal is to show or change dis/continuity. However, it is by no means a ques tion of resolv ing it, but rather rein ter pret ing and recon tex tu al iz ing. To avoid unde sir able sur pris es, it is wise to start exper iment ing with select ed mate r ial as soon as pos si ble. "Cut 1" is the first fragment. Figure 1: Film stil from "Pre Rata" [Before the War] (d. Babić, Vuk. 1966) Cut 1 Original y imag ined as a mul ti-chan nel video work, "Cut 1" forms a dia logue main ly between two par tic u lar ‐ ly con trast ing films: "Before the War" (d. Vuk Babić, 1966) [ 1 ] and "Before the Truth" (d. Kokan Rakonjac, 1968) [ 2 ]. At first glance, the only fac tu al ele ments that seem to bring these two films on a com pa ra ble lev el are the moment of their pro duc tion and their some what evoca tive titles. For exam ple, while the first film is a com e dy set in the inter bel ic peri od, the oth er is a Black Wave 1 dra ma pic tur ing con tem po rary issues. Nonetheless, pro tag o nists nar rat ed by Rakonjac are haunt ed by their respec tive trau mas from World War II. In fact, if we take a clos er look at the rep re sent ed places (space) and dynam ics (soci ety), we wil start notic ing mul ti ple visu al cor re spon dences as wel as the ‐ mat ic or even ver bal super po si tions. Ironical y, the same type of dis con ti nu ity hap pens by the end of "Before the War" as at the begin ning of "Before the Truth". This link auto mat ical y appears as a con tin u ous and log ical course of events. Although noth ing seems to unite them, both sto ries may melt into one and unique rein ‐ ter pre ta tion of the past, by a com bi na tion of par al el or inter sect ed scenes that cre ate sub lim inal echoes with today. The inten tion is to "rethink" (refor mu late) the past as a form of response (or ques tion) to cur rent sociopo ‐ lit ical chal enges. Reformulations: awareness, rich language, playful lexicon To deter mine any project, it is impor tant to use pre cise words. But when it comes to design-dri ven research (DDr), the addressed top ic REFORMULATION invites us to pay even more atten tion to the vocab u lary. Each term should be con sid ered care ful y, before being intro ‐ duced. For instance, there is one word that should be used with high er con cern, as it is charged with heavy con no ta tions and could be mis read: urbi cide. Although it means "the destruc tion of a city or its char ac ter", 2 it has to be con sid ered on a larg er scale. Noting how often this word appears in polit ical dis course, it is dis ‐ turb ing to wit ness at the same time its nor mal iza tion, triv ial iza tion, and even sensationalism. Figure 2: Film stil from "Pre Istine" [Before the Truth] (d. Rakonjac, Kokan. 1968) The pro posed project is, per se, a refor mu la tion: of his ‐ to ry and mem o ry; of cin e ma and tele vi sion; of a city and its per for mances. The ful title — "Belgrade on Screens: Visions of Continuous Discontinuities" — and pre vi ous ly described process es sug gest a com bi na tion of dif er ent VISIONS. In this par tic u lar con text, employed and implied pol y se my is worth mentioning. Firstly, the subject's main enti ty being films, visions refer fore most to the "abil ity to see". Conversely, audio vi su al mate r ial influ ences view ers' "idea or imag ined men tal image of some thing" while pow er ful y af ect ing their "expe ri ence in which [they] see things that do not exist phys ical y". Simultaneously, although "beau ti ful and impres sive sight" com mon ly applies to a per son, we can asso ciate it with the city as a cin e mat ic aes theti ‐ cized lead ing char ac ter. Final y, the "abil ity to imag ine how some thing could devel op in the future" involves film mak ers as much as archi tects or urban plan ners. 3 By adher ing to al the above-men tioned def in itions, the entire dis cus sion can be refor mu lat ed into the fol ow ing ques tions: how does vision influ ence col ec tive visions or cre ate alter na tive visions, and how does it describe visions of a city or reveal upcom ing visions? But instead of deal ing with homonyms, the num ber of mean ings can be both reduced and extend ed by replac ing visions with ver sions. In that sense, mul ti ple "ver sions of con tin ‐ u ous dis con ti nu ities" bring addi tion al insights. Considering ver sion as a par tic u lar ele ment that "varies from oth er forms of the same thing" or "is slight ly dif er ‐ ent from its pre vi ous or lat er forms", it becomes clear that the quan ti ty of design-dri ven results is lim it less, since qual ita tive and intu itive. In the same way, ver sion as "trans la tion" al ows enough sub jec tiv ity. 4 Therefore, dif er ent ver sions — of i cial or invent ed — of list ed visions can also be pre sent ed in dif er ent ver ‐ sions. Hence, ide ol o gy and polit ical ori en ta tions shape every individual's nar ra tive, pro duc ing dis so nant real i‐ ties. Besides, con se quent antag o nisms tend to be more vis ible in sys tems where demo c ra t ic prin ci ples are either super fi cial or nonex is tent. This is also why a sin ‐ gle frame can eas ily manip u late two (or more) divid ed audi ences. Similar to how music implic it ly reg u lates perceiver's moods, ver bal infor ma tion sends explic it mes sages. For exam ple, in his essay is tic doc u men tary "Letter from Siberia" (1957), Chris Marker of ers three ver sions of Yakutsk with the same shots, but con tra dic ‐ to ry state ments. Eric Michaud also evokes these oppo ‐ si tions as " image témoin" [wit ness] and " image acteur d'histoire" [actor of his to ry]. 5 Furthermore, since this project prin ci pal y con sists of col ect ing and exploit ing footage for a bet ter under ‐ stand ing of the past, it is inter est ing to high light it as a dou ble pro ce dure: col ec tion and rec ol ec tion. The first activ ity indi cates the "process of bring ing infor ma tion togeth er from dif er ent places or over a peri od of time" 6 as wel as a "group of objects or amount of mate r ial accu mu lat ed in one loca tion, espe cial y for some pur pose or as a result of some process". 7 The sec ond activ ity is the "abil ity to remem ber past events" or the "mem o ry of some thing". 8 In this mod el of refor ‐ mu la tion, we can won der: how does the col ec tion of the same kinds of items con tribute to the rec ol ec tion of what these items represent? Inspirations, influences Many exam ples il us trate sim ilar con cerns with com pa ‐ ra ble or total y dif er ent approach es, show ing the grow ‐ ing enthu si asm for this top ic. The most recent and impos ing one is Canada’s nation al exhi bi tion at the ongo ing Venice Biennale for Architecture, "Imposter Cities / Edifices et arti fice / Inganni Urbani": "con ceived as an audio vi su al instal a tion, four, 3‐me ter-high fold ed screens immerse vis itors in film-famous mod ernist icons, (…) [and] dis play a four-chan nel video super cut that com bines clips cul ed from over 3,000 films and tele vi sion shows shot in Canada." 9 A part of the exhi bi tion con tains inter views with Canadian archi tects, set design ers, film direc tors. One of them, the film mak er Luc Bourdon, cal s Montreal a "vast patch work of influ ‐ ences" with its numer ous repli cas. He fur ther won ders: "How can we have a strong per son al ity on screen when we do not look at our selves? (…) How can we be sur ‐ prised that we do not dis guise our own iden ti ty to resem ble that of anoth er whose image is dom inant?" 10 Even though these ques tions dif er from those con cern ‐ ing Belgrade, Bourdon's film "Memories of Angels" (2008), which "pays trib ute to the city of Montreal" — as stat ed by the National Film Board of Canada whose 120 films appear in the movie 11 — marks dif er ent kinds of dis/continuities on a short er time-frame of two decades (1950s to 1960s): in used footage (inter sec tions between gen res, styles of film ing, tran si tions, col ors, nar ra tives, spa tial lin ear i‐ ties, sound) in chrono log ical, sea son al, and func tion al pro gres sions (light/dark, dai ly activities/nightlife; sum mer-win ter, sun-snow; exte ri or-inte ri or, pub lic-pri vate, institutional) in urban plan ning (con struc tion, repa ra tion, mod ern iza ‐ tion, infra struc tur al changes; social class es, mul ti cul tur ‐ al ism, age groups) Although Montreal can be per ceived as a dis con tin u ous city in terms of its search of own iden ti ty, the three stat ‐ ed types of dis/continuities appear to be a part of a con tin u ous process, a "calm" and sta ble peri od, "gold ‐ en days" of con sumerism. There is no direct con se ‐ quence on the pop u la tion of a past war, nor a threat or signs for an upcom ing one — even in the most trag ic moment of fire, because this kind of tragedy hap pens in every city, it is here a fur ther proof that pre cise ly this type of unfor tu nate event is the most dev as tat ing one in a quite wel -orga nized soci ety. In this sense, the oth er big miss ing part that proves that, is the lack of polit ical back ground — except the one obvi ous inter na tion al gap in 1968. Therefore, can we clas si fy these types of dis/continuities as "peace ful" or "com mon", or is this an impres sion only because — to rephrase the director's com ment — this could be almost any oth er west ern city (or aspir ing to adopt west ern val ues and lifestyles)? The most excit ing moments are exact ly the ones where loca tions are over lap ping, echo ing to each oth er, "con ‐ tin u ing" or pro long ing a scene and jump ing from one momen tum to an oth er and back again; or when we find the same char ac ters (such as the cou ple next to the tree and lat er at a con cert); or rec og nize a European actor such as the young Charles Denner in "YUL 871" (d. Jacques Godbout, 1966). If this type of work was a first idea — or "vision" — to be achieved for "Belgrade on Screens", it became quick ly clear that the ful poten tial of doc tor al stud ies might be missed: an homage peace like this one, show ing a sta ‐ tus quo or "this is how it was" can be done out side the aca d e m ic design-dri ven meth ods and is lib er at ed of sci en tif ic crit icism or urgent prob lé ma tiques to address. The oth er rea son is that this type of "exer cise" has been done ear li er. 12 Nevertheless, a gener ic approach can be con tin ued after the series of upcom ing exper iments as equal enti ties of a larg er pic ture or puz zle, detailed frag ments, events, or divid ed chap ters (sim ilar to the work of the artist duo Doplgenger). Contrary to the pre vi ous "neu tral" exam ple, "My Winnipeg" (d. Guy Maddin, 2007) is an exper imen tal doc u men tary on the inti mate and con flict ing love/hate rela tion ship between a city and its inhabitant/director. However, the archi tect-film mak er Gustav Deutsch remains a dom inant fig ure whose films have been acclaimed world wide for his found-footage tech niques, as a re-con tex tu al iza tion of mem o ry, dri ven by "the delight in play ing games of asso ci a tion". 13 Figure 3: Screenshot from the ongoing editing process Experiment and observe "A sin gle shot in itself means noth ing — or poten tial y can mean any thing. According to Kuleshov, a film's mean ing there fore comes not from the act of film ing but from the act of splic ing. (…) [T]he use of footage implies a rad ical decon tex tu al iza tion and rede f in ition. Whatever the mean ing or inten tion orig inal y tied to this footage, that tie has been loos ened. Kuleshov's method was to sup ply a new con text, to sup ply a new mean ing. (…) he demon strat ed his con trol of mean ing, while [Bruce] Conner (…) lib er at ed the image into a wide range of asso ci a tions — polit ical, sex u al and anar chic. Kuleshov dis played the seman tic pow er of edit ing; found-footage films in the late twen ti eth and ear ly twen ty-first cen tu ry rerout ed this pow er, mul ti ply ing rather than defin ing it." 14 Thus, by pay ing atten tion to the cur rent avant-garde film mak ing, it appears that there are more and more approach es to cin e mat ic "recy cling". In one of her lec ‐ tures, Mila Turajlić under lines that instead of claim ing his tor ical truths, "younger" gen er a tions seek a "new polit ical sub jec tiv ity". She com ments on how the real chal enge of work ing with audio vi su al archives is in avoid ing nar ra tions of pos itivist his tor ical evi dence, and tran sit ing the mate r ial as an instru ment to visu al his tor ical dis course. 15 The impor tance of re-appro pri a tion is main tained by Jacques Aumont's obser va tion that his ‐ to ri ans treat images as a doc u ment, where as anthro ‐ pol o gists as "vec tors of thought". Lastly, Jamie Baron exam ines how the "archive ef ect" cre ates new, alter na ‐ tive, or mis read his to ries. 16 "Cut 1" tests these con di tions through rules and pre de ‐ fined steps al ow ing var ious lay ers of jux ta po si tions. [ 3 ] In this case, it is by doing, that method olo gies take shape. Regarding the stag ing of the videos, it would be suit able to see the results of the first exper iment before con tin u ing with the design of the sceno graph ic options intro duced in the last presentation. 1 Yugoslav film movement of the 1960s and early 1970s, known for a non- traditional approach to filmmaking, dark humor and critical examination of the Yugoslav society. 2 https://www.lexico.com/definition/urbicide [accessed June 28, 2021]. 3 https://www.dictionary.cambridge.org/ [accessed May 8, 2021]. 4 Ibid. 5 Michaud, Eric (2001): La construction de l’image comme matrice de l’histoire. Vingtième Siècle Revue D'histoire: Image et histoire. 6 https://dictionary.cambridge.org/ [accessed May 8, 2021]. 7 https://dictionary.com [accessed May 8, 2021]. 8 https://dictionary.cambridge.org/ [accessed May 8, 2021]. 9 https://www.impostorcities.com/fr/projet [accessed June 27, 2021]. 10 In Conversation With: Filmmaker Luc Bourdon, Impostor Cities / https://www.youtube.com/watch?v=Gx_BWHWsI3A [accessed June 27, 2021]. 11 https://www.nfb.ca/film/memories_of_angels/ [accessed June 26, 2021]. 12 In my Bachelor thesis, which is used as my main reference catalogue, I analyzed and classified 118 feature films where Belgrade appears explicitly. 13 Kos, Wolfgang (2009): "Ethos of the Ephemeral: Gustav Deutsch's Educational Methods", in: Wilbirg Brainin-Donnenberg, Michael Loebenstein (Eds.), Gustav Deutsch, Vienna: Synema, pp. 49-62. 14 Gunning, Tom (2009): "From Fossils of Time to a Cinematic Genesis. Gustav Deutsch’s Film ist." in: Wilbirg Brainin-Donnenberg, Michael Loebenstein (Eds.), Gustav Deutsch, Vienna: Synema, pp. 163-180. 15 Archival Storytel ing — Rules of Engagement, Conference "Prime Time Nationalism", OSA archivum, Budapest. (2016). 16 Baron, Jamie (2014): The Archive Ef ect: Found Footage and the Audiovisual Experience of History. London: Routledge. Ark Architecture Space Suspension Strategies Alberto Petracchin, Politecnico di Milano Intermediate doctoral stage Supervisors: Sara Marini, Politecnico di Milano; Alessandro Rocca, Politecnico di Milano # ark, future, suspension Abs The contribution aims to construct a journey towards t the figure of the ark. After a brief analysis of the ra mythological tales where the ark originates, the reasons ct and the contemporary scene from which the ark emerges wil be discussed fol owed by its strategy of action in time. Some examples from the history and theories of architecture wil be used to think about some authors who have already expressed on this theme and who therefore constitute the theoretical foundation within the disciplinary boundaries; consequently, some examples of contemporary arks, whose objective is the refounding of space by crossing a time of suspension, wil be considered. Final y, an attempt wil be made to reflect on the conclusions of this research, that is, to deal with ark as architectures of expectation. E Architectures, cities and ter ri to ries are today crossed by xt trans for ma tions out of con trol. The advance ment of en forests, the intru sion of ani mals, floods, earth quakes, de fires, are chang ing the “ter ri to ry of archi tec ture” after d years of appar ent sta bil ity. At the same time, as argued abs by the Italian philoso pher Federico Campagna, we are tr wit ness ing the col apse of an old world giv ing way to ac a new one for which we are unpre pared, and for which t we need new design tools1 . In the face of the loss of the notion and the con di tion of order, and in front of new unknown cul tur al and life ques tions, we see the need of strate gies that act ing in advance and work ing over a long peri od of time can save those mate ri als that could be lost but at the same time could be use ful to design new begin nings: we need a new Noah’s Ark. We find our selves, to quote a draw ing by Massimo Scolari, “At the end of his to ry”, inside an “apoc a lypse” where “al is lost” and the city is in frag ment. The mod ernist cer tain ty of a bright tomor row gives way to unpre ‐ dictable futures: it is there fore the time of a new refoun da ‐ tion cycle. Figure 1: Entering the ark. Svalbard Global Seed Vault, Norway, 2008. Ph. Matthias Heyde Figure 2: The ark. Svalbard Global Seed Vault, Norway, 2008. Ph. Matthias Heyde The immer sion in what Timothy Morton cal s “Dark Ecology”, ques tions archi tec tures and tools able to antic ipate the present, at the same time to review some posi tions of archi tec ture from its foun da tions in front of con texts defined no longer by the sta t ic data but by the emer gence of oth er enti ties which claim for space2 . We are there fore wit ness ing today the return of a fig ure, in real ity ancient, cal ed the ark, under stood as archi tec ture to accu mu late nec es sary trea sures and fer ‐ ry them to oth er des tinies by sus pend ing their use. Hubert Damisch has the mer it of hav ing brought atten ‐ tion to this ancient fig ure by bring ing it back into the archi tec tur al debate. His essay, enti tled Noah's Ark, is a reread ing of the fig ure of the ark from the Encyclopédie of Diderot and D'Alembert3 . The first part of Damisch’s essay insists on the def in ition of “archi tec ‐ ture” writ ten by the famous French archi tect François Blondel for the Encyclopedie, who speaks quick ly about the his to ry of archi tec ture insist ing on the dis ci pline as a fact of orders, com po si tion and pro por tions, mak ing it emerge stil as a clas si cal dis ci pline and entire ly under ‐ stood as geom e try. Nothing is said about con struc tion and site tech niques, or about the social mean ing of the pro fes sion. Paradoxical y, says Damisch, archi tec ture is bet ter treat ed in anoth er entry of the Encyclopedie, the entry “ark”, refer ring to naval archi tec ture. The entry is writ ten by Abbé Edme-François Mal et and occu pies three times the space occu pied by the entry “archi tec ‐ ture” for a total of four pages and of ers not so much an alter na tive to the entry “archi tec ture” but a com pendi ‐ um of it. The text does not give “ety mo log ical” def in i‐ tions of the word “ark” but nei ther does it give a def in i‐ tion direct ly refer ring to the sacred scrip tures: for Mal et an ark is Noah’s Ark. After set ting out the rea sons for the design of the ark – under stood by Mal et as a sur ‐ vival device – along with its design, dimen sions, mate ri ‐ als and inter nal main te nance, the author rea sons for the rest of the arti cle on the design, tech ni cal and logis ti cal impli ca tions present in the his to ry of the ark, through the trea tis es or words of Origen, St. Augustine, John Wilkins, Buteo, Kircher and Isaac Newton, who in the words of Damisch sets up a “func tion al ism ante lit ter ‐ am”. From the text of Mal et, through that of Damisch, emerges an “enlight ened” dec li na tion of the fig ure of the ark, intend ed there fore to the agree ment with the laws of nature (this through the math e mat ical demon ‐ stra tion of its exact dimen sions, enough to con tain al the ani mals and at the same time to float on the water with out sink ing) and there fore func tion al ist; not least the ark is loaded with a fur ther dec li na tion, al mod ‐ ernist, or the naval mean ing, with a sal va tion attempt inside the so cal ed “flood”. The ark in fact stands as a closed but ephemer al and defense less archi tec ture, able to retain pre cious mate ri ‐ als, to block their aging until they are released when nec es sary4 . The con struc tion of real arks such as the Svalbard Global Seed Vault in Norway5 cal s into ques ‐ tion this ancient fig ure, an arche type, nec es sary to car ‐ ry us and our trea sure toward a remote dis tant time. So, the Vitruvian notion of util itas under goes a twist in the sense of its pos si ble sus pen sion, this is the main ques ‐ tion of the research: archi tec ture, which has always been built for the imme di ate, is instead designed in advance, to be put “on hold” and then “used” in a dis ‐ tant future. Living today becomes there fore an expec ta ‐ tion6 , lit er al y a “ten sion towards”, a jour ney towards a des ti na tion, a look to what is yet to come, based on the future7 . The ark’s strat e gy involves a tem po ral dynam ic that con sists of a tri ad com posed of antic ipat ing real ity, sus ‐ pend ing time and per vad ing the exist ing, with the final objec tive of re-foundation. Figure 3: The entrance tunnel. Svalbard Global Seed Vault, Norway, 2008. Ph. Matthias Heyde Anticipating real ity speaks of the foun da tion of the ark start ing from a pre dic tion of a tomor row that is expect ‐ ed to be unknown. In today’s world it is a ques tion of antic ipat ing real ity, we need to ask our selves about pos si ble new prac tices of fore cast ing, between the real ‐ ism of sci ence and the oblique imag ina tion of mag ic8 . At the same time, the ques tion that Mike Davis asks about “Who wil build the ark“9 with what remains of our world today is at the cen ter of the foun da tion of this fig ure: it is a ques tion of choos ing things not to be missed for the future, and then to deprive our selves of them today. In Davis’ idea the ark is a col ec tion of waste mate ri als, of for got ten things, anony mous mate ri ‐ als that we want to save; we are talk ing about archi tec ‐ tures built start ing from choic es of what is nec es sary, that reveal their strength in the sense of restraint, of a wait that is a choice of time in which to act. Of course, it remains to be seen how this pre dic tion wil be real ‐ ized, if it is reli able, if what is pre dict ed wil hap pen, but what is on ques tion here is that the ark is planned with a pos si ble future ahead of it, a des tiny writ ten before. Figure 4: Frozen time. Svalbard Global Seed Vault, Norway, 2008. Ph. Matthias Heyde The sec ond moment of the ark is the cross ing of those con texts that are chang ing. The seal, the total absence of an exit defines the impor tance of what is housed inside but of course dur ing the “flood” the ship wreck is always pos si ble, archi tec ture could also fail. What is inside the arks must be “frozen” or cul ti vat ed: like an “enclaves in time” 10 the ark goes through the places while they change, remain ing “sus pend ed”, sealed but defense less, retain ing its con tents: the ark is not only a con ser v a tive attempt but an extreme explo ration of the future. Figure 5: The seal. Svalbard Global Seed Vault, Norway, 2008. Ph. Matthias Heyde The third stage is final y marked by the open ing of the archi tec ture. The trau ma is over, the ark is dis man tled, and its con tent is freed to per vade and change the exist ing, “what has been lost”, or that has remained secret for years, can return to upset the already known coor di nates. It is there fore a mat ter of sus pend ing “the use of the bod ies“11 to “aban don spaces” to bring in the future those trea sures, if not also life, that wil serve to refound future new worlds. We wil cal them archi tec ‐ tures of expectation. Figure 6: The treasure room. Svalbard Global Seed Vault, Norway, 2008. Ph. Matthias Heyde 1 See Campagna, Federico (2018): Technic and Magic. The Reconstruction of Reality, London: Bloomsbury. The philosopher argues for the return of magical techniques to design the new world to come, in reaction to the col apse of the old one. 2 See Morton, Timothy (2016): Dark Ecology. For a Logic of Future Coexistence, New York: Columbia University. 3 See Damisch, Hubert (2016): Noah’s Ark. Essays in Architecture, Cambridge Mass.: The MIT Press, pp. 1-24. 4 See Slotedijk, Peter (2014): Spheres I . Globes, Cambridge Mass: The MIT Press. 5 The project, its content and its reasons are documented in Fowler, Cary: Seeds on Ice, New York: Perspecta Press 6 About the theme of expectation see for example Nancy, Jean-Luc (2017): Expectation: Philosphy, Literature, New Yorkk: Fordham University Press. 7 The Italian world “attesa” means literal y “come to an end”, “aspire to”, “strive for”. See www.etimo.it, consulted 2021.05.09. 8 About possible forecasting tools see for example the research contained in the journal “Nature” or in the journal “Future”. 9 “Left to the dismal politics of the present, of course, cities of poverty wil almost certainly become the cof ins for hope; but al the more reason that we must start thinking like Noah. Since most of history’s giant trees have already cut down, a new Ark wil have to be constructed out of the materials that a desperate humanity finds at hand in insurgent communities, pirate technologies, bootlegged media, rebel science and forgotten utopias”. See Davis, Mike (2010): »Who wil Build the Ark?«, in New Left Review 61, p. 30. 10 See Lynch, Kevin (1972): What Time is This Place?, Cambridge Mass: The MIT Press, and the recent research book Foscari, Giulia UNLESS (edited by) (2021): Antarctic Resolution, Zurich: Lars Mül er Publisher. In the seventh chapter, ice as an ark containing unmissable ‘times’ is mentioned with the example of the Svalbard Global Seed Vault and the United States National Ice Core Facility. 11 See Giorgio Agamben (2014): The Use of Bodies, Vicenza: Neri Pozza. The Design of the Monumental Grounds Moved by the AlpTransit Construction Activities in the Swiss Landscapes Chiara Pradel, Politecnico di Milano Intermediate/final doctoral stage Supervisor: Alessandro Rocca, Politecnico di Milano # mov ing ground, earth works, infra struc tur ‐ al monuments Abs The research focuses on the AlpTransit highspeed t railway project connecting Italy and Germany through ra Switzerland. The construction activities of the Gotthard ct and the Ceneri tunnels that took place between 1999 and 2020 have produced more than 34 mil ion tons of excavated materials. As a result, huge artificial mountains, refil ed delta and altered topographies made of inert waste have powerful y reshaped a number of Swiss territories close to the infrastructural construction sites. A selection of photographs and drawings (temporal maps and topological drawings) provides an interpretative inventory of the major ground movements and inert disposals linked to the AlpTransit: the Reuss Delta, Sedrun, Cavienca, Biasca, Sigirino. The contribution aims to interrogate both their monumental character and their deep, material impact on landscapes, disengaging earthworks from exclusively technical approaches and questioning their meaning inside the landscape architecture thinking, language and design process. Pa Introduction pe A direct, empir ic obser va tion of the con struc tion phase r of land scape archi tec ture inter ven tions, from pri vate gar dens to pub lic parks planned and real ized in the south part of Switzerland between 2009 and 2018, becomes an oppor tu ni ty to think about ground move ‐ ments linked with the con struc tion phas es of land scape and archi tec tur al projects. This obser va tion led to the re-con sid er a tion of some basic actions that are often total y implic it in the land ‐ scape and archi tec tur al prac tice _ like dredg ing, dig ‐ ging, mass grad ing, slop ing, con tour bound ing, embank ing and, most of al , land fil ing. Indeed, if we take into account the con struc tion or the demo li tion phas es of a build ing, a street, even a park look ing at the sec ondary ef ects of the con struc tion activ ities, what we might notice is a sig nif icant num ber of neglect ed earth (soil, stones or debris) move ments that struc tural ‐ ly act inside the land scape and that both pro vi sion al y and per ma nent ly deeply af ect it [ 1 ]. In spite of their mate r ial impact 1 and of the pow er ful sug ges tion of their forms and sizes, great tumuli com ing from com ‐ plex build ing sites are treat ed, as per stan dard prac tice, like out comes to be han dled as sec ondary concerns. Figure 1: Sigirino artificial mountain, view from the north side (from Mezzovico), 2020. The earthwork rapidly grows and changes inside the ever-changing landscape. Moreover, it questions the real mountain “original” identity: the artificial mound seems to directly ecto-parasite the “natural” one and to gather its strength from it, adding a new outgrowth that, watching from afar, imitates and reproduces the forms of a real hil . The major ques tions that gave rise to this research thus are: how these kinds of earth works could enter straight into the (land scape) design think ing and process? How is it pos si ble to know ing ly assem ble and design a land scape out of land fil ed con struc tion ruins? And how these earth works could change the present archi ‐ tec tur al (visu al, tech ni cal, cul tur al) language? Problem Framing As we advance in the inves ti ga tion on earth works inside land scape, we are faced by the chal enges posed by the fact that there is an increas ing num ber of par tial ‐ ly unex plored earth-struc tures _ as land fil s, embank ‐ ments, ground-lev el ing and ground-fil ings _ com ing from a mul ti plic ity of com plex build ing oper a tions that af ect a large num ber of ter ri to ries and that are silent ly design ing our land scapes. At the same time, these non- stan dard ized, un-rec og nized objects pow er ful y merge the con tem po rary expand ing field of land scape archi ‐ tec ture 2 , with out stand ing, pio neer engi neer ing activ i‐ ties, with a rev o lu tion ary artis tic prac tice tra di tion 3 , with press ing eco log ical ques tions 4 and with the mem o ry of ancient _ Greek, Roman, Egyptian, Inkan… _ “cyclo pean” archi tec tur al forms [ 2 ] and tech niques 5 . New mal eable, change able, non-deter min is tic and sit u ‐ a tion al archi tec tur al lan guages emerge right before our eyes. Considering this first obser va tion phase as a thought- pro vok ing start ing point for propos ing a new design- based point of view, I’ve addressed the inves ti ga tion on the mov ing ground actions and their cur rent role inside land scape archi tec ture dis ci pline chiefly reflect ing on con tem po rary com plex con struc tion sites and on the design solu tions based on huge amounts of wast ed earth deriv ing from the real iza tions of mon u men tal infra struc tur al interventions. While indeed it is dif i cult to find a prop er and sig nif i‐ cant sys tem of earth works start ing from smal up to medi um ordi nary con struc tion activ ities _ that frag men ‐ tar ily works on rel a tive ly smal exca va tions, fil s and depots _ the study of infra struc tur al inter ven tions al ows the obser va tion of great earth move ments inside chal eng ing con struc tion process es, lead ing to size able issues 6 , mean ing ful (pub lic) debates, ambi tious poli ‐ cies and, some times 7 , to ground-break ing solutions. Most of al , the present study is addressed to what is con sid ered the “final” stage of earth move ments inside an infra struc tur al con struc tion process, name ly with the spoil dis pos als inside landscape. Figure 2: Rheinelbe Spiral Hil and Skystairs in Mechtenberg, Herman Prigann 1999. Photo by the author. It is pre cise ly in that moment, in which the exchange between the flux of unshaped mat ter, the human or mechan ical design and the land scape that con tains it takes place, that seems par tic u lar ly interesting. The land fil ed deposit indeed comes to life, as a kind of liv ing organ ism con front ed with the (engi neers) design deci sions, with the earth mov ing machin ery actions, with the open pos si bil ities aris ing from the land scape becom ing and from the earthwork’s own behavior. Case Study The select ed main area of inves ti ga tion is the Alpine region, where a num ber of major high-speed rails are today under con struc tion to cross nation al bor ders, to facil itate mobil ity of goods and peo ple, to pre serve frag ‐ ile and nat ur al envi ron ments [ 3 ]. The con tem po rary land scape of the Alps, with its mea sure less del ica cy and mys tery, has been the object, among oth ers, of a sev en years research led by Armin Linke 8 . In con trast with a nos tal gic, glossy image often used to rep re sent the Alps, Linke describes them as a key European autonomous satel ite, that is con nect ed to major glob al, mod ern trans for ma tions and to their pow er ful il usions. Looking at this spe cif ic frame work of “con tem po rary avant-garde” and exper imen tal land scape sce nar ios, the present inves ti ga tion in par tic u lar focus es on the Swiss ter ri to ry, where already one-third of the set tle ‐ ment and urban sur face areas is tak en up by the trans ‐ porta tion sys tem, name ly by road ways, rail way instal a ‐ tions, air ports and air fields 9 , con sid er ing its evo lu tion after the end of the twen ti eth cen tu ry, when the rail and route con struc tion activ ities became more intense and impactful. In this con text, the recent real iza tion of the three NRLA base tun nels (the Lötschberg, the Gotthard, the Ceneri) helps to bet ter con nect Southern Germany to Northern Italy and avoids fur ther land con sump tion, while at the same time pre serv ing sev er al above ground envi ron ‐ ments. The analy sis of the key case study thus con cerns the New Rail Route through the Alps (NRLA) and espe ‐ cial y dwel s on the land scapes relat ed to the Gotthard Base Tunnel (57 km long, 1999 – 2016) and to the Ceneri Tunnel (15 km long, 2006 – 2020) with their por tals, inter me di ate access points, dis pos al areas and main con struc tion sites. Figure 3: The Gotthard tunnel access point in Bodio and a map of the Alpine region with the high-speed railway projects that should cross the mountains through tunnels. Photo and drawing by the author. Indeed, as the NRLA tun nel ing work pro gress es, the com plex rela tion that occurs between the chal eng ing con struc tion process and the mon u men tal ground move ments it pro duces has become increas ing ly rel e ‐ vant. If the entire exca va tion of the Ceneri two sin gle- track tun nels gave rise to a total of about 10 mil ion tons of inert waste, the entire con struc tion of the Gotthard axis orig inat ed more than 24 mil ion tons of mate r ial, of which only a por tion has been reused for pro duc ing con crete and shot crete aggre gates, while a con sid er ‐ able sur plus has been des tined for “recul ti va tion require ments” or “envi ron men tal restora tions” 10 . A con stel a tion made of huge ground move ments has fol owed the pro gres sion of the AlpTransit con struc ‐ tion activities. Development The inspir ing, strong rela tion ship between Swiss moun ‐ tain ous regions and streets or rail ways has already been the object of var ious inves ti ga tions, that have high light ed the exist ing crit ical con nec tion between the imag inary, myth ical alpine land scape and its impli ca ‐ tions on the col ec tive iden ti ty, as in the case of the Gotthard mas sif 11 or the con nec tion between rough topogra phies and great tech no log ical-engi neer ing chal ‐ lenges 12 or between infra struc ture, ter ri to ry and strong for mal archi tec tur al inter ven tions 13 . Even AlpTransit Ltd, since the begin ning of the con struc tion project in 1993, con sult ed a trans-dis ci pli nary group, the “Beratungsgruppe für Gestaltung” 14 , that main ly gave rise to the spe cif ic and rec og niz able archi tec tur al lan ‐ guage used for por tals, viaducts, ven ti la tion fun nels, retain ing wal s. This research aims to look at the top ical rela tion between the high speed infra struc tures, design and land scape rather from a dif er ent per spec tive, in which the so cal ed “Infrastructural Monuments” 15 , are inex tri ca bly linked with their pro duced mon u men tal ground move ments. The focus thus shifts from the “super-struc tures” to the inert left overs just dumped out from their con struc tion process, iden ti fy ing and study ‐ ing the broad exca vat ed earth’s vol umes spread as spoils inside the NRLA near est territories. At the core part of the research, cur rent ly in progress, draw ings and pho tographs graph ical y frame the phys i‐ cal state of the five NRLA main earth works and il us ‐ trate the amount of earth moved and ulti mate ly relo cat ‐ ed inside a riv er delta, two wood ed val eys, an alpine vil age and an urban periph ery thanks to dif er ent dis ‐ pos al strate gies, that urgent ly trig ger, among oth ers, eco log ical, topo log ical and for mal design ques tions 16 . The select ed sites are the Reuss Delta, Sedrun, Cavienca, Biasca and Sigirino, [ 4 ] that are the greater and most impact ful inert deposit solu tions aris ing from the tun nel ing con struc tion activities. Figure 4: Maps of four of the five considered sites: in dark the disposal places of the AlpTransit inert waste. From the top left: the Delta Reuss disposal site, the Sedrun access point and disposal sites, the Biasca disposal site, the Sigirino access point and disposal site. The pro posed inven to ry 17 (cur rent ly work-in-progress) evi dences how tons of mate r ial _ arisen from the Gotthard base tun nel and trans port ed by train and ship to the Delta Reuss (more than 3.3 mil ion tons) _ have been used to fil the lake and to redesign the pre vi ous ly erod ed riv er mouth, or have been spread in dif er ent areas near the Sedrun NRLA access point (more than 4 mil ion tons), or have been trans port ed by a con vey or belt through a spoil tun nel and dumped in the Biasca dis pos al site (about 6,9 mil ion tons) to recre ate a talus cone. More recent ly, about 7 mil ion tons of mate r ial orig inat ed from the Ceneri base tun nel exca va tion process have been dumped in Sigirino and assem bled near the exist ing moun tain to form a new, arti fi cial moun tain, thanks to rein forced soil wal s and a series of 2:3 slopes. Presented tem po ral maps, topo log ical draw ings, short descrip tions and pho tographs inter ro gate the sym poi ‐ et ic trans for ma tion of these sites _ where ground move ments could be per ceived as chal eng ing oppor tu ‐ ni ties inside an end less ly change able nature. Moreover, the inven to ry might become itself a pos si ble reser voir for future projects. In this respect the the sis blends real earth works states with imag inary future solu tions, con tin u ing and, some ‐ how, extrem iz ing the exist ing ground mounds shapes [ 5 ]. This process al ows to envi sion how could they evolve as: two mon u men tal arti fi cial moun tains (Biasca and Sigirino), a mon u men tal wal (Cavienca), a mon u men tal re-shaped topog ra phy (Sedrun), a mon u men tal re-nat u ral ized riv er delta (Reuss Delta). Figure 5: Sigirino: a monumental mountain, 2005- 2015- 2030- 2050. Images are combining the past and present real situations (2005-2015) with a work of fiction that envisions the artificial mountain becoming up to 2050. Drawings are made by the author on the basis of the Swiss National Cartography maps, the of icial AlpTransit AG technical drawings and a series of interviews with the BGG (Beratungsgruppe für Gestaltung/ AlpTransit AG) in 2018-2019. Open Conclusion The final step of the research (stil in progress) would be the def in ition of the mean ing of Monumental Ground and the fram ing of a land scape man ifesto: the need to reuse earth, to revise C&D inert waste, to reduce soil con sump tion and to val orize, in gen er al, new ecolo gies linked to the con struc tion activ ities that af ect human and nat ur al envi ron ments lead to an urge to bet ter under stand the role of design and opens up to a def in i‐ tion of new for mal struc tures inside landscape. The analy sis (con sist ing of the obser va tion phase, the map ping of a the o ret ical frame work, the research on the main case study) togeth er with the inves ti ga tion trough draw ings lead to pos si ble inter pre ta tions of emerg ing earth-based land scapes in terms of fig u ra tive inven tions and topo log ical rela tion ships, blur ring their fig u ra tion with in the dia logue among ecol o gy, tech ‐ nique, and form. The pos si ble design approach to the mov ing ground infra struc tur al sites indeed appears to be placed between: chal eng ing topo log ical site trans for ma tions, made by traces of con struc tion activ ities, ef i cient earth man age ‐ ment sys tems (linked to the exca va tion sys tem, the trans porta tion sys tem, the water man age ment sys tem, etc.) and high tech no log ical solu tions linked to the infrastructures. New con struct ed ecolo gies that, in a com plete ly arti fi ‐ cial envi ron ment, imply the cre ation of dynam ic spaces which could extend the bound aries of infra struc tur al inter ven tions to the mul ti tude of non hu man beings and gen er ate the spe cif ic mor phol o gy, het ero gene ity and per for ma tiv ity of nat ur al environments. New forms _ emerg ing from deep cul tur al stra ta made by strong sym bol ic pres ences and his tor ical mean ings, altered rela tions between under ground and over ground land scapes, between human present time and geo log i‐ cal past, human scale and nat ur al scale _ that are stag ‐ ing the irre triev ably unpre dictable, frag ile and mon u ‐ men tal aspect of earthworks. 1 Only in Switzerland, in 2019 they have been produced about 15,5 mil ion tons of waste from construction activities and there were more than 400 depots spread in the national territory (BAFU 2019). 2 Meyer, Elizabeth K. (1997): »The Expanded Field of Landscape Architecture«, in George F. Thompson and Frederick R. Steiner (Eds.), Ecological Design and Planning, New York, NY: John Wiley & Sons, pp. 45–79. 3 Krauss, Rosalind (1979): »Sculpture in the Expanded Field«, in October Vol 8 Spring, pp. 30-44. 4 Tibbett, Mark (2017): Mining in Ecological y Sensitive Landscapes, Clayton: CSIRO Pulishing. 5 Clif ord, Brandon (2017): The Cannibal’s Cookbook. Mining Myths of Cyclopean Constructions, San Francisco: ORO Editions. 6 More than 800 mil ion tons of material wil be excavated during ongoing and planned large underground projects (tunnels, undergrounds and power plants) by 2030 in Europe. 7 Although the reuse of inert materials in a more organized and systematic way started around the 50s, up until now the major innovative researches on this topic have been primarily addressed to findings linked to technological advancements, or to the need to reuse inert waste for high-quality concrete production and shotcrete aggregates. Among others, a recent EU-funded project has developed an automated system to analyze and sort excavated material as it is removed from the tunnel face by boring machines, providing information such as size, shape and mineral and water content in real time. An easier and quicker recycle of materials might substantial y reduce the demand for primary mineral resources, and contribute to reduce environmental impacts. 8 Linke, Armin (2011): Alpi, based on a research project of Piero Zanini, Renato Rinaldi and Armin Linke. 9 Schubarth, Christian and Felix Weibel (2013): Land Use in Switzerland. Results of the Swiss land use statistics, Neuchâtel: Federal Statistical Of ice, pp. 8-9. 10 Lanfranchi, Paolo, Emanuele Catel i and Thomas Bühler (2019): »Environmental reclamation for the Gotthard Base Tunnel, ef ects of spoil management on landscape«, in Daniele Peila, Giulia Viggiani and Tarcisio Celestino (Eds.), Tunnels and Underground Cities: Engineering and Innovation meet Archaeology, Architecture and Art, London: Taylor & Francis Group, pp. 404-414. 11 Burkhalter, Marianne and Christian Sumi (2016): Der Gotthard. Landscape, Myths, Technology, Zurich: Scheidegger & Spiess. 12 Conzett, Jürg (2010): Landschaft und Kunstbauten, Zurich: Scheidegger & Spiess. 13 Frampton, Kenneth and Riccardo Bergossi (2008): Rino Tami: opera completa, Mendrisio: Mendrisio Academy Press. 14 The BGG is composed by: Uli Huber, president (from 1993), Pierre Feddersen (from 1993), Rainer Klostermann (from 1993), Flora Ruchat-Roncati (from 1993 to 2012), Pascal Sigrist (from 1997), the AlpTransit AG representatives: Thomas Bhüler, Alex Regli, Walter Schneebeli, Peter Zbinden. 15 MIT Center for Advanced Urbanism (2016): Infrastructural Monument, New York, NY: Princeton Architectural Press. 16 Girot, Christophe, Annette Freytag, Albert Kirchengast and Dunja Richter (2013): Landscript 3 Topology, Topical Thoughts on the Contemporary Landscape, Berlin: Jovis. 17 The drawings form a first “inventory” of the AlpTransit infrastructural/monumental main earthworks since these landscapes made by spoils have never been represented in their entirety, as a system of ground movements linked to the new infrastructure. House Plans A Society Matter Carla Rizzo, Politecnico di Milano Initial doctoral stage Supervisor: Marco Biraghi, Politecnico di Milano # Domesticity, Plan, Rituals Abs The domestic imaginary has always played a central t role in the definition of cultures and societies, and it is ra easy to assume how the history of human beings has ct been crossed by several moments of transition regarding the way and the form of living. For this the general aim of the research proposal is to conduct an exploration of the domestic space, considering its development and mutations throughout history, looking at the historical background as an endless source of inspiration to draw on, with intel igence and creativity, in order to comprehend the present and possibly to address the direction of a future change due to the conditions imposed by the pandemic. To realise this kind of operation in the plan is identified the investigation tool par excel ence throughout which to conduct the analysis. E The con struc tion of the domes tic imag inary played xt a cen tral role through out the cen turies in the def in ition en of cul tures and soci eties, an if it is true – as Viol et-le- de Duc men tioned in his Dictionnaire – that the order of the d house and its dis tri b u tion changes in a very long time 1 , abs it is easy to assume how the his to ry of human beings tr has been crossed by sev er al moments of tran si tion ac regard ing the way and the form of living. t The explo ration of the wide field of the domes tic cul ture through the archi tec tur al lens implies the con sid er a tion of many oth er aspects, from the soci o log ical and anthro po log ical ones to the polit ical and eco nom ic oth ‐ ers. Using archi tec ture as first lev el of inves ti ga tion means to recog nise that archi tec ture itself refelcts the trans la tion into a phys ical space of al the rea sons at the basis of a par tic u lar way of liv ing, and due to this, the archi tec tur al draw ing should be con sid ered as the inves ti ga tion tool par excel ence. In detail, this research expects to con sid er the floor plan as the sci en tif ic tool to il u mi nate the analy sis, in order to claim the strength of the two-dimen sion al draw ing, while on the con trary nowa days three-dimen sion al images are def inite ly seduc ing the archi tec tur ‐ al scenario. «Yet plans are every where: we spend most of our life with in them […] and the plan trans lates many deter ‐ mi na tions — mon ey, mea sures, code, gen der, class, rit u als, beliefs, ide olo gies, envi ron men tal con di tions, etc. — into a spe cif ic spa tial lay out. With its con ven ‐ tions of scale, mea sure, and view, the plan acts — much like mon ey — as a “gen er al equiv a lent” with in which a mul ti tude of deter mi na tions coa lesce into a mea sur able “uni ver sal” datum» 2 . These words by Pier Vittorio Aureli appear like a sol id state ment uni ver sal y applic a ble, even if in the his to ry of archi tec ture some par a dig mat ic cas es bet ter express this condition. It is the case of the English coun try house and its devel ‐ op ment dur ing the half of the XIX Century, while the archi tects of Arts and Crafts Movement were on the verge to refor mu late the most canon ical prin ci ples of com po si tion. This spe cif ic domes tic mod el assumes a very strong val ue if we con sid er it as one of the essen tial moments in the his to ri og ra phy, exact ly just like in the case of the Florentine palace or the Pal adian vil a, able to show how a par tic u lar kind of archi tec ture became a ref er ence to be emu lat ed almost al over the world. Furthermore, the English coun try house turned with out any doubt into the sym bol of the aware ness of a new ris ing mid dle-class that aspired to take a dis tance from the new indus tri alised city of London, not just to refuse it, but also to gov ern it, and its domes tic archi tec ture shows how big were the poten tial ities of the plan in al its vir tu os ity and in al its exper iment ed sur pris ‐ ing freedom. The Red House in Bexleyheath, built by the young archi tect Philip Webb in 1859 for and with his friend Wil iam Morris, stands as the true par a digm of a new sense of mod ern liv ing and it is the plan of the house which man ifests a great con scious ness about the per ‐ son al needs of dai ly life, a fresh new taste for com fort and a par tic u lar regard for inti ma cy unknown at that time. Figure 1: Table showing a synthetical sequence of drawings (from the original source to the diagram). From left to right: original drawing; re-drawings made by the candidate; diagrams made by the candidate showing the corridor in relation with the main rooms. Figure 2: Comparative table - Selection of a number of Arts and Crafts plans of country houses, ground floors: re-drawings made by the candidate, diagrams made by the candidate showing the position of the corridor with respect to the general distribution of the house. Figure 3: Comparative table - Selection of a number of Arts and Crafts plans of country houses, ground floors: re-drawings made by the candidate, diagrams made by the candidate showing the position of the main rooms (ex. dining room, living room, drawing room) with respect to the general distribution of the house. The beloved sym me try is aban doned in favour of an L‐shaped plan equipped with the new func tion al ele ‐ ment of the cor ri dor that frees the inhab itants from the uncom fort able cross ing of al the rooms, fur ther symp ‐ tom of the upcom ing moder ni ty [ 1 ]. This for mu la wil be notably exper iment ed, changed and declined in so many dif er ent pos si bil ities, and a com pared overview of the plans of the most sig nif i‐ cant projects devel oped after the suc cess of the Red House clar ifies how this typ ical English archi tec tur al phe nom e non end ed up becom ing a pure trend, strong ly rep re sent ing the wil of the ris ing intel ec tu al bour ‐ geoisie [ 2 ] [ 3 ]. An even more orig inal arrange ment is cod ified by Edward S. Prior in the project of The Barn, a coun try house in the Devon clif s, in Exmouth. Here, the goal to get a major solar light ning inside the house is reached thanks to the 45° rota tion of the main axis in line with the main rooms, in order to open and max imise the view towards the Ocean and the clif s, gen er at ing the so-cal ed “but ter fly plan” [ 4 ]. Figure 4: Re-drawing sequence showing the genesis of the «Butterfly Plan» due to a 45° rotation of the main longitudinal axis in line with the main rooms. For the English coun try house becom ing uni ver sal is just a short step. The ef ort made by Herman Muthesius while being the ambas sador sent to England to observe the domes tic her itage, huge ly con tributed to the dif u ‐ sion of the English domes tic ity around the world, and at the same time a sig nif icant echo is trace able in the Unites States of America, over al because of the intense colo nial activ ity car ried out by England. The com pared analy sis of this rel e vant quan ti ty of archi tec tur al plans [ 5 ] on the basis of uni ver sal para ‐ me ters – as could be in the case of the rules of dis tri b u ‐ tion of the house, its geom e try, its axi al arrange ments – paves the way for a pos si ble method ol o gy to look at the his tor ical her itage. The wil to cre ate a sys tem of obser ‐ va tion which joins the his tor ical-crit ical point of view with the graph ical one as a tool to sup port and enhance the analy sis, should be seen as the main intent of the research. In the far 1802 a pio neer in the sci ence of clas si fy ing, named Durand, was strong ly con vinced about the use ‐ ful ness of a com par a tive study of antique details and of the great impor tance to study the antique with the eyes of rea son, rather than to sti fle rea son — as is al too often done — by an appeal to antique author ity 3 . Not so far from Durand’s obses sions, this research aims to build an exhaus tive atlas of arts and crafts coun try hous es, with their own plans, in order to sim ply make explic it what that gen er a tion of archi tects have done by instinct. Moreover, this research would like to be an invi ta tion to look at his to ry in a renewed way, as a stil alive reper toire, pos si bly to draw from for today’s design. Figure 5: Comparative table - Selection of a number of Arts and Crafts plans of country houses, from England, Germany and America, ground floors: re-drawings made by the candidate, showing axial rotations. 1 Viol et-Le-Duc, Eugène Emmanuel (1854-68): Dictionnaire raisonné de l'Architecture française, Paris: Bance et Morel 2 Aureli, Pier Vittorio (2017): Life, Abstracted: Notes on the Floor Plan. e-flux, https://www.e-flux.com/architecture/representation/159199/life-abstracted-notes-on-the- floor-plan/ 3 Durand, Jean-Nicolas-Louis (1802): Prècis des leçons d’architecture, Paris: by the author at the École Polytechnique Material Driven Architecture A Framework for Exploring the Role of Material Experiences for Integration of Soil in a Sustainable Material Culture Ina Samdal, Norwegian University of Science and Technology Initial doctoral stage Supervisor: ProfessorEir Ragna Grytli, Norwegian University of Science and Technology # Materials Experiences; Earth Architecture; Practice-based Design Abs Architectural research tends to focus on technological t innovations and numerical data to prove the ra sustainability of a material. At the same time, this is not ct necessarily suf icient for the material to be accepted and incorporated into practice. How a material is perceived sensory wil also af ect the degree of utilization and not least how the material is treated. It does not help much that a material has good conditions for sustainable building, if sensory experiences from the material produce negative feelings, associations, and meanings and prevent architects to use it - or that consumers choose not to take care of it and in the worst case, throw it away because it gives them negative experiences. How can designing for experiences contribute to a development towards a sustainable material culture? Pa Introduction pe This project orig inates from per son al obser va tions r about how we con sume mate ri als and resources in Norway. While work ing as a prac tic ing archi tect it felt like we were con struct ing our iden ti ty around expen ‐ sive-look ing mate ri als and a need for con stant updat ‐ ing. At the same time the world is expe ri enc ing an uncer tain and chal eng ing peri od with dis turb ing reports on cli mate, health and envi ron ment. As a con ‐ tribute to achieve ment of the United Nations Sustainable Development Goals (UN SDGs), the Norwegian gov ern ment report ed in 2020 that the nation al goal is a 90% cut (from 1990 lev els) in emis ‐ sions by 2050. From 1990 to 2019, the decline in emis ‐ sions was 2.3% 1 . The change over the next ten years wil have to be rad ical if the goals are to be achieved. Technology alone can not achieve the SDGs; it is how we use it in com bi na tion with resources, and last but not least how it is acknowl edged, that does. Researchers have start ed to con sid er how envi ron men ‐ tal behav iour is con nect ed to the rela tion ship between design and people’s mean ings, emo tions and asso ci a ‐ tions 2 3 4 and the need for research on the imma te r ial char ac ter is tics of mate ri als have been stat ed 5 6 . At the same time, sen so ry aspect and expe ri ence is often bypassed in archi tec tur al research and prac tice in favour of tech ni cal prop er ties, price and pro duc tion ef i cien cy 7 . Hence, no holis tic mate r ial infor ma tion is avail able to the archi tect or the user as guid ance for sus tain ‐ able design. Natural mate ri als such as earth and straw have a grow ‐ ing inter est glob al y, with research focus ing on their envi ron men tal ben e fits and one sees an increas ing pop u lar ity of these mate ri als in the west ern world 8 9 10 11 . Mobile fac to ries and the use of robots or drones also play a crit ical role in this change as they open up the pos si bil ity of uti liz ing local mate ri als in a more time- sav ing and cost-ef ec tive way. Even so, there are stil chal enges in incor po rat ing these mate ri als into con ‐ tem po rary archi tec ture. How can design, con struc tion and sen so ry expe ri ences with nat ur al build ing mate ri als con tribute to a devel op ment towards a green mate r ial cul ture? This study presents an approach show ing how some of the gap in research can be poten tial y over ‐ come by inves ti gat ing how work ing with nat ur al mate ri ‐ als through expe ri enced phe nom e na can have a pos i‐ tive impact on the mate ri als cul tur al value. Figure 1: Soil and wool Problem statement The Norwegian archi tec tur al research and edu ca tion on nat ur al mate ri als is con cen trat ed on wood, which is a wel -estab lished resource with in indus try and nation al build ing reg u la tions. With the excep tion of wood, the knowl edge about oth er nat ur al mate ri als in Norway is more or less lim it ed to the pro fes sion al envi ron ments with in build ing con ser va tion or self-builders, and so to say non-exis tent in con tem po rary archi tec ture. One pos si ble rea son for this is that there is no par tic u lar tra ‐ di tion of build ing with earth, straw and wool in Norway. This assump tion is based on two fac tors. Firstly, Norway has rich access to wood of good qual ity, the mate r ial is easy to process and works wel in the cur ‐ rent Nordic cli mate. Secondly, earth, straw and wool are mate ri als that in pre-indus tri al times required a lot of man u al pro cess ing. Today, Norwegian wool is treat ed as a waste prod uct (Klepp et al., 2019), and earth is seen as a prob lem at ic mate r ial that often ends up being removed from con struc tion sites, which con tributed to mass trans port account ing for 63% of al freight trans ‐ port in the sec ond quar ter of 2020 in Norway 13 . One of the most fun da men tal issues is that despite the grow ing body of inter na tion al research on nat ur al mate ‐ ri als, Norwegian archi tects, stu dents and poten tial users have few phys ical exam ples where the mate ri als can be expe ri enced. Regardless the design research empha siz ing the impor tance of mate r ial expe ri ence along side the tan gi ble prop er ties in mate r ial selec tion process es, this inte gra tion in archi tec ture edu ca tion in Norway is observed to be defi cient. Having worked in mate r ial cours es on both under grad u ate and grad u ate lev el at the Norwegian University of Science and Technology (NTNU) over a peri od of four years, I have observed a ten den cy to focus on the tech ni cal and eco ‐ nom ic aspects of mate ri als. Not to men tion the absence of teach ing about mate ri als that are cat e go rized out side of con ven tion al use, such as earth and straw. This is a chal enge when research shows that nat ur al build ing mate ri als can be of great impor tance for reach ing the SDGs 14 . Another issue is that a one-sided focus on one nat ur al mate r ial can lead to vul ner a bil ity to cli mate change. To best pre pare for an uncer tain future, sev er al alter na ‐ tives should be con sid ered. How we can bet ter under ‐ stand the con se quences of mate r ial selec tion are per ‐ haps the biggest chal enge in archi tec ture in our time. There is a need to address the issue of the gap between the inter na tion al aca d e m ic research on nat ur al mate ri ‐ als and the use of such mate ri als among prac tice and archi tec tur al edu ca tion in Norway. The dri ve of this study is to explore whether knowl edge from inter ac tion with the mate ri als can con tribute as a bridge-builder between these two sep a rate worlds and fur ther con ‐ tribute to the devel op ment of a green er mate r ial cul ture. The research devel ops a frame work to exam ine the archi tec tur al expe ri ences of the mate ri als wool, straw and earth as an alter na tive to wood. Theoretical framework Experiencing natural materials Natural mate ri als rep re sent an oppor tu ni ty for sus tain ‐ able archi tec ture as these have the poten tial to appeal to peo ple as being ‘nat ur al’ and ‘imper fect’, which are aes thet ic fac tors iden ti fied as being sig nif icant in design ing for sus tain abil ity 6 . Furthermore, unfired earth and straw have a triple ben e fit in the life cycle, as the avail abil ity is great, the pro duc tion requires lit tle ener gy and the mate r ial can return to nature with out dam ag ing it 9 15 . With this in mind, Ben-Alon inves ti gat ‐ ed how earth can be inte grat ed in con tem po rary archi ‐ tec ture and indi cat ed one bar ri er to be lack of knowl ‐ edge and expe ri ence, espe cial y out side aca d e m ic research, which in turn leads to earth being exclud ed from build ing reg u la tions and inno va tion 8 . In search of a prop er approach to an under stand ing of the use of nat ur al build ing mate ri als, lit er a ture review on 'mate r ial design' and 'mate r ial selec tion' estab lished that the sen so ry prop er ties of mate ri als togeth er with per son al expe ri ences are of great impor tance when design ers and archi tects choose mate ri als 7 16 17 . The estab lish ment of mate r ial libraries world wide, where stu dents and pro fes sion als can vis it, indi cates that sen ‐ so ry expe ri ences are rec og nized as an impor tant ele ‐ ment in mate r ial selec tion. Nonetheless, they often lack any sys tem at ic infor ma tion on the tac it knowl edge of the mate ri als 7 18 . A shift from a prod uct-dri ven design focus to a material’s expe ri ence approach have led to the devel op ment of sev er al meth ods. Such as ‘DIY- mate ri als’, an explo rative method search ing for new mate ri als 19 , or ‘Design-dri ven Material Innovation’ an inter dis ci pli nary approach search ing for new appli ca ‐ tions and sys tems of mate ri als for man u fac tur ing 20 . Most rel e vant for this study is ‘Material Driven Design’, described in the next section. Figure 2: Choice aspects in material selection Material Driven Design method (MDD) The MDD method devel oped by Karana, Barati, Rognoli and Zeeuw van der Laan have a mate r ial as the start ing point and mate r ial expe ri ence with in a mate r ial or a prod uct as the expect ed out come. The method con ‐ sists of four phases: Understanding the mate r ial. Beginning with tin ker ing, through explor ing a mate r ial in a cre ative and naïve way, with out hav ing a project in mind. The goal is to under stand the essen tial qual ities, lim ita tions, and oppor tu ni ties of the mate ri als. Paral el with tin ker ing, user stud ies wil be con duct ed to reveal the indi vid ual expe ri enced char ac ter is tics and bench mark ing by com ‐ par ing the mate r ial with others. Creating mate ri als experience vison in a soci ‐ ety context. Manifesting mate ri als expe ri ence pat terns to link a cre ‐ at ed vison from the pre vi ous phase to for mal tech ni cal and sen so ry qual ities of a prod uct. Again, user stud ies are a tool to obtain insight of the mean ings the mate ri ‐ als evoke. Creating prod uct con cepts, where pre vi ous find ings are inte grat ed into a design phase. Since the pub li ca tion of ‘ Material Driven Design (MDD): A Method to Design for Material Experiences’ 17 , the num ber of research and edu ca tion al cours es with in prod uct design con cern ing the method has grown con ‐ sid er ably. For exam ple, uni ver si ties in Sweden, UK and Italy have giv en con tri bu tions and reflec tions on the method 21 22 23 . Result: Material Driven Architecture framework This project arose out of my fas ci na tion with how sen ‐ so ry expe ri ences of nat ur al mate ri als af ect our per son ‐ al assess ments. This inter est was strength ened dur ing the work on my master's the sis where local build ing mate ri als were exam ined in sev er al exper iments. The mate r ial sam ples were pre sent ed as a trav el ing exhi bi ‐ tion (Figure 2) that opened up for a dia logue about the mate ri als. Conversations with the exhi bi tion vis itors gave the impres sion that the indi vid ual archi tec tur al val u a tion was appar ent ly not evoked by mea sur able aspects, but more by vision and tac tile prop er ties of the mate r ial. For instance, archi tects were often more inter ‐ est ed in talk ing about how the rough ness or hon esty of a rammed earth ele ment appealed to them than in dis ‐ cussing the tech ni cal advan tages and dis ad van tages of the mate r ial. At the same time, they found it dif i cult to describe in words why they found the mate r ial attrac ‐ tive. Given these points, there is a need for ref er ence projects as wel as a frame work to sup port archi tects in under stand ing how nat ur al mate ri als af ects our experiences. Reflection on the MDD method and expe ri ences gained with the method give the impres sion that it can not be direct ly incor po rat ed into archi tec tur al design. For exam ple, explor ing mean ing ful mate r ial expe ri ences from an archi tec tur al per spec tive implies an under ‐ stand ing that the mate ri als should end up in a spa tial con struc tion ele ment rather than an object. Dif erent from prod uct design, archi tec ture is more con text ori ‐ ent ed 7 . Given that point, place is added as an aspect in the frame work. Future green build ings should be more than a tech ni cal struc ture intend ed to pro tect humans from weath er or being rep re sen ta tives of trends like ‘pow er house’ or ‘pas sive house’. They should also fit into the phys ical and cul tur al con text of the site, along with pro vid ing feel ings of safe ty and iden ti ty. Moreover, they should pro vide sen so ry delight and be mean ing ful. Figure 4 il us trates through a float ing ice berg how the expe ri ence aspect is an impor tant part of mate r ial selec tion for archi tects; how ev er, it is also more dif use com pared to more mea sur able aspects such as stif ‐ ness capac ity or assem bly techniques. Figure 3: Material Driven Architecture framework In search of a prop er base for design ing for mate r ial expe ri ence with nat ur al build ing mate ri als, this paper pro pos es a frame work with the work ing title Material Driven Architecture. The frame work is based on char ac ‐ ter is tics from the MDD method, as wel as the selec tion aspects iden ti fied in Wastiels and Wouters work. A dis ‐ tin guish ing fea ture of this frame work com pared to the MDD method is the includ ing of con text, where use, phys ical aspects and cul ture wil influ ence the material’s expe ri ence. Materials abil ity to con nect peo ‐ ple to place, where we are and who we are is a cen tral aspect towards sus tain able behav iour. This approach fits under the con cept of ‘sense mak ing’, a term used to describe the process of how to “under stand con nec ‐ tions (which can be among peo ple, places, and events) in order to antic ipate their tra jec to ries and act ef ec tive ‐ ly” 24 . Figure 5 il us trates the four phas es in the frame work, as a tool for mate r ial explo ration. Although the phas es are intend ed to be imple ment ed as a holis tic design con cept they could also be seen as series that can be altered depend ing on the grad u ate lev el of stu ‐ dents or time available. Figure 4: Material Experience Catalogue 1) Bridging the gap An over al under stand ing about the material’s tech ni cal aspects is com bined with tin ker ing where the mate ri als are explored in a hands-on approach to gain mate r ial expe ri ence. This phase is sim ilar to the first phase in the MDD method, ‘Understanding the Material’, where the meth ods (tin ker ing, user study and bench mark ing) and the goals are the same. Earth, straw and wool appear to have a poor image as build ing mate ri als. From obser va ‐ tions of the mas ter exhi bi tion vis itors, words like dirty, poor, itchy and unsta ble are noticed. As wel as more pos itive loaded words like hon est, nat ur al, warm, and friend ly. Acquiring an under stand ing of how to make build ings where these mate ri als gen er ate pos itive user expe ri ences is per haps as impor tant as access to reli ‐ able tech ni cal data for the mate ri als to become more wide spread. An addi tion to the MDD method is step 5, ‘mate r ial explo ration cat a logue’ that sum ma rizes the mate r ial expe ri ences togeth er with the tech ni cal aspects, as a process tool for fur ther mate r ial explo ‐ ration and a nar ra tive approach of the mate ri als expe ri ence. The cat a logue wil be sup ple ment ed with infor ma tion dur ing the exploration. 2) Contextual aspects The sec ond phase is aim ing for a syn the sis between the tech ni cal aspects, con text and the mate r ial expe ri ‐ ences. However, the mate r ial expe ri ences should be the empha sis, as inno va tion in mate r ial sci ence is not the goal of this frame work. Hence, the tech ni cal data is to be seen as back ground infor ma tion to devel op mate r ial expe ri ences that are rel e vant in an archi tec tur al per ‐ spec tive. Insight into the tech ni cal prop er ties of a mate ‐ r ial is essen tial for han dling a mate r ial in dif er ent cli ‐ mat ic con di tions. Context is an impor tant and com plex aspect in archi tec ture, as there are many fac tors to influ ence how a mate r ial is expe ri enced in a phys ical sit u a tion. For exam ple, a new build ing placed in a wet cli mate in a large coastal city built on fishermen’s cul ‐ ture wil be expe ri enced dif er ent ly than a trans for ma ‐ tion of an exist ing build ing on a rur al farm sur round ed by agri cul tur al land in a cold and dry cli mate, although both projects were built with the same mate ri als and con struc tion prin ci ples. In order to make the inves ti ga ‐ tions ver ifi able, a spe cif ic con text is there fore intro ‐ duced to which the mate r ial expe ri ences are adapted. Figure 5: Rural context Figure 6: Urban context 3) Envisioned Future Creating a new mean ing for the mate r ial wil be of great impor tance in the process of explor ing how the mate ri ‐ als can con tribute towards sus tain able build ing, as the accep tance amongst peo ple wil be of sig nif icance for their suc cess in a poten tial future Norwegian mate r ial cul ture. Here al the gained knowl edge from the pre vi ‐ ous phas es is com bined in a pro posed future sit u a tion for the mate r ial. Climate change, pop u la tion growth and the earth's threat ened resources make us ask the ques ‐ tion; how should we live? What expe ri ences are essen ‐ tial to achieve a lifestyle we can enjoy? In the MDD method ‘Material Experience Vision’ is the sec ond step. Due to the impor tance of con text in archi tec ture, ‘ Envisioned Future’ should be imple ment ed after con text has been intro duced as a lead ing ele ment in the mate ri ‐ als exploration. 4) Architectural Concept In the final phase al the find ings doc u ment ed through pic tures, mate r ial sam ples, videos, draw ings and text from the pre vi ous phas es are inte grat ed into an archi ‐ tec tur al project intend ed to be built. A spa tial con struc ‐ tion con sist ing of the explored mate r ial can through qual ita tive stud ies of obser va tion and spon ta neous inter views pro vide insight into how the mate ri als are received by users while it also can func tion as a ref er ‐ ence project pre sent ing the mate ri als in a Norwegian con text. In this sense, it also has the poten tial of being the object for quan ti ta tive research on the material’s tech ni cal aspects, although this is not an objec tive of this project. Discussion and conclusions This paper has pro posed the frame work Material Driven Architecture as a pos si ble approach to devel op under ‐ stand ing of how intan gi ble char ac ter is tics relat ed to sen so ry aspects, per cep tion, emo tions and asso ci a tion can be used on nat ur al mate ri als in archi tec tur al design. The chal enge of mea sur ing expe ri ences and dis trib ut ‐ ing them may be one rea son why research on how build ing mate ri als are expe ri enced is not wide spread. Methods for gain ing a bet ter under stand ing of this are there fore nec es sary if the knowl edge is to be inte grat ed into sus tain able archi tec ture. The frame work out lined is to be regard ed as a gen er al rough draft, as every mate r ‐ i al-dri ven inves ti ga tion is unique, and prac tice wil most like ly devi ate from the frame work in each research sit u ‐ a tion. As men tioned in the intro duc tion, inquiries on build ing mate ri als tends to be quan ti ta tive. Material Driven Architecture pro pos es a qual ita tive approach to mate r ial research. Stil , the inten tion is not to high light it as a pre ferred method over quan ti ta tive research. On the con trary, the aim is to cre ate a broad er per spec tive on knowl edge about mate r ial expe ri ences that can sup ‐ ple ment quan ti ta tive data. The hope is that this research can con tribute to fur ther devel op ment of approach es for incor po rat ing the pre vi ous ly men tioned mate ri als in a future green mate r ial culture. The pro pos al stands on the shoul ders of a long and stil inspir ing cul ture of mate r ial expe ri ence inves ti ga tions with in prod uct design. In the paper ‘ Material Driven Design (MDD): A Method to Design for Material Experiences’ years of expe ri ence from four design ers from dif er ent coun tries are incor po rat ed 1 .7 Hence, the MDD con sist of a mix of wel -proven meth ods and is in fact stil being devel oped fur ther at the Material Experience Lab at Delft University and Technology. However, when com par ing the Material Driven Architecture frame work to those stud ies, it must be point ed out that this is a first draft of a method attempt ‐ ed adapt ed to architecture. It is dif i cult to arrive at any con clu sions with regard to the ef ect of the frame work, as the project is in the ini tial phase and has just begun the process of the exper i‐ men tal work. The expect ed out come is to devel op knowl edge of the mate ri als earth, straw and wool and to achieve greater under stand ing on how tech ni cal, con tex tu al and expe ri en tial aspects influ ent the total expe ri ence of a mate r ial or a build ing. A merge of these aspects can hope ful y con tribute to bridg ing the gap between the tech no log ical ori ent ed research on nat ur al mate ri als and the defi cien cy of knowl edge and use of the mate ri als among archi tec tur al edu ca tion at NTNU. Future archi tects wil play an active role in the work of achiev ing the UNs SDGs, and with this in mind stu ‐ dents wil be the par tic ipants in the fur ther research. The stu dents need to be intro duced to an open-mind ed mate r ial explo ration process based on sci en tif ic meth ‐ ods to pre pare them for any mate r ial chal enges to come. Future research should fur ther devel op this frame work in a prac tice-based con text where the phas ‐ es is fur ther stud ied, devel oped and tested. 1 Ministry of Climate and Environment. Klimaendringer og norsk klimapolitikk. Regjeringen.no https://www.regjeringen.no/no/. . (2020). 2 Thorpe, A. Design’s Role in Sustainable Consumption. Design Issues 26, 3–16 (2010). 3 Walker, S. Design and Spirituality: Material Culture for a Wisdom Economy. Design Issues 29, 89–107 (2013). 4 Wever, R., Kuijk, J. van & Boks, C. User‐centred design for sustainable behaviour. International Journal of Sustainable Engineering 1, 9–20 (2008). 5 Fisher, T. H. What We Touch, Touches Us: Materials, Af ects, and Af ordances. Design Issues 20, 20–31 (2004). 6 Karana, E., Pedgley, O. & Rognoli, V. On Materials Experience. Design Issues 31, (2015). 7 Wastiels, L. & Wouters, I. Architects’ considerations while selecting materials. Materials & Design 34, 584–593 (2012). 8 Ben-Alon, L., Loftness, V., Harries, K. A., Hameen, E. C. & Bridges, M. Integrating earthen building materials and methods into mainstream construction. Journal of Green Building 15, 87–106 (2020). 9 D’Alessandro, F., Bianchi, F., Baldinel i, G., Rotili, A. & Schiavoni, S. Straw bale constructions: Laboratory, in field and numerical assessment of energy and environmental performance. Journal of Building Engineering 11, 56–68 (2017). 10 Walker, P., Thomson, A. & Maskel , D. 9 - Straw bale construction. in Nonconventional and Vernacular Construction Materials (Second Edition) (eds. Harries, K. A. & Sharma, B.) 189–216 (Woodhead Publishing, 2020). doi:10.1016/B978-0-08-102704-2.00009-3. 11 Walker, P., Keable, R., Martin, J., Architects, J. & Maniatidis, V. Rammed earth: design and construction guidelines. (BRE Press, 2005). 12 Klepp, I. G. et al. KRUS final report: Enhancing local value chains in Norway. 148 https://fagarkivet-hioa.archiv. . (2019). 13 Granerud, N. Stabil godsmengde på lastebilene. ssb.no https://www.ssb.no/transport-o. . (2020). 14 Omer, M. A. B. & Noguchi, T. A conceptual framework for understanding the contribution of building materials in the achievement of Sustainable Development Goals (SDGs). Sustainable Cities and Society 52, 101869 (2020). 15 Minke, G. Building with Earth: Design and Technology of a Sustainable Architecture. vol. Third and revised edition (Birkhäuser, 2013). 16 Ashby, M. F. & Johnson, K. Materials and Design: The Art and Science of Material Selection in Product Design. (Butterworth-Heinemann, 2013). 17 Karana, E., Barati, B., Rognoli, V. & Zeeuw van der Laan, A. Material Driven Design (MDD): A Method to Design for Material Experiences. International Journal of Design in press, (2015). 18 Akın, F. & Pedgley, O. Sample libraries to expedite materials experience for design: A survey of global provision. Materials & Design 90, 1207–1217 (2016). 19 Rognoli, V., Bianchini, M., Maf ei, S. & Karana, E. DIY materials. Materials & Design 86, 692–702 (2015). 20 Tubito, C. et al. Applied DDMI: A White Paper on how Design-Driven Material Innovation Methodology was applied in the Trash- 2-Cash Project. https://static1.squarespace.co. . 1_7-White+Paper-MCI-T2C.pdf (2019). 21 Parisi, S., Ayala Garcia, C. & Rognoli, V. Designing Materials Experiences through Passing of Time. Material-Driven Design Method applied to Mycelium-based Composites. in (2016). 22 Ribul, M., Goldsworthy, K. & Col et, C. Material-Driven Textile Design (MDTD): A Methodology for Designing Circular Material-Driven Fabrication and Finishing Processes in the Materials Science Laboratory. Sustainability 13, 1268 (2021). 23 Sörensen, C. A., Jagtap, S. & Warel , A. A Shift From Technical Properties Towards Sensorial Characteristics in Product Design Education. in Building Community, Design Education for a Sustainable Future. Proceedings of the 19th International Conference on Engineering and Product Design Education (E&pde17) (The Design Society, 2017). 24 Klein, G., Moon, B. & Hof man, R. R. Making Sense of Sensemaking 1: Alternative Perspectives. IEEE Intel igent Systems 21, 70–73 (2006). Precision wild land Designing Third Landscape within the Smart City Sara Anna Sapone, Politecnico di Milano Initial doctoral stage Supervisors: Emilia Corradi, Politecnico di Milano; Michela Longo, Politecnico di Milano; Sara Protasoni, Politecnico di Milano # Smart city, Informal land scape, Railway yards Abs In the context of a changing world and the advent of the t Anthropocene, the research reflects on the dichotomy ra technology and nature. Trough the lens of a specific ct context, the Smart City, it shifts from its traditional narrative. With the idea of a “precision wildland”, it intertwines technology with nature to preserve biodiversity and manage reclamation processes. The research goal is to formulate a process/project to test whether the informal landscape can be mapped, managed, and emphasized through design and digital technologies for its aesthetic, communicative and ecological potential. To narrow the scope, a precise test-bed typology is at the core of the study, railway yards, due to their innate “intel igence” and the spontaneous pockets of wildland that inhabit it. Ex Focus the lens | Core of the research ten Nowadays cities expe ri ence con stant and appar ent ly d con trast ing pul . ed a On one side, the idea is to con ceive a new mod el, bs informed and shaped by the ubiq ui tous pres ence of tr imma te r ial net works and tech no log ical advance ment. a 1 ct At the same time, there is the need of a re-nat u ral iza ‐ tion of cities and build envi ron ment, a wil to recon nect with the envi ron ment to ful fil bio philic ten den cies 2 . The key stone here is to move with in this con trast to rede fine how this dichoto my nature-tech nol o gy could be a design tool. The research builds upon these notions to look to a spe cif ic kind of nature, the infor mal land scape 3 , trough the means of ered by the Smart City frame. Is defined the idea of a “Precision wild land”, where sim i‐ lar ly to pre ci sion agri cul ture this frag ile and change able enti ty may be mapped, man aged, and altered to rule the com plex trans for ma tion of aban doned sites and in par ‐ tic u lar railyards. The out put would be to pro vide oper a tive indi ca tion and set a method ol o gy to rule trans for ma tion process, using the Smart city tools to con sid er the habitat’s biol ‐ o gy from the start and estab lish dif er ent degrees of intervention. Figure 1: Keythemes-keywords Search for meaning | State of the art and framework The rela tion ship between humankind and nature, although inher ent ly inter de pen dent, has always been char ac ter ized by the dom inance of the first on the lat ter, fre quent ly also in the the o ret ical debate. The advent of tech nol o gy and the tech no cen tric approach, although with notable excep tions, tend ed to indulge this view with a con stant ly grow ing dom ina tion of humankind on the bios phere, lead ing to the cur rent age, the Anthropocene. 4 An instance of this view is the Smart city approach, an urban strat e gy where tra di tion al phys ical grids and pub lic ser vices are improved trough dig ital sys tems and new tech nolo gies, man ag ing the use of resources and enhanc ing the process es’ sus tain abil ity. 5 The com po nents of this net work are inter con nect ed and reg u lat ed by pro to cols that col ect and react to flows of data, deal ing with prob lem at ic con di tions where as fore cast ing future out comes. 1 In light of this, the research ques tions the tra di tion al Smart city nar ra tive 6 , shaped by the politic and eco ‐ nom ic per spec tive, grow ing beyond its sim plis tic slo ‐ gan, that advo cate to the opti miza tion of process es. To do so it reflects on a new par a digm that inter twines nature and tech nol o gy. 4 7 To give a brief overview, we can broad ly trace their under stand ing through time and the sci en tif ic debate. Nature was under stood both as ide al orig inal state, a fright ful force and as resource with a clear bound ary, to shape and tame to ful fil humankind’s needs and believes. Today we live in the “age of Natural fab ri ca ‐ tion”, where nature is dealt with a sci en tif ic approach. 8 Nature and land scape have par tial y left their con tem ‐ pla tive role as oth er ness to tack le issues like cli mate change, food scarci ty, com fort con di tion, becom ing a per for ma tive nature. 9 Figure 2: Research map. At the same time, as the o rized by Gil es Clement 3 in his “third land scape”, it can’t be con tained any more by the bound aries of the gar den but con sti tutes an anamor phic enti ty, aimed at main tain ing bio di ver si ty. It can be found in the aban doned and fringe area left alone by humans, where the unex pect ed can hap pen and bio di ver si ty can thrive. Moreover, in the cur rent times the under stand ing of the net work of nature shift ed: from the Darwinian idea of plants as indi vid u als com pet ing with one anoth er to the idea of a net work that com mu ni cates to chem ical sig ‐ nal ing to pre serve the plants com mu ni ty. 7 10 At the same time, Technology has his tor ical y been a tool to ful fil humankind needs and neces si ty, grow ing in impor tance through time 11 rep re sent ing a way for humans to sep a rate them selves from the envi ron ment. Today it is both mate r ial and imma te r ial, gov ern ing the phys ical and vir tu al space, but also able to relate mate r ‐ i al (mobil ity) and imma te r ial (social) networks. In the recent years its action has grown more per va sive, inhab it ing the dig ital sphere as a “ubiq ui tous enti ty”, 1 liv ing inside the objects we inter act with dai ly. It is a “con stant and bidi rec tion al exten sion in between the ani mate and inan imate beings.” 12 In this sense the tech no log ical net work may start to com mu ni cate with the bio log ical one 7 enabling us to under stand and react to its needs. On scale and impact | How to relate theory and design From the out line of this the o ret ical frame, it’s defined this con cept of a of “Precision wildland”. In this process, sim ilar ly to what is already done with pre ci sion agri cul ture 13 , the use of tech nol o gy can col ‐ lect and react to the infor ma tion pro vid ed by the third land scape to serve spe cif ic needs. The coex is tence of wild land and city may imply con ‐ stant and dynam ic mon itor ing of this insta ble and frag ‐ ile patch es. 7 Thus, wild lands are seen with a design approach, look ing at their bio di ver si ty, aes thet ic val ue, man age ment, and ruled through the Smart City tools. Through the def in ition of case stud ies, is explored the way dif er ent design and artis tic expe ri ences read the par a digm nature tech nol o gy. Whether they rela tion ship is more func tion al and design ori ent ed or relat ed to the com mu ni ca tion of the aes thet ic and expres sive val ue of nature, the research may build upon these expe ri ences to for mu late a pre cise stand point on this duality. The goal is to con ceive a project/process to man age the trans for ma tion of aban doned sites to include, from the ini tial stages, the con sid er a tion for the bio log ical process es cre at ed by the pre ex is tent spon ta neous nature and al ow the fruition of the area from the beginning. It con sid ers dif er ent approach es that enforce var ious lev el of inter ven tion, depend ing on the design, usage, and secu ri ty needs. The role of tech nol o gy towards the man age ment of the infor mal land scape may vary, going from a com plete ly con trol ed envi ron ment to the untamed wilder ness with lit tle to no interventions. The solu tion wil be test ed also con sid er ing the pos si ble approach es to infor mal land scape in the sci en tif ic debate, in par tic u lar refer ring to the posi tions of Gil es Clement and Piet Oudolf. 14 Likewise, the ques tion of time is cru cial: cli mat ic, nat ur ‐ al, and anthrop ic events are not always pre dictable, 15 so the process needs to be adapt able and vari able. The goal is to react and pre dict to dif er ent sce nar ios using a sys tem of sen sor and actu a tors, that read and fore ‐ cast the needs of a wider ter ri to r ial net work. 1 The ide al set for this to hap pen are rail way yards, as sym bol ic and fac tu al pos si bil ity for the par a digm nature-tech nol o gy to be implemented. The research aims to use the innate intel i gence of the rail way net work and the spon ta neous pock ets of wild ‐ land that may inhab it it. From the struc ture of the soil (slope, mate ri al ity, cabling under neath), the pres ence of spon ta neous nature (unique com bi na tion of seeds trans port ed by the trains) 16 to the dynam ic of two oppo site sys tems (linear/monodirectional line of the rail opposed to the muta ble pock ets of nature). Figure 3: Atmospheric image of the paradigm nature- technology. Due to this is pos si ble to envi sion the use of tech no log i‐ cal tools (as remote sens ing, agri cul tur al drones, satel ‐ lite crop mon itor ing etc.) to har vest the eco log ical and social poten tial of wild lands and cre ate phys ical and dig ital net works and rule trans for ma tion processes. The cho sen con text is Europe, where cities keep on rebuild ing them self and there are unique instances of reuse of urban areas. There is a nat ur al ten den cy to con stant ly “recy cle” the city, that can be ampli fied with the Smart city tools. Ultimately, the goal is to pro vide oper a tive indi ca tion to design “per for ma tive wild lands”, set ting a process to man age, con trol and pre serve spon ta neous nature accord ing to spe cif ic needs while deal ing with urban renew al processes. Source of the images: Original draw ings by the author. 1 Ratti, Carlo, and Mattiew Claudel (2017): La città di Domani: come le reti stanno cambiando il futuro urbano, Torino: Einaudi. 2 Antonel i, Paola, and Ana Tannir (2019): Broken nature : 22. Triennale di Milano, Milano: La Triennale di Milano Electa. 3 Clement, Gil es (2005): Manifesto del Terzo paesaggio, Macerata: Quodlibet. 4 Kahn, Peter H (2011): Technological Nature : Adaptation and the Future of Human Life, England: MIT Press. 5 Boorsma, Bas (2017): A New Digital Deal: Beyond Smart Cities. How to Best Leverage Digitalization for the Benefit of our Communities, Hol and: Uitgeverij Boekscout. 6 Lisdorf, Anders (2020): Demystifying Smart Cities: Practical Perspectives on How Cities Can Leverage the Potential of new Technologies, New York: Apress Media - Springer Science + Buisness Media New York. 7 Gal e, Nadine, Nitoslawski, S.A. and Francesco Pil a, F. (2019). The Internet of Nature: How taking nature online can shape urban ecosystems. The Anthropocene Review, 6(3), pp. 279-287. 8 Girot, Christophe (2016): »Topology and Landscape Experimentation« filmed at the New summit on landscape architecture and the future, Philadelphia, Video, 14:04. https://www.youtube.com/watch?. . 9 Stagakis, Stavros, and Nektarios Chrysoulakis (2019): Think Nature: Nature-Based Solutions Handbook in EU Horizon 2020 research and innovation program. 10 Mancuso, Stefano (2017); Plant revolution, Milano: Giunti editore. 11 Wiener, Norbert (1948): Cybernetics: Or Control and Communication in the Animal and the Machine, Cambridge Ma: The MIT Press. 12 Ratti, Carlo, and Daniele Bel eri (2020): »Verso una cyber-ecologia/ towards a cyber ecology« in: AGATHÓN – International Journal of Architecture, Art and Design, n. 08 : 8-19. https://doi.org/10.19229/2464-. . 13 Falzarano, Pasquale (2018): Agricoltura di Precisione, pubblicate le Linee guida nazionali, Agriregionieuropa anno 14 n°53 14 Metta, Annalisa and Maria Livia Olivetti (2019): La città selvatica. Paesaggi urbani contemporanei, Melfi: Libria 15 Balducci, Alessandro, Chif i, Daniele and Francesco Curci (2020): Risk and resilience. Socio-Spatial and Environmental Chal enges, Switzerland: PoliMI Springer Briefs, Springer Nature. 16 Clement, Gil es and Andrea di Salvo (2010): Elogio del e vagabonde: erbe, arbusti e fiori al a conquista del mondo, Roma: DeriveApprodi Systemising Spatial Affects In the Search of the Ontolotical Class Encompassing the Experiences of Movement and Architectural Space Wiktor Skrzypczak, HCU Hamburg Final doctoral stage Supervisor: Matthias Bal estrem, HCU Hamburg # Embodiment, space the o ry, move ment analy sis Final doc tor al stage Abs In general, the leading question of this research is how t architectural environment af ects the bodily movement, ra and how, simultaneously, this movement evokes spatial ct af ects—the sense of space. This text deals with the problem of systemising these reciprocal phenomena. It tackles it by introducing the method of translating the space theory texts (of empathy theory and phenomenology) into movement instructions. Then, it shows how such translations, executed systematical y, might lead to a comprehensive coding and categorisation of movement practices in the sampled texts. The direct, practical application of such preliminary systemisation is then briefly exemplified by an experimental design seminar. The text points then to the obstacles in the systematisation process – the unclear ontological nature of the classified phenomena . What is actual y a sense of space? That question remains open, but leads to the assumption that the systemisation methods found in psychology (af ect theory) and higher music education (aural training) might be plausible templates for spatial af ect systematisation. E Systemising spa tial af ects. In the search of the class xt encom pass ing the expe ri ences of move ment and archi ‐ en tec tur al space. ded In prin ci ple, the lead ing ques tion of this research is how a archi tec tur al envi ron ment af ects the bod ily move ment bs on one hand, and the oth er hand, how the move ment tra evokes spa tial af ects — the sense of space. And while c this inves ti ga tion deals with sub tle, often pre-ver bal t expe ri ences and aims at the open ing of the design prac tice towards the diver si ty of such expe ri ences, its method ol o gy includes also their analy sis and sys tem a ‐ ti sa tion. This paper presents the emerged method of cre at ing such clas si fi ca tion, along with the knowl edge gap it clos es, its rel e vance for the research process, the pos si bil ity of its empir ical ver ifi ca tion and con tex tu alis ‐ es it with oth er estab lished clas si fi ca tions of af ects. What did I sys temise and why? While the cru cial (although implic it) role of the body in the per cep tion and imag ina tion of archi tec ture is wide ly recog nised in archi tec ture the o ry (cf. Bal estrem, Mal grave, Pal asmaa, Bachelard) often the used notions of embod iment are not prag mat ic — either they are philo ‐ soph ical and too wide to be instruc tive for the archi tec ‐ tur al prac tice, or they are empir ical and thus too nar row and reduc tive. This points to the gap in prag mat ic knowl edge, the miss ing links between the embod iment the o ry and con crete actions in archi tec tur al prac tice. The research on these links began with a coin ci den tal obser va tion, that the old er texts such as Empathy Theory or Bachelard’s Poetics of Space evoke in me strong spa tial imag ina tions and evi dent bod ily feel ings — that is states, which I was used to expe ri ence rather dur ing the move ment prac tice than read ing. The assump tion arose that these spa tial imag ina tions are, to a cer tain degree, phys ical process es, process es relat ed to the bod ily move ment, rather than pure ly men tal ones. This obser va tion ini ti at ed the fur ther text analy sis — extract ing al the pas sages, which describe bod ily move ment (or can be inter pret ed as such) from the texts which them selves actu al y the o rise spa tial and archi tec tur al expe ri ence. I was inter est ed in what is the move ment aspect of these spa tial phe nom e na and whether it is pos si ble to induce these spa tial phe nom e ‐ na not through an elab o ra tive lit er ary nar ra tion but through a guid ed move ment. Accordingly, I cod ed and pro vi sion al y cat e gorised the col ect ed pas sages and trans lat ed them into move ment instruc tions. I re-inter ‐ pret ed the lan guage of space the o ry as the lan guage of move ment instruc tion. (Fig. 1) Figure 1: Preliminary coding and categorising of movement practices in empathy theory and phenomenology. From top to bottom: Analysis of G. Bachelard, R. Vischer, H. Wölf lin How did this the o ret ical research become prag mat ic? The con duct ed trans la tion al owed the prac ti cal test ing of how move ment-medi at ed Empathy Theory af ects the design process es of archi tec ture stu dents. For exam ple, the trans la tion of Bachelard revealed sev er al essen tial move ments, which might evoke the sense of space of a house — for instance the codes ‘hid ing’, ‘focus ing’ and ‘sep a rat ing’. ‘Separating’ encom pas es the move ments lead ing to the soli tude, sep a ra tion from the world. The code ‘hid ing’ seems also to have as sim ilar spa tial mean ing, although with a dif er ent nuance. The code ‘focus ing’ facil itates the move ments of direct ing one's atten tion to a sin gle point, which becomes then the cen tre of space. Bachelard exem pli fies this spa tial qual ity with a can dle in the mid dle of the table, or the warm hearth in the cen tre of the house. Other codes seem to repeat through out the spaces described by Bachelard — for instance, the codes ‘ground ing’ and ‘inner immen si ty’ seem to be a kind of iter at ing, under ly ing activ ities which have been cat e gorised as ‘meta prac tices’. The sens ing or imag in ing of the force of grav ity, the rela tion ship with the ground per sists through out Bachelard’s work, as wel as the act of direct ing the one’s own atten tion towards the bod ily inner space — under stood as the mir ror ing of the out er, archi tec tur al or envi ron men tal space. Further codes derived from Bachelard are ‘rest ing’ and ‘occu py ing the hol ow’ which seem, how ev er, to be a dif er ent cat e go ry, pre lim inar ily label ed as ‘dai ly life moments’. Altogether, this ini tial sys tem a ti sa tion, although rudi men ta ry, al owed for test ing of the method with stu dents by assign ing them the task of imag in ing and design ing an inti mate space for rest in a pub lic space. What oth er the o ret ical texts did I sam ple and why? In a sim ilar man ner, I analysed the works of Robert Vischer and Heinrich Wölf lin. (Fig. 2, 3) I chose these authors because the style in which they argu ment — oscil at ing between the ear ly exper imen tal psy chol o gy and anec dot ic per son al reflex ions, is evoca tive and often draws on per son al expe ri ence rather than on high ly spe cialised lab o ra to ry obser va tions (as it is the case in e.g. neu ro science-informed archi tec ture the o ry). Thus, their argu men ta tion style seems to be more applic a ble to gen er al archi tec tur al prac tices, that is prac tices not spe cialised in inter dis ci pli nary research. However, with the grow ing num ber of codes, a coher ‐ ent, over ar ch ing cat e gori sa tion became chal eng ing and prompt ed onto log ical ques tions: What is this that I am try ing to cat e gorise? Is this a clas si fi ca tion of move ment or clas si fi ca tion of spa tial expe ri ences? Is this a twin class of move ment-and-space expe ri ence? Or, is there an appro pri ate sin gle class encom pass ing them both? What is actu al y a sense of space? Is it a sen sa tion? A feel ing? An emo tion? What kind of af ect am I deal ing with? These ques tions are stil open. Which estab lished sys tem a ti sa tions could help here and serve as tem plates? One recent sys temi sa tion of archi tec tur al expe ri ence is Alban Janson’s and Florian Tigges’ ‘Fundamental Concepts of Architecture. The Vocabulary of Spatial Situations’. 1 The work recog nis es such phe nom e na as per son al spa tial ‘bub ble’ and its exten sion and thus seems to be close to the research object of this study, it describes the archi tec tur al expe ri ‐ ence from the per spec tive of the user, not the design er and thus lacks the instruc tive, cre ative and prag mat ic poten tial. (cf. ibid 5 – 6) Being archi tec ture the o ry, it lacks also pre ci sion in move ment analy sis, under stand ‐ ably. This pur pose serve, in turn, the estab lished sys ‐ tems of move ment analy sis such as those of Laban, Bartenief , Cohen, or Stark Smith, which how ev er do not address the archi tec tur al space and its design, at al . Which sys temi sa tion could be the most appro pri ate tem plate? Remarkably, a num ber of notions used by empa thy the o rists is sim ilar or iden ti cal to those used by move ment the o rists — notions such as ‘resist ing the grav ity’, ‘bal anc ing’, or ‘bod ily cen tre and periph ery’, etc. This sug gests the pos si bil ity of embed ding the Empathy Theory with in the more com pre hen sive, con ‐ tem po rary move ment the o ries and sys tem a ti sa tions. Accordingly, in the next step I wil align the codes derived from the Empathy Theory along the main themes of estab lished move ment analy sis systems. What fur ther appli ca tions (beyond the scope of this study) of such sys temi sa tion can we spec u late about? Another exam ple of the cat e gori sa tion method ol o gy is the af ect the o ry and the uni ver sal emo tion al expres ‐ sions observed and sys temised among oth ers by the psy chol o gist Paul Ekman. 2 Similarly to Ekman, who was able to sys tem a tise the diver si ty of human facial expres sions by iden ti fy ing six basic emo tions, I am inter est ed in the foun da tion al research of sys temis ing the diver si ty of spa tial bod ily impres sions and iden ti fy ‐ ing the cor re spond ing basic spa tial af ects. Such sys ‐ tem a ti sa tion might lay the foun da tion of propaedeu tic sen so ry train ing for archi tects – anal o gous to the aur al train ing in music ped a gogy, which aims at sen si tis ing the ear of the music stu dent in order to sense and analyse the cor re spond ing musi cal af ects. 3 The com ‐ po si tion exper iments with mas ter stu dents, which finalise this doc tor ate try to il u mi nate whether such train ing, that is the bod ily sen si ti sa tion towards the basic spa tial af ects (such as expan sion and shrink ing or bal ance and imbal ance) can help stu dents express ‐ ing these qual ities bet ter in their archi tec tur al com po si ‐ tions. If this approach suc ceeds, it might edu cate future spa tial som me liers — experts in tast ing and crit ical judg ment of spa tial qualities. Figure 2: Preliminary coding and categorising of movement practices in empathy theory and phenomenology. From top to bottom: Analysis of G. Bachelard, R. Vischer, H. Wölf lin Figure 3: Preliminary coding and categorising of movement practices in empathy theory and phenomenology. From top to bottom: Analysis of G. Bachelard, R. Vischer, H. Wölf lin 1 Janson, A., & Tigges, F. (2014). Fundamental concepts of architecture: The vocabulary of spatial situations. Basel: Birkhäuser. 2 Crawford, Kate (2021) Time to regulate AI that interprets human emotions. In: Nature, Vol 592, 8 April 2021 3 Andrianopoulou, Monika (2018) Aural Education and its Pedagogical Conceptualisation in Higher Music Education. An investigation through varied perspectives. 62 Sharing Landscape Beyond the Urban- rural Dialectic; New Productive Soils as a Form of Settlement Resilience Isabel a Spagnolo, Politecnico di Milano Intermediate doctoral stage Supervisors: Guya Bertel i, Politecnico di Milano; Marco Bovati, Politecnico di Milano; Andrea Oldani, Politecnico di Milano # Sharing, fragili ty, inno v a tive farms Abs Short abstract (150 words): The text aims to present the t structure of my research thesis, which title is “Sharing ra Landscape: beyond the urban-rural dialectic. The farm ct as a form of settlement resilience” . The latter develops according to three macro sections: “SHARING as a new condition of contemporaneity” , “SHARING as a paradigm and interpretative strategy” and “SHARING LANDSCAPE as an operational tool” . The thesis intends to investigate the theme of farm as a resilient and interpretative design tool that could ‘mend’ the 'urban' and 'rural' on a theoretical and physical level. E The research intends to inves ti gate new pos si ble spa tial xt rela tion ships between ‘urban’ and ‘rur al’ areas linked to en inno v a tive agri cul tur al pro duc tion due to the pro gres ‐ de sive dete ri o ra tion of the rela tion ship that tra di tion al y d linked the two enti ties. It is devel oped accord ing to abs three macro-sec tions: the first, “SHARING as a new tr con di tion of con tem po rane ity,” is a the o ret ical frame ‐ ac work of the city-coun try side rela tion ship. The sec ond t “SHARING as a par a digm and inter pre ta tive strat e gy” explains the method olog ical approach. The third, “SHARING LANDSCAPE as an oper a tional tool,” sees the imple men ta tion of the design method ol o ‐ gy outlined. Figure 1: Lorenzetti, Al egoria ed ef etti del Buono e del Cattivo Governo, 1338 Sharing is the key word that unites the three parts of the the sis and may rep re sent our contemporaneity's inter ‐ pre ta tive key, char ac ter ized by an increas ing ly wide spread fragili ty in which unex pect ed events are reg u lar1 . In the first sec tion, "SHARING as a new con di tion of con tem po rane ity," we intend to deep en the de-for ma ‐ tions that char ac ter ize our con tem po rane ity, which orig ‐ i nat ed with the advent of indus tri al iza tion and led to the cri sis of that dichoto mous rela tion ship that has always char ac ter ized the city and the coun try side. What instead unites today the con cept of urban ity and rural ity is a con di tion of fragili ty. Acceleration and rup ture of the co-evo lu tion nexus are there fore two sides of the same coin; the first leads to the for ma tion of areas that are too ful , where devel op ment is con cen trat ed, and envi ‐ ron men tal bad of anthrop ic ori gin are pro duced (e.g., air pol u tion); the sec ond gen er ates areas that are too emp ty, where ter ri to r ial mar gin al ity takes shape, and eco log ical prob lems (e.g., hydro ge o log ical insta bil ity) arise from neglect. We can sum ma rize and decline these the mat ic accord ‐ ing to three cat e gories: phys ical-spa tial, socio-cul tur al, and environmental-energy. . Physical-spa tial fragility regard ing the pro gres sive growth of cities (UN’s 2007 announced that 50 per cent of human ity already lived in cities and that this per cent ‐ age would increase to 70 per cent by 2050) and the frag men ta tion of cul ti vat ed land with con se quent decen tral iza tion of large agri cul tur al pro duc tions and aban don ment of land no longer grown. . Socio-eco nom ic fragili ty as regards the food pro duc tion of the agri cul tur al sec tor, which is increas ing ly unsus ‐ tain able eco nom ical y (most coun tries do not have suf ‐ fi cient domes tic agri cul ture and import prod ucts: FAO asserts that it is cru cial to build ing more resilient cities by enhanc ing local food pro duc tion and dimin ish ing the depen den cy on food imports) and social y (the low er social class es, and not only, have no access to qual i‐ ty food). . Environmental-ener gy fragility linked to the unsus tain ‐ abil ity of the two pre vi ous fragili ties: the grow ing demand for food and the trans port of prod ucts, in addi ‐ tion to lead ing to a degra da tion of our ter ri to ries linked to the water proof ing of soils, involves prob lems in terms of pol u tion (of soils and air) and logis tic infra struc tures (due to the cur rent preva lence of the fourth range production). We can then speak of shar ing as a con di tion of con tem ‐ po rane ity in the sense that we are al equal y exposed to the con se quences of our actions: “the mirage of glob ‐ al iza tion has led us into this New Climate Regime in which the cli mat ic con se quences know no bound aries.” 2 If in the first sec tion, shar ing is assumed as an inevitable con di tion. In the sec ond sec tion of the research, “SHARING as a par a digm and inter pre ta tive strat e gy,” the theme of shar ing is seen as a strate gic response to the fragili ties list ed above. The con cept of shar ing and that of fragili ty, despite belong ing to dif er ent lin guis tic strains, have a sim ilar mean ing. Share rep re sents a part, a por tion (into which some thing can be divid ed); frag ile, from fran gere, from which the word frag men tum also derives, rep re sents the ease of some thing to break, to frag ment. This sit u a ‐ tion of shared fragili ty is alter nate ly seen with a sense of mis trust in the glob al ized future and nos tal gia for the local dimen sion ( Retrotopia3 ) and, on the con trary, with the belief that new gen er al tech nolo gies wil bring pos itive devel op ments in the design of our future cities that wil have a high ly shared and con nect ed char ac ter on a tech no log ical lev el ( Futurecraft4 ). Therefore, the the sis propo si tion sees the “strength of fragili ty” 5 in being able to share the frag men ta tion, the com pli ca tion of our con tem po rane ity, to estab lish coop ‐ er a tive mech a nisms6 . The chal enge lies in see ing the inno v a tive forms of farms as design inter pre ta tions that give rise to both visions (Bauman’s Retrotopia and Ratti’s Futurecraft): they work at the local scale thanks to the tech no log ical evo lu tions that the pro duc tion sys ‐ tems of the agri cul tur al world are devel op ing, mak ing an ide al mend ing between 'rur al' and 'urban'. So, the farm could rep re sent the con cept of shar ing on a phys i‐ cal plane, such as spa tial and func tion al con t a m ina tion and hybridiza tion between agri cul tur al pro duc tion and oth er forms of liv ing, and on a the o ret ical lev el, such as exchang ing dif er ent knowledge. For the deep en ing of the first aspect, we intend to study design exam ples of inno v a tive farms from which to draw the par a digms, strate gies, and design actions. Being a type of pro duc tion that does not have par tic u lar spa tial needs, it can be declined in a very flex ible way. For which con cerns the sec ond aspect, instead, we intend to study inno v a tive farms that were born thanks to inno v a tive poli cies applied to agri cul ture and that seek a point of con tact with oth er forms of cul tur al pro ‐ duc tion: Agricola Moderna in Milan (2020) and Sci-Tech Farm in Tokyo (2012) are two examples. This inter me di ate sec tion rep re sents the link between the the o ret ical sec tion and the final design devel op ‐ ment sec tion. Here we intend to sys tem atize a series of key words, design ref er ences, and inter pre ta tive schemes, like an ex lib ris in the form of a dic tio nary, which wil serve as a method olog ical guide. The three sec tions are not intend ed as con se quent to each oth er but in a con tin u ous exchange between them, in the process of con stant mod ifi ca tion and evo lu tion since the design strate gies wil cer tain ly derive from the ref er ‐ ences and the study of the select ed project areas. The last sec tion, “SHARING LANDSCAPE as an oper a ‐ tional tool,” intends to apply design to the strate gies and prin ci ples. Innovative farms rep re sent a new archi tec ‐ tur al typol o gy to be inves ti gat ed, try ing to under stand how we can for mal y and spa tial y decline these new pro duc tion meth ods to estab lish con nec tions at the urban lev el and to coex ist dif er ent func tions that ben e ‐ fit from space coexistence. The three applica tive study areas ( Sagrera area in Barcelona, Var val ey in Nice, and Milano Bovisa ’s gas ‐ om e ter) are select ed for their con di tion of promis cu ity, encounter, and con fronta tion between wide spread urban ter ri to ries and once agri cul tur al environments. In this sense, shar ing land scape becomes the ver ifi ca ‐ tion design tool inside the urban void (to avoid fur ther land con sump tion and to rede vel op aban doned or degrad ed urban areas), a space of miss ing rela tion ship, that is by its nature found between dif er ent entities. Figure 2: Spacely degraded countryside from urban expansion and agricultural greenhouses in Ragusa, Sicily, 2021. Figure 3: Agricola Moderna, hydroponic farming company in Melzo (Milan), 2021. 1 Alessandro, Balducci; Daniele, Chif i; Francesco, Curci (2020): Risk and Resilience. Socio-Spatial and Environmental Chal enges, Digital Edition: Springer. 2 Bruno, Latour (2018): Down to Earth, Cambridge: Polity Press. 3 Zygmunt, Bauman (2017): Retrotopia, Bari: Laterza. 4 Carlo, Ratti (2014): Architettura Open Source, Torino: Einaudi Editore. 5 Brené, Brown (2016): La forza del a fragilità, Milano: Val ardi A. 6 "Creativity could take two forms, the first of these, negentropy, through the physical trapping of energy [. .] and further, through those cooperative mechanisms that are indispensable for greater complexity - and therefore evolution - which is the symbiosis". Ian L., McHarg (1969): Design with Nature, Wiley Series in Sustainable Design. A Messy Autoethnographic Documentation of Making with the Environment Berilsu Tarcan, Norwegian University of Science and Technology Initial Doctoral Stage Supervisors: Ida Nilstad Pettersen, Norwegian University of Science and Technology; Ferne Leigh Edwards, Norwegian University of Science and Technology; Trond Are Øritsland, Norwegian University of Science and Technology # mak ing with the envi ron ment, hand icrafts, autoethno graph ic meth ods, oth er-than- humans, envi ron ment and design, mate ri als in design, mak ing, wool Abs The start of the Anthropocene traces back to the t Industrial Revolution, which implies that industrial ra design as a field should rethink how design leads to ct consequences to the world. To shift from techno and human-centrism in design and to overcome the problems started by humans (such as the climate crisis, pol ution, lack of natural resources, cultural manipulations) new methods in design studies that involve other-than-humans are crucial. Designers have possibilities to look from others’ perspectives, and these perspectives may be beneficial in changing worldviews. My PhD study suggests that looking from other-than-human’s perspectives and studying their relations is necessary for design. I demonstrate an early-stage investigation related to a direct handcrafting experience, the relationship of human and other-than- human actors in a design/making process. The other- than-humans in the study include the environment and materials. A This sub mis sion doc u ments an ear ly-stage inves ti ga ‐ rte tion that aims to pro duce knowl edge from expe ri ences fa gath ered by work ing with wool mate r ial. The knowl edge ct is gath ered from the rela tion ship of human, envi ron ‐ ment, and mate ri als in a design/making process, there ‐ fore the o ret ical pro duc tion is influ enced by the cre ation process of artefacts. The PhD study looks at the inter sec tion of emerg ing the o ries of posthu man ism and tra di tion al knowl edge. Key points are: The inclu sion of oth er-than-humans (non hu mans, more-than-humans) into mak ing and design practices, The inte gra tion of non hu man notions and tra di tion al knowl edge into design. The inves ti ga tion of craft and design by mak ing felt tex ‐ tiles with hands, using wool as mate r ial, by study ing the asso ci a tions of these notions. In this ear ly stage, I inves ti gate oth er-than-humans and how they are relat ed to mak ing and design prac tices, through a direct expe ri ence of hand craft ing, with spe ‐ cif ic atten tion on the explo rative and proces su al aspects. Relationship with the envi ron ment is anoth er aspect, intend ed as some thing that af ects the process of work ing with wool: This stage presents a study that aims to have a bet ter under stand ing of work ing with the mate r ial, and to study how fac tors oth er than the mak er and mate r ial relate to the mak ing prac tice. Having a bet ter under stand ing of the mak ing process and the rela tions of dif er ent envi ron ments where I ini ti ate the felt ing process al ows me to know how these envi ron ‐ ments are a part of the mak ing prac tice as oth er-than- human enti ties. Felting is both a tra di tion al and con tem ‐ po rary tech nique to make tex tiles, work ing with basic fibers with hands, to cre ate sur faces, which involves com press ing ani mal fibers by using alka line and hot water. The world is going through many tem po rary sit u a tions, includ ing crises and cli mate change. The con se quences of human exploita tion of nature have start ed the geo ‐ log ical age known as the Anthropocene. Human needs have result ed with indus tri al iza tion and the exploita tion of nat ur al resources. The start of the Anthropocene is traced back to the Industrial Revolution 1 , which already implies that indus tri al design as a field should rethink what design process es should include. To shift from this human-cen trism and to over come the prob lems start ed by humans (such as the cli mate cri sis, pol u tion, lack of nat ur al resources, los ing tan gi ble and intan gi ble her ‐ itages) new meth ods in design stud ies that involve oth ‐ er-than-humans are cru cial. Designers have pos si bil ities to look from oth ers’ per spec tives, and these per spec tives may be ben e fi cial in chang ing world views. Starting with the Industrial Revolution, mass pro duc tion result ing from human needs have ini ti at ed indus tri al design. As design has been tech nol o gy-cen tered at first, and human-cen tered since 1980s 2 , my PhD study sug gests that look ing from other-than-human’s per ‐ spec tives and study ing their rela tions is nec es sary for design. Also, even in human-cen tered design, it is nec ‐ es sary to look at oth er-than-humans, as humans can ‐ not exist with non hu man actors. As in tra di tion al knowl edges, human-non hu man rela ‐ tion ship is not bina ry, the PhD study sug gests that look ‐ ing at tra di tion al knowl edges wil bring pos si bil ities to bring out non hu mans into design. In oth er words, it of ers ways that tra di tion al knowl edge could be applied for the ways of liv ing today. They can also pro vide guid ‐ ance on how to learn and inte grate with the new world sit u a tions. These knowl edges can be applied for many aspects, includ ing top ics such as craft and design, decol o niza tion of design, expe ri enc ing tech nol o gy in new ways, shift ing design process es. Traditional knowl ‐ edge from Turkey and Norway are inves ti gat ed in the PhD study. At this stage, nomadic Turkish folk groups, in oth er words Yoruks lifestyle and felt arte facts are researched. The study does not roman ti cize the past or old ways of liv ing, nor does it take tech no log ical improve ments as ene mies. Instead, it points out that these tech no log ical improve ments could have been made and imple ment ed in dif er ent ways, as the world is going through many changes with tech no log ical improvements. Research Through Making-with- Hands Design, craft and mak ing are relat ed notions that refer to a cre ation process. Making in this sense is tak en as work ing and pro duc ing with a mate r ial hands-on to have a bet ter under stand ing of it. Many relat ed dis ci ‐ plines employ “research through mak ing,” includ ing tra ‐ di tion al crafts 3 . Here it is applied as a “mak ing-with hands” approach and does not involve any machin ery. The research leads to an under stand ing of how mak ing prac tice can shift with using emerg ing the o ries in design that refer to oth er-than-humans. Looking at the envi ron ment from old er ways of know ing could ben e fit today’s design studies. This process includes steps that start with obtain ing the mate r ial (wool), wash ing and apply ing pres sure on the wool, and mak ing artefacts/textiles with the help of water, soap, hand pres sure and addi tion al tools such as cloths and tow els. The out comes of this stage are of explo rative nature, as shown in visu als [ 1 ] [ 2 ]. The aim in this phase is not to pro duce final arte facts but to have ideas on how to imple ment the process of mak ing, and it is believed that this wil con tribute to the research process that involves learn ing to work with sev er al types of wool. Preliminary find ings include acquir ing the mate r ial, shap ing the work space, find ing out about wool types, and find ing inspi ra tions from resources such as envi ron ment and ancient cultures. Figure 1: Learning about and with the material. Making and Environment This attempt exam ines a mak ing activ ity, and its rela tion to the envi ron ment. The tools and mate ri als used in the mak ing process are a part of this envi ron ment. However, their sur round ings, mean ing the work space, also af ects this process. With ana lyz ing mak ing in dif ‐ fer ent envi ron ments, the empha sis is try ing to learn how to adapt to dif er ent set tings and even “cli mates”, and how the mak ing prac tice relates to them. It con sists of a felt ing prac tice, which has been car ried out in sev ‐ er al loca tions, inte ri or and exte ri or spaces and geo gra ‐ phies. Locations includ ing workshop/studios and out ‐ doors have been the envi ron ment of this mak ing prac ‐ tice, and they wil be ana lyzed through the theme of “mak ing-with the envi ron ment”. More specif ical y, the envi ron ment con sists of dif er ent stu dios, rooms and exte ri or spaces and they are al tak en as ele ments in the mak ing process. For mak ing, wool mate r ial and felt ‐ ing prac tice is used. I exper iment with sev er al wool types, such as unprocessed wool from local farms to have a bet ter under stand ing of it not just as a resource for pro duc ing but also as an equal actor in the act of making. Figure 2: Documenting wool and making activity. Decentering Humans in Design Some exam ples in design have shown new mate ri al ist and posthu man 4 the o ries as facil ita tors to repo si tion the state of humans. These approach es are exem pli fied as “decen ter ing the human, non-anthro pocen trism, and human/ non-human rela tions” 5 , that expand design from human needs to oth ers, such as trees, rocks, ani ‐ mals and machines. In design research, inclu sion of oth er-than-humans can be explored with sev er al meth ‐ ods. In this exam ple autoethnog ra phy is tak en on, which is the ethno graph ic study of “self”. This method “human izes research by focus ing on life as lived through in its com plex ities” 6 . As autoethnog ra phy is a human-cen tered approach, study ing oth er-than- humans with this method could be seen as oppos ing because of the cen tral ity of the “researcher”. This opens an inter est ing debate on oth er-than-humans: In this instance, this human-cen tered approach al ows me to expe ri ence and acknowl edge my own respon si bil ity for oth er-than-humans in design dri ven research, and how I approach my sur round ings. Processes of research and design have strong par al els between each oth er 7 . As design process is “messy,” he pro pos es that autoethnog ra phy as a method can cap ture evi dence from this process of messi ness, as the design process starts and goes on. Autoethnography acknowl edges the researcher as cen tral in the research process, and the tools it of ers increase reflec tion and struc ture 8 . Studying mak ing prac tices with this method of ers rel e ‐ vant doc u men ta tion [ 3 ] for mak ing in vary ing environments. Inclusion of Other-than-Humans in Design Making and design are con cepts that refer to a process of cre ation. When defin ing oth er-than-human actors, I refer to the emerg ing the o ries of posthu man and notions of non hu man (e.g. non hu man agency and Actor-Network Theory), more-than-human 9 , oth er- than-human 10 that are being used in design. Although there are dif er ent approach es on these notions, I take nonhuman’s mean ing in the most lit er al sense: It is what is “not human”. These con cepts that include non ‐ hu man are also part of indige nous knowl edge, that do not dis tinct human-non hu man from each oth er. I use these con cepts as a way to include my envi ron ment and sur round ings into my mak ing process. I acknowl ‐ edge that in design stud ies these terms are being used to define sev er al mean ings, which refer to decen ter ing humans, and involve themes such as envi ron ment, tech nol o gy and made objects. Wool sources include unprocessed wool from local farms [ 4 ] and processed wool from hand icrafts orga ni za tions [ 5 ] Figure 3: Wool source acquired from a local farm. Figure 4: Using processed wool for relations of traditional knowledge. The artefacts belong to a learner’s process, and refer to traditional symbols, such as figures and symbols from old carpets. These emerg ing approach es are being used to see how a mak ing activ ity can adapt to new envi ron ments, whether it is a mak ing stu dio or an out door set ting. The focus on the loca tion also empha sizes the ef ects of cli ‐ mate and ever-chang ing cir cum stances oth er than the self (the mak er), around a mak ing prac tice. Some exam ples for these cir cum stances are, Working envi ron ment: I employed the same prac tice in var ious loca tions and start ed mak ing felt with the same idea and mate r ial types but al owed myself to be open to out er cir cum stances around me to explore what type of arte fact would come out. Preparation and tem po ral ity of the mak ing prac tice had impacts, espe cial y for the out doors, I lim it ed time and tools, includ ing water and wool usage. Acquiring wool and its tem po ral ity: For instance, a con ‐ tact who was sup posed to sup ply me with unprocessed wool informed me that this spring’s wool was short and unclean, and sug gest ed I wait for sum mer instead. Therefore, I con tin ued work ing with a dark er type of sheep wool I col ect ed before. Figure 5: Exhibition of felted artefacts in various environments in CA2RE Ljubljana 2021 Autoethnographic Documentation I show the autoethno graph ic doc u men ta tion to empha ‐ size the expe ri en tial knowl edge, learn ing with mate r ial in the prac tice, and how envi ron ment plays a cen tral part in this process of mak ing. I do this by ana lyz ing the rela tion ship of the envi ron ment and arte facts I cre at ed, by using the arte facts them selves, their pho tos, and writ ten notes from reflec tive diaries. The doc u men ta tion is ongo ing, there fore the visu al is an ear ly attempt of a the mat ic analy sis of mak ing prac tice, and are themed accord ing to the rela tion ship between envi ron ment and mak ing processes/forms. These tri als can also be defined as ideation “sketch es” with mate r ial. I relate this with think ing through mak ing and mate ri als 11 , and con nect this approach to mate ri al ‐ ness of things. Drawing from Ingold’s ques tion, “Why should the mate r ial world include only either things encoun tered in situ, with in the land scape, or things already trans formed by human activ ity, into arte facts? Why exclude things like the stone, which have been recov ered and removed but not oth er wise trans ‐ formed?” 12 , the envi ron ment and oth er-than-humans in this research con sist not only the mate ri als or arte ‐ facts, but oth er things: While study ing design-craft and human-mate r ial rela tions, the rela tion ship between the human and mate r ial is tak en into con sid er a tion. However, oth er ele ments from the envi ron ment that do not belong to human activ ities can be put for ward in these prac tices as wel . I imple ment this by not exclud ing, but observ ing the chang ing envi ron ment, includ ing the work space, tools, mate ri als, table, and loca tion. Varying loca tions also al ow sur round ing ele ments from the land scape such as rocks and sea, or the sun to become a part of the think ‐ ing-with process. Dif erent tri als in sev er al envi ron ‐ ments and the out come arte facts in wool mate r ial are a part of the doc u men ta tion. Examples shown as arte ‐ facts are demon strat ed as a rela tion al process with the environment. 1 Crutzen, P.J. (2002) Geology of mankind. Nature 415(6867): 23–23. 2 Forlano, L. (2017). Posthumanism and design. She Ji: The Journal of Design, Economics, and Innovation, 3(1), 16-29. 3 Fitzpatrick, E., & Reil y, R. C. (2019). Making as method: Reimagining traditional and indigenous notions of ‘craft’ in research practice. Art/Research International: A Transdisciplinary Journal, 4(1), i–xvi. 4 Haraway (2016). Staying with the Trouble: Making Kin in the Chthulucene. Duke UP. 5 Forlano, L. (2017). Posthumanism and design. She Ji: The Journal of Design, Economics, and Innovation, 3(1), 16-29. 6 Adams, T. E., El is, C., & Jones, S. H. (2017). Autoethnography. The international encyclopedia of communication research methods, 1-11. 7 Munro, A. J. (2011). Autoethnography as a research method in design research at universities. 20/20 Design Vision, 156. 8 Triantafyl i, N., & Bofylatos, S. (2019). “Poke it with a Stick”, Using Autoethnography in Research through Design. In Conference Proceedings of International Conference 2019 of the DRS Special Interest Group on Experiential Knowledge (EKSIG 2019) edited by N. Nimkulrat, K. Kuusk, J. Noronha, C. Groth, and O. Tomico, . Tal in, Estonia: Estonian Academy of Arts. Knowing Together: 87-102. 9 Gal oway, A. (2017). More Than Human Lab: Creative Ethnography after Human Exceptionalism. The Routledge companion to digital ethnography, 470. 10 Gatto, G., & McCardle, J. R. (2019). Multispecies design and ethnographic practice: Fol owing other-than-humans as a mode of exploring environmental issues. Sustainability, 11(18), 5032. 11 Nimkulrat, N. (2012). Hands-on intel ect: Integrating craft practice into design research. International Journal of Design, 6(3), 1-14. 12 Ingold, T. (2007). Materials against materiality. Archaeological Dialogues, 14(1), 1-16. doi: 10.1017/S1380203807002127 Geometries of Time Taufan ter Weel, TU Delft Mariacristina D'Oria, University of Trieste Intermediate stage. Research project developed connecting our individual PhD research trajectories. Supervisors: Roberto Caval o, TU Delft; Heidi Sohn, TU Delft; Giovanni Corbel ini, Politecnico di Torino # Diagrammatisation, entan gle ments, space- time-matterings Abs In the matter of the global catastrophe we are facing t today, the multimedia instal ation explores dif erent ra scientific abstractions produced from the ct Enlightenment onward in connection with their social and environmental implications. More specifical y, we question and contextualise the tensions between the increasingly blurring absolute representations of reality and the relative spacetime of entangled processes by means of architectural diagrammatisation and multimedia experimentation. The work aims to critical y examine the concept of tabula rasa, the succession of superimpositions and erasures that constantly reshapes the formation, morphology, and very meaning of landscape, as wel as the notion of void or vacuum without matter or energy. Ar Introduction tef To antic ipate the uncer tain ties, the cat a stro phe we are ac fac ing, whether envi ron men tal, bio log ical, or social, the t mul ti me dia instal a tion explores dif er ent sci en tif ic abstrac tions of space and time pro duced from the Enlightenment onward in con nec tion with the impli ca ‐ tions for how we engage with the land scape. We ques ‐ tion and con tex tu alise the ten sions between the increas ing ly blur ring absolute rep re sen ta tions of real ity and the rel a tive space-time of entan gled process es. By means of archi tec tur al dia gram ma ti sa tion, the work cuts across deep time, trace able in geo graph ical stra ta; the lin ear time of progress; the cycli cal time of sea sons, tides, and bod ily rhythms; and last ly, non lin ear, rel a tive, and rela tion al con cepts of space-time. It aims to crit ical y exam ine the con cept of tab u la rasa, the suc ces sion of era sures and super im po si tions that con stant ly reshapes the for ma tion, mor phol o gy, and very mean ing of land scape. Since time can not be dis ‐ en tan gled from space, and space-time not from mat ter- ener gy, we want to take this fur ther and cal into ques ‐ tion the notion of void or vac u um with out mat ter or ener gy. As Karen Barad puts it, “the vac u um is fil ed with the inde ter mi nate mur mur ings of al pos si ble sounds: it is a speak ing silence.” 1 Figure 1 Entangled landscapes In res o nance with Barad’s words, our instal a tion [ 1 ] seeks to explore the com plex entan gle ment we are con ‐ front ed with today, mov ing beyond the absolute void, that is, space as an emp ty con tain er pre dom inant in mod ern geom e try and physics. Instead, it exper iments with the delin eation of an under-con struc tion map recov er ing the mur mur ings with which every place is poten tial y fil ed. The point of depar ture is the Mojave Desert, cen tral in the cur rent debate about build ing a nuclear waste repos ito ry inside Yucca Mountain. This extreme land scape stands in the col ec tive imag inary as one of the arche typ ical loci of wilder ness, a con cept that has been his tor ical y instru men talised to jus ti fy coloni sa tion, cap ital ism, and exploita tion. Under the for mu la “going West,” large ter ri to ries have been occu pied, eras ing lives, ecolo gies, rit u als, and prac tices that dense ly inhab it ed these spaces. Critical y argu ing against the pre sumed empti ness of these places, rit u als and every ‐ day rhythms are retraced in the attempt to retrieve an erased con cep tion of cycli cal time from a pre-colo nial past: cycles, cal en dars, myths, and indige nous’ prac ‐ tices begin to emerge, ampli fy ing what is today only a weak trace of these civilizations. Figure 2: Humboldt, Alexander (1807): Tableau Physique mapped vegetation; Goya, Francisco (1819-1823): Saturn Devouring His Son; Manhattan Project (1945): Trinity Test; Geological strata; Dendrochronology; Piranesi, Giovanni Battista (1745- 1750): The Prisons; Alberti, Leon Battista (1480- 1490): The Ideal City; Fedorov, Nicholas (1928): Zoogeographical map of the Soviet Union. Diagram as Explorative Method We under stand dia gram ma ti sa tion as a mate r ial-dis cur ‐ sive process that recon fig ures our rela tion to the world, explor ing latent poten tials with in an asso ci at ed milieu and sug gest ing a broad er set of rela tions con nect ing mul ti ple envi ron ments — spaces and times. A dia gram is deter ri to ri alised, not bound to a par tic u lar ter ri to ry, scale, and time frame, but al ows for draw ing trans-spa ‐ tial and trans-tem po ral rela tions and expos es con nec ‐ tions between abstrac tions of space, time, mat ter, and ener gy. [ 2 ] [ 3 ] Moreover, it is an oper a tional device capa ble of open ing up new areas of sen sa tion and inten si ty. Diagrammatisation entails a focus on tech nic i‐ ty: tech ni cal process es and objects pro duced by sup ‐ pos ed ly enlight ened and advanced human ity, enabling us to under line the fric tions and dis con ti nu ities they generated. Figure 3: Ter Weel, Taufan and D’Oria, Mariacristina (2021): Diagrammatisation as a means of theoretical investigation through the concept of space and time in order to intercept the warped section of the entanglement. According to the Stoics, time is cycli cal: the uni verse is eter nal and evolves fol ow ing the relent less rep e ti tions of its cycles. In an anthro po mor phic fash ion, they defined three mytho log ical fig ures, iden ti fy ing respec ‐ tive ly: Aeon, the eter nal time that embraces past, present, and future; Kronos, the lin ear time defined by the con tin u ous suc ces sion of events; and Kairos, the time of cri sis and oppor tu ni ty respon si ble for the episod ic uni ver sal con fla gra tions that open up cycli cal ways to rebuild the world. Fol owing Henri Lefebvre 2 , the notions of time and space are under stood here as being social y and cul tur ‐ al y pro duced rather than neu tral or objec tive. David Harvey draws on Lefebvre’s dialec tics, dis tin guish ing the tri par tite divi sion of absolute, rel a tive, and rela tion al ways of under stand ing space and time. First, there is a cer tain absolute notion of space and time found in clas si cal Euclidean geom e try, the mod ern Cartesian coor di nate sys tem, and Newton’s space as a con tain er iso lat ed from time. Second, a rel a tive con cep tion of space-time can be attrib uted to Einstein’s rel a tiv ity the ‐ o ry, non-Euclidean geome tries, and a cer tain shift ing sense of space-time, which Harvey cal s “time-space com pres sion” 3 and can be asso ci at ed with tech no log i‐ cal devel op ment or tech nic ity. Last, he iden ti fies a rela ‐ tion al approach to space-time, which derives from Leibniz’ mon ad, where in space and time can not exist out side the process es of their unfolding. This con cept of rela tion al space-time opens up the pos ‐ si bil ity to move beyond a sole ly dialec ti cal under stand ‐ ing of space and time and pro vides a point of inter sec ‐ tion with Barad’s under stand ing of prac tice as being mate r ial-dis cur sive (both onto log ical and epis te mo log i‐ cal) and mat ter as an entan gled process. Practice is a mat ter of account abil ity and “response-abil ity” rather than objec tiv ity, as Barad, with Donna Harraway, sug ‐ gests. With regard to the pre sent ed arte fact, this could lead us to Félix Guattari’s notion of the pro duc tion of sub jec tiv ity and his ethico-aes thet ic approach, empha ‐ sis ing the irre versibil ity and respon si bil ity inher ent in the cre ative act. 4 The Multimedia Instal ation The mul ti me dia instal a tion puts into oper a tion the dia ‐ gram, per form ing an explo ration across, on the one hand, dif er ent abstrac tions of time and space, and on the oth er, the entan gle ments between var ious land ‐ scapes in for ma tion, gen er at ing a warped cross-sec tion or arch ipel ago of places and mul ti tude of times linked by the resound ing echoes of exploita tion. [ 4 ] In the begin ning there is noise, white noise. According to Gauss, white noise con tains al fre quen cy com po ‐ nents dis trib uted through out the entire spec trum with equal inten si ty and implies that every two instances in time have dif er ent val ues — there is no cor re la tion in time, no rep e ti tion. Immersed in this vast sea of al pos ‐ si ble tones, the audi ence is fac ing Aeon, eter nal time, end less space. From this infi nite field of pos si bil ities, the instal a tion ren ders an aer ial view of the Mojave Desert and two panoram ic views of the Grand Canyon, imme ‐ di ate ly ques tion ing the tem po ral scale of this land scape exposed by its geo log ical stra ta: the end less ness of its for ma tion in deep time. [ 5 ] Figure 4: Diagram of the transposition from diagram to instal ation. Figure 5: Ter Weel, Taufan and D’Oria, Mariacristina (2021): The extraction process of the American Desert from the white noise field. This land scape is the emp ty sur face and play ing field of colo nial and cap ital ist prac tice. Two sites of exploita tion emerge from the desert: Yucca Mountain and Nevada National Security Site, where nuclear test ing not only con t a m inat ed the native’s land but erased their entire exis tence. They trig ger the unfold ing of a mul ti plic ity of land scapes exposed to sim ilar process es of coloni sa ‐ tion and era sure. A col age and ten pan els show dif er ‐ ent spaces and times, geo graph ical y and his tor ical y sep a rat ed but nonethe less con nect ed by being sub ject ‐ ed to impe ri al ist and colo nial exploita tion such as nuclear test ing and mil itary use jus ti fied by being sup ‐ pos ed ly desert ed islands. [ 6 — 8 ] The son ic space con sists of gen er at ed sounds (through com pu ta tion and syn the sis) and field record ings made in dif er ent places in the world. The record ed land ‐ scapes and con crete rhythms are con volved with and mod u late or trig ger gen er at ed sounds and sto chas tic process es; fixed media are com bined with self-gen er a ‐ tive process es. The sounds are dis trib uted to four loud ‐ speak ers com pos ing an arti fi cial land scape. Synchronised with the sound, the mov ing images are pro ject ed on dif er ent sur faces and semi-trans par ent lay ers, cre at ing an entan gle ment of inter re lat ed land ‐ scapes, maps, and abstrac tions of space, time, mat ter, and ener gy. The envi ron ments are manip u lat ed again: the lin ear time of progress and cap ital ist expan sion cuts across the cycli cal rhythms, rad ical y dis rupt ing and rear rang ing them. Isolated frag ments and sites start to be con nect ed by these process es of coloni sa tion, mov ‐ ing from sto chas tic prob a bil ity dis tri b u tions (space- time-mat ter-den si ties) to inter ac tions between lin ear and cycli cal rhythms back to noise. The instal a tion becomes a con tin u ous rec ip ro cal rhythm and rela tion al dia gram in itself. [ 9 — 14 ] Figure 6 Figure 7 Figure 8: Ter Weel, Taufan and D’Oria, Mariacristina (2021): Archipelago of exploited landscape. Retraicing one of the possible warped sections of the entanglements. Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 1 Barad, Karen (2017): »Troubling Time/s and Ecologies of Nothingness: Returning, Re-membering, and Facing the Incalculable«, in: New Formations 92, p.77. 2 Lefebvre, Henri (1991 [1974]) The Production of Space, trans. by Donald Nicholson-Smith, Cambridge MA, Oxford: Blackwel . 3 Harvey, David (1989): The Condition of Postmodernity, Cambridge MA, Oxford: Blackwel . 4 Guattari, Félix (1995): Chaosmosis: An Ethico-Aesthetic Paradigm, trans. by Paul Bains and Julian Pefanis, Bloomington, Indianapolis: Indiana University Press. Approaching Industrial Ruins in a Post- com mu nist Landscape A design-driven transformative rethinking of industrial heritage in Romania. Monica Tusinean, TU Berlin Intermediate doctoral stage Supervisors: Ignacio Borrego Gómez-Pal ete, TU Berlin; Jürgen Weidinger, TU Berlin # indus tri al her itage, ruins Abs This ongoing research aims to find approaches to resist t the widely occurring process of cultural amnesia ra triggered by the systematic erasure of former industrial ct sites in the Transylvania Region of Romania. By engaging design-based analysis and solution proposals, the goal is to counteract the growth of urban and peri-urban decay, which in turn has catalyzed the emergence of necrotic, uncontrol ed landscapes in the immediate proximity of metropolitan centers(1). The design-driven process aims at a course of action that of ers an impulse towards a softer approach to the decaying bodies of industrial ruins, framed not as “urban development assets” but as entities whose ties to a shared past have to be nurtured. This process entails the retrospective investigation of the failures (and successes) of a first, built, case study, the speculative re-design of a second and third hypothetical case study, and the framing of this recursive process within the cultural context of post- communist society, alongside its grotesque perception and reception of industrial ruins. P Large scale areas are being left per ma nent ly desert ed ap by the con tin u ing trend of dein dus tri al iza tion. A par tic u ‐ er lar ly strik ing exam ple of this phe nom e non is observ able in the states of the for mer Eastern Block, last ing from the 1980s to present day. The ten den cy towards urban and peri-urban decay has cat alyzed the emer gence of necrot ic, idle, and uncon trol ed land scapes, often in the imme di ate prox im ity of met ro pol itan cen ters, 1 as wel as the sys temic era sure of indus tri al and cul tur al her ‐ itage in these regions. The Romanian state and Romania’s insti tu tion al cul ture con tribute mas sive ly to the prob lem at ic han dling of its indus tri al her itage. “Until recent ly, her itage des ig na tion was main ly grant ed sites per tain ing to faith, the Romanian nation, and his toric and pre his toric pasts. Industrial and min ing her itage reg is tered at the Ministry of Culture list ed noth ing pro duc tion or labor-relat ed.” 2 This paper wil aim to frame the struc ture of a research which intends to coun ter act the wide ly occur ring process of cul tur al amne sia and to reframe aware ness of Romania’s par tic u lar rela tion ship with its com mu nist past through a less prag mat ic strat e gy: one that of ers an impulse towards a soft er approach to the decay ing bod ies of indus tri al ruins, framed not as “urban devel ‐ op ment assets” but as enti ties whose ties to a shared past have to be nurtured. The use of nar ra tive text, such as the one at hand, is decid ed ly not serv ing a descrip tive means, as it is not intend ed to “trans late” what is designed/drawn. Instead, it is meant to com ple ment and sup port design-dri ven actions that ulti mate ly lead to con clu sions, which wil be reframed in a sci en tif ic lit er ary dis course. It is meant to il us trate a recur sive process between set ting the scene, sur vey ing the ter ri to ry (archi tec tural y and cul ‐ tur al y), propos ing action (or un-action) and then crit i‐ cal y refor mu lat ing the find ings. Thus, the focus of this research fal s on trans for ma tive process es in the exist ‐ ing real ity of the sites, as wel as in the realms of research and archi tec tur al design: the objec tive is to explore these com plex yet inex act pursuits. While main tain ing and reclaim ing such sites has been a focal point of archi tec tur al and urban is tic research and plan ning in Central Europe, the par tic u lar socio- cul tur al char ac ter is tics of Romania have not been close ly exam ined, lead ing to mal ad just ed solu tions in the few cas es where the neces si ty for inter ven tion had been identified. The ini tial, ground-lay ing strat e gy for this research con ‐ sti tut ed in fram ing the par tic u lar cul tur al con text that was cho sen: turn ing a gener ic glob al archi tec tur al issue (trans form ing indus tri al ruins) into a hyper-spe cif ic, hyper-local one: trans form ing par tic u lar sites, in s, in a par tic u lar region of a sin gle coun try, that oper ‐ ates on a par tic u lar set of cul tur al idiosyncrasies. These sites have flour ished dur ing and served as a back drop for a tremen dous his tor ical trau ma: the rise, and per haps even more sig nif icant ly, the abrupt fal of com mu nism. After 1989, the con sen sus seemed to be a pub lic and rad ical refusal to acknowl edge any asso ci ‐ a tion with the social ist past, pos itive or oth er wise. The cur rent sys temic ignor ing of Romania’s indus tri al her ‐ itage can be traced back to an sud den cut ting of the cord that linked com mu ni ties to a com mon her itage (forged dur ing 42 years of aggres sive and inva sive social ism), per ceived to be devoid of any cul tur al-his tor ‐ i cal merit. “The grief and pain asso ci at ed with ruina tion is not only trig gered by their decay but also by the inabil ity to inter act with them.” 3 This approach solid ified the argu men ta tion for the rel e ‐ vance of the research, fram ing the engage ment with unval ued mem o ry as imper a tive and nec es sary for the cre ation of a ful y fledged cul tur al iden ti ty, by exem pli fy ‐ ing not only the rel e vance of pre serv ing and trans form ‐ ing ruins but the neces si ty to pre serve and trans form these very par tic u lar ruins of a shared indus tri al com ‐ mu nist past into imag inar ies worth engag ing with in the 21s tcentury. The employed research meth ods oscil ate between tra ‐ di tion al archi tec tur al analy sis and the spec u la tive-ludic han dling of three self-authored design projects in the city of Sibiu and Hunedoara (Transylvania), hence forth referred to as “Case Studies”: an ini tial design project which spear head ed a now suc cess ful y com plet ed trans for ma tion project, a play ful con cep tu al pro pos al for the han dling of a derelict indus tri al site of gar gan tu ‐ an pro por tions, and an ongo ing project, that har bors sig nif icant poten tial for a com plex inter weav ing of intu ‐ itive design pro pos als as wel as fea si ble imple men ta ‐ tion of archi tec tur al design. Figure 1: Case Study 1, Fabrica de Cultura Sibiu, birds’ eye perspective drawing, watercolour The process entails the ret ro spec tive inves ti ga tion of the first Case Study, by reflex ive ly ana lyz ing the dis par i‐ ties between the ini tial design intent and the mate ri al ‐ ized form of the project, the spec u la tive re-design of the sec ond and third Case Study, and the nar ra tive fram ing of this recur sive and reflex ive process. Figure 2: Case Study 2, Fabrica Independenta Sibiu, birds’ eye view drawing, watercolour Case Study 1 is rep re sent ing a type of “pale o teric knowl edge” 4 , by which a final ized design project (employ ing a tra di tion al atti tude towards design) can be inter ro gat ed ret ro spec tive ly ver sus the “neo teric knowl ‐ edge” intro duced by the oth er two Case Studies, which are for ward-look ing, work ing with design ing, and intrin ‐ si cal y play ful and spec u la tive. The research is prov ing to be an ongo ing con ver sa tion between the design er and the objects inter vened upon, focussing on this recur sive process rather than on a fin ished archi tec tur ‐ al product. Figure 3: Case Study 3, CSH site Hunedoara, birds’ eye perspective drawing, watercolour Two imme di ate direc tions of work were mapped out this far: the (auto-) ethno graph ic, deliv ered as nar ra tive text, and the use of hand-drawn archi tec tur al rep re sen ‐ ta tion as cre ative speculation. The pre dom inant use of hand draw ings and water ‐ colours is linked to the explo ration of the impre cise, spec u la tive nature 5 of the sur veyed objects and the sub se quent design pro pos als. Computer aid ed design draw ings have been con scious ly exclud ed from this process, as these wil impose a lev el of pre ci sion which might give the impres sion of a final ized action upon an object that isn’t in a con stant state of change and decay. The oth er method of cap tur ing the intri ca cies of the sites is film ing par tic u lar scenes, as this al ows a jux ta po si tion of aur al ele ments, and pho tog ra phy dur ‐ ing site visits. A pre lim inary result (in the vein of the “con clu sions” of a pale o teric learn ing process, men tioned a few para ‐ graphs pri or) to the final ized first Case Study was that despite archi tec tur al mis use and mis ap pli ca tion of the ini tial design tac tics, the mate ri al ized project was suc ‐ cess ful and wide ly praised. As a coun ter part to the medieval city cen ter, which has been san itized and trans formed into a tourist-friend ly pho to back drop, Case Study 1, locat ed in the indus tri al periph ery of Sibiu, attracts a most ly local pop u la tion. The ini tial design focused pri mar ily on the recon ver sion of a struc ture that had been dubbed “the vir gin ruin”, a skele tal con crete struc ture that had nev er been used. However, the strat e gy to repro gram this ruin proved unfea si ble and anoth er hal of sim ilar pro por tions was chosen. Figure 4: Case Study 1, virgin ruin, photograph and initial proposal This host then under went a con ver sion into a the atre space, des ig nat ed specif ical y for the play “Faust” by direc tor Silviu Purcarete for the “Radu Stanca” the atre. This inter ven tion was based on this author’s ini tial design for the “vir gin ruin” and exe cut ed with a local ten der- super vis ing archi tect and under man age ment and tech ni cal guid ance of the direct ing staf of the Radu Stanca the atre. 6 Despite dif i cul ties with site access and man age ment, rudi men ta ry and low cost inter ven tions, and insuf i cient spaces for pub lic assem bly or wait ing areas, the the atre play staged in the rean imat ed hal , is an ongo ing pro ‐ duc tion in Sibiu and sold out over its entire play time. The site has been renamed into “Fabrica de Cultura” and now hosts numer ous large scale events dur ing the FITS. One expla na tion for this suc cess, relat ed to the recon ‐ ver sion itself, could be that the dis or der of the site match es a par tic u lar ity of Romanian aes thet ic con ‐ scious ness, there fore vis itors don’t feel alien at ed by the inter ven tion which under a dif er ent approach would be a new, unusu al y pris tine, and for eign object that clash ‐ es with famil iar cul tur al sen si bil ities. This pro posed the ‐ sis ties into the ini tial approach to view the research through a hyper-local lens, rather than a gener ic one. Figure 5: Case Study 1, Fabrica de Cultura, imagine col age, initial design of the “virgin ruin” juxstaposed with finished execution photography By approach ing the han dling of post-com mu nist indus ‐ tri al her itage through this frame of par tic u lar ly post- com mu nist Romanian dis or der ly aes thet ic, the course of action can be reframed into some thing intense ly local y spe cif ic, as envi sioned in the ini tial argu men ta ‐ tion, in order to avoid the graft ing of ideas that may have worked before, else where, but that would ulti ‐ mate ly alien ate the local pop u la tion. For it is the local inhab itants, not the tourists, that have been for got ten dur ing dis cus sions about Romanian her itage preservation. The argu ment for the par tic u lar ily “Romanian grotesque” can be anchored in the works of local thinkers, notably Emil Cioran (author of “A short his to ry of decay”, 1949, and a Sibiu native), or Augustin Ioan (author of “Architectura supra-real is mu lui comu nist”, 2012) and sev er al oth ers. These dis cours es wil , how ev ‐ er, not be includ ed and ana lyzed in fur ther detail here, as this endeav our would reach beyond the scope of this paper. A paran the sis: a sim ilar approach, can be iden ti fied in the work of Rem Koolhaas’ preser va tion tac tics for the Eremitage in St. Petersburg, evi dent ly a vast ly dif er ent project top ic, but where a sim ilar idea was devel oped: “that per haps dilap ida tion itself was part of Russia’s his ‐ to ry”. 7 This argu ment solid ifies the ini tial the sis of this research’s approach to post-com mu nist preser va tion of heritage. Returning to the land scapes to be han dled, Case Study 2 and 3 are now using this “impo lite” approach via the aes thet ic of the grotesque and uncan ny, which emerged with out spe cif ic inten tion in Case Study 1, by first ly iden ti fy ing the agents with in these sites that can be oper at ed upon as “hosts” 8 . These bod ies are per ‐ son ified and each neces si tate dif er ent revi tal iza tion tac tics, from doing noth ing, to min imal y inva sive, to large scale interventions. In both cas es, the “min imal y inva sive” method seems to cur rent ly be the most viable strat e gy, but as this only works through an inti mate engage ment with the site, which has not been sur veyed in over a year due to COVID trav el restric tions, the design process thus being neg a tive ly af ected. There are oth er rea sons for a design approach that pro ‐ pos es doing “bare ly any thing”, or rather more rad ical y, “undo ing” 9 . As the via bil ity of a design pro pos al for Case Studies 2 and 3 can not be ver ified a pos te ri ori, after a final ized and mon itored built inter ven tion, the epis te mo log ical direc tion must change. Success of a hypo thet ical pro pos al could be deduct ed from oth er sim ilar case stud ies, but these are few and far between in Romania. A pre ced ing exper iment was test ed on Case Study 3, in the city of Hunedoara: a min imal y inva sive strat e gy that pro pos es a zero-inter ven tion approach to the build ings on site, but instead reac ti vates the gar gan tu an land ‐ scape by using the rail tracks that pass through it, to insert par a sitic objects 10 of var ied use, meant to act as tem po rary attrac tors for ephemer al cul tur al action. Figure 6: Case Study 3, CSH Hunedoara, site plan/pictograph general approach rail tracks The fol ow ing seg ment of the paper is focused on Case Study 2, arguably the most com plex of the three, sit u at ‐ ed like Case Study 1 in the city of Sibiu. In the case of this site, it must be argued that the pru dent approach would be two-fold: a few large scale, more inva sive urban is tic inter ven tions in order to link the site to the sur round ing city and acti vate its perime ter, so as to cre ‐ ate a porous land scape that can sus tain dif er ent smal ‐ er inter ven tions, and smal er, min imal y inva sive inter ‐ ven tions that wil enable acti va tion and preser va tion, through un-doing and free ing spaces, in order to lay bare the spa cial qual ities of the site, and pre pare the site for inter ven tions with out archi tec tur al intent, mere ly set ting the stage for the local pop u la tion to reclaim the scenery. Figure 7: Case Study 2, large scale interventions to site The main pre rog a tive of the inter ven tion is to clar ify the struc ture, the orga ni za tion and the cir cu la tion 7 between and with in rel e vant build ing ensem bles and the spaces between them. Introducing empti ness and sub strac tion to the cre ative process wil help clar ify not only the objects them selves, but the rel e vance of the “pre-exis ten cies”. “No con struc tion if a sign of respect to the place, ter ri to ry or city and an eth ic that assumes that eco nom ic val ues should not be the only to val idate future actions.” 9 The goal is to rein tro duce auton o my to the site, and refuse the “exag ger at ed form of invol un tary new ness” 7 .The trick is, how ev er, to stage action (or un-action) so ef ec tive, that preser va tion appears as hav ing been con duct ed with archi tec tur al intent. This auton o my is also linked to enabling eman ci pa to ry use of the site, so a pro gram mat ic direc tion wil be spec ified: focus ing on local crafts (until now only rep re ‐ sent ed for instance dur ing the year ly “Pottery fair”, or tem po rary Roma craft work shops of brass hol ow- ware). Other pre req ui sites for sus tain able reha bil ita tion through pro gram mat ic enabling, such as the sites’ con ‐ nec tion to local util ities, a strong human resource, a sur round ing land scape that holds val ue for tourism, and funds that could be accessed through the European Union 3 , are also met. The city’s cul tur al land ‐ scape is excep tion al y vivid rel a tive to its size and region al char ac ter: it ranks sec ond in Romania by “Cultural Vitality Index” (0,88 accord ing to a study com ‐ mis sioned by “Centrul de Cercetare și Consultanță în Domeniul Culturi , in 2010”). 12 . These meth ods for eman ci pat ing the site with min imal inter ven tions, a first draft of which i have pre sent ed in my paper fol ow ing the Ca2Re+ Trondheim con fer ence, are struc tured with the afore-men tioned sys tem defined by L. Wong which was now extend ed to more clear ly adapt to the spe cif ic aes thet ic cat e gories employed. The build ings are defined as hosts and divid ed into a tax on o my of: enti ties, grouped, semi-ruins, shel s, relics and frag ment ed ruins. This divi sion wil help define clus ters of build ings to “oper ate” upon, and a tem po ral frame for phas ing the inter ven tions on the site. Three main types of ruins were iden ti fied for this pur pose: the shel (her itage pro tect ed, only minor inter ‐ ven tions with in inte ri or spaces pos si ble), the frag ment ‐ ed (not pro tect ed, inter ven tions nec es sary) and the rel ic (to remain untouched and min imal y curat ed as a ref er ‐ en tial ele ment on the site). Figure 8: Case Study 2, clearing of an exemplary structure, creating the palimpsest Facing the next steps of the research, it is imper a tive to con tin ue fram ing the site’s and the town’s devel op ment with out demo niz ing its indus tri al past, and by recon ‐ nect ing these sites with the population’s shared region ‐ al cul tur al iden ti ty. The aim of these strate gies of ana lyz ‐ ing, undo ing, and doing with in a min imal y inva sive frame, is to empha size the poten tial of life with in it, as “ruina tion does not sig nal the absolute anni hi la tion of build ing and orga ni za tion but instead opens out to rad i‐ cal y dif er ent forms of orga ni za tion and orga niz ing.” 13 . A cer tain con flict might arise between this pro pos al of a hyper-local approach and the fact that archi tec tur al design har bors cer tain uni ver sal qual ities. The archi tec ‐ tur al lan guage and the described tools used thus far for the three Case Studies do not dif er vast ly from tech ‐ niques applied to oth er such projects. Another con flict could also emerge in a lat er stage, between the assumed accep tance of the local pop u la tion of the raw ‐ ness of the site, and the dif i cul ties in argu ing the min i‐ mal inter ven tions through a lens that includes the sen ‐ si tiv ities of prof it-ori ent ed city of i cials and inva sive con ‐ struc tion dri ven architects. To employ Koolhaas’ par lance: “Preservation is mad ‐ den ing to con ser v a tive archi tects, because its form less aes thet ics are not based on archi tec tur al pres ence or absence, which seems unnat ur al to them.” 7 The ambi tion of the research is to ulti mate ly il us trate a nov el approach, as it crys tal izes through spec u la tive rea son ing which then informs the design process, and, most impor tant ly, vice ver sa. An argu ment can be made that the repro duc tion of the archi tec tur al design per se must not nec es sar ily be linked to a “trans fer moment”, but rather that the pur suit for trans ferrable knowl edge might prove fruit ful in the inter play of design intent and cul tur al exploration. Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 1 Frank, Ute. 2017. “Hiatus”. Birkhäuser 2 Kideckel, David A. 2018. “Identity and Mining Heritage in Romania’s Jiu Val ey Coal” Routledge 3 Pusca, Anca M. 2015a. “Post-Communist Aesthetics.” Routledge 4 Victor Margolin (2010) Design Issues Vol. 26, No. 3 (Summer 2010), pp. 70-78 The MIT Press 5 Pal asmaa, Juhani (1988) “The Thinking Hand”, John Wiley & Sons Ltd. 6 Popescu, Adrian (2016), “Fabrica de cultura in oglinda”, Tribuna newspaper https://www.tribuna.ro/stiri/cultura/fabrica-de-cultura-in-oglinda-116793.html 7 Koolhaas, Rem (2014) “Preservation is overtaking us”, GSAAP Transcripts series 8 Wong, Liliane (2016) “Adaptive reuse - extending the lives of buildings”, Birkhäuser 9 Catil o Sanchez, Alejandro (2020), n’UNDO en profundidad http://vimeo.com/379081205 10 Corina, Cosmescu. 2016. “[RE]Fabricam Orasul – Trecutul ca Vi tor – Ansamblul Industrial Independenta, Sibiu.” Arhitectura 1906 . May 16, 2016. https://arhitectura-1906.ro/ 2016/05/refabricam-orasul-trecutul-ca-vi tor-ansamblul-industrial-independenta-sibiu/. 11 DeSilvey, Caitlin. 2017. “Curated Decay”. U of Minnesota Press. 12 Prominski, Martin. 2019. “Design Research for Urban Landscapes.” Routledge 13 Image References (al images copyright of paper author) Embedded Movement Responsive Shape- changing Surfaces Paula van Brummelen, TU Berlin - PEP Programm entwurfsbasierte Promotion & weißensee kunsthochschule Berlin Initial doctoral stage Supervisors: Ignacio Borrego Gómez-Pal ete, TU Berlin; Ralf Pasel, TU Berlin; Christiane Sauer, # Programmable Matter, Shape-Changing Composites, Adaptive Architecture, Animate Materials Abs The PhD project Embedded Movement deals with the t development of flexible surface systems, which are ra capable of detecting changes in their environment and ct reacting to them with movement by seamlessly integrating shape-changing materials. The project investigates how the functional potential of kinetic surface structures can be increased without af ecting the flexible quality of the surface and its reduced construction. Currently, 3D printing and casting processes are used within Embedded Movement to precisely integrate shape memory al oys (SMA) into surfaces, so that the property of SMA to minimal y shorten when heated can be used for surface movements. The thermosensitive properties of the FGL actuators, and the resulting possibility of energy-autonomous function, are extended with touch-sensitive capabilities by imprinting conductive material. Within the CA2RE+ LJUBLJANA – REFORMULATION Event, current investigations regarding the influence of material combinations and surface structure on the type of motion, the overlay of deformation potentials and movement and behavior studies wil be presented. A By embed ding respon sive shape-chang ing mate ri als rte into flex ible sur face struc tures, sur faces can be cre at ed fa that are no longer under stood as pas sive envelopes, ct cov ers or car ri er mate ri als, but rather as oper a tive sys ‐ tems 1 . Examples can be found in facade design 2 , inte ‐ ri or design, human-com put er-inter ac tion 3 4 and fash ‐ ion 5 . These Surfaces can act for exam ple as adap tive shad ing sys tems, can influ ence room acoustics, are used as tan gi ble inter faces or enable vari able breatha ‐ bil ity in sports wear. Such cur rent devel op ments can be grouped into two cat e gories. Innovations in the field of so-cal ed smart mate ri als, func tion al mate ri als, (flex ible) micro elec tron ics and micro-robot ics enable the devel ‐ op ment of sur face-sys tems in which mechan ics, actu a ‐ tors, sen sors and con trol ele ments are reduced to a min imum and are embed ded in the sur face-struc ture itself. Sensors are select ed accord ing to the infor ma tion that is to be gath ered, and the desired response mode of the actu a tor can be pro grammed 6 . These sur faces may be cal ed oper at ed adap tive sur face sys tems. In addi tion, under the term Active Matter, flex ible sur faces and mem brane struc tures are devel oped which, due to the oper a tive char ac ter of the mate r ial itself, have the abil ity to react autonomous ly to on infor ma tion in their envi ron ment. Structures and mechan ics inher ent to mate ri als are used and manip u lat ed to enable adap tive respons es 7 . This design strat e gy al ows an ener gy- autonomous func tion and resource-ef i cient con struc ‐ tion of kinet ic sur faces. In con trast to the first-men ‐ tioned oper at ed adap tive sur face sys tems, the behav ‐ iors of these active sur faces are already defin itive ly defined dur ing man u fac tur ing process, so they can not be re-pro grammed at a lat er point in time. Embedded Movement is locat ed at the inter sec tion of these two areas of research and devel op ment. The project aims to inves ti gate how flex ible sur face sys tems can be giv en kinet ic and sen so ry func tion al poten tials with out los ing typ ical tex tile prop er ties such as deforma bil ity, light ness and reduced com po si tion. This involves the devel op ment of strate gies for gen er at ing sur face move ments, the inves ti ga tion of the over-lay er ‐ ing of mul ti ple func tion al poten tials as wel as the design and the analy sis of the behav ior of these adap ‐ tive Surfaces. Figure 1: Material Experiments with kinetic functional Potentials. van Brummelen, Paula (December 2020): casted and 3d printed material experiments with kinetic functional potentials Strategies to enable shape change abilities Current devel op ments in the field of kinet ic-vari able sur faces are based on a vari ety of dif er ent move ment mech a nisms. When it comes to design ing the kinet ic func tions as an inte gral part of a sur face, motion prin ci ‐ ples which are based on the inter play of two mate ri als are of par tic u lar inter est. The kinet ic poten tial of such sur face sys tems is cre at ed by the con trol ed and pre ‐ cise com bi na tion of two mate ri als and their prop er ties in to a sur face struc ture. Thereby, at least one of these mate ri als has the capac ity to sig nif icant ly change its mate r ial prop er ties when a cer tain acti va tion ener gy (e.g. heat, mois ture or elec tri cal volt age) is applied 8 . In the 3D print ed work Programmable Wood, for exam ple, the com bi na tion of wood fil a ment with PLA-fil a ment enables con trol ed sur face defor ma tions when the air humid ity ris es. The prop er ty of wood fibers to expand when absorb ing mois ture is used here as the engine for the shape change. On the oth er hand, the loca tions of move ment and the direc tions of defor ma tion are main ly deter mined by the mois ture-repel ent parts of the sur ‐ face struc ture 9 . Within the PhD project Embedded Movement, move ment mech a nisms of this kind are ana lyzed and mate r ial- as wel as move ment-exper i‐ ments are real ized. This al ows to cat e go rize and eval u ‐ ate strate gies of move ment gen er a tion with in active com pos ite mate ri als from a design per spec tive and to devel op cor re spond ing con struc tive design meth ods. Manufacturing tech niques that enable a pre cise assem ‐ bly of mate ri als into sur faces, such as tex tile tech niques, 3D print ing and cast ing process es, are used in this process. Within ini tial inves ti ga tions regard ing strate gies for motion gen er a tion, a man u fac tur ing process was devel ‐ oped that al ows Shape mem o ry al oys wires (SMA) to be seam less ly inte grat ed into sur face struc tures using 3D print ing (fig. 2). SMAs are trans for ma tive mate ri als which, due to their spe cial atom ic grid struc ture, have the prop er ty of remem ber ing a pre vi ous ly pro grammed shape when a cer tain acti va tion tem per a ture is reached. This acti va tion tem per a ture can be achieved either by apply ing elec tric cur rent or when the ambi ent tem per a ture ris es 10 . Within Embedded Movement SMA was used which, when acti vat ed, short ens by 5% of the total length. By 3D print ing, the place ment of the SMA wires can be done so pre cise ly that the prop er ty of the wires to short en min imal y when heat ed can be used for spa tial sur face move ments. The sec ond but no less impor tant mate r ial of this shape-chang ing com ‐ pos ite is the 3D-print ed ther mo plas tic polyurethan (TPU). Due to the degree of flex ibil ity that this mate r ial shows depend ing on its mate r ial thick ness and the pre ‐ cise arrange ment of here by flex ible and less flex ible areas, the trans for ma tion of the sur face struc ture can be designed. At the same time, the TPU pro vides the reset-force for the SMA through its mate r ial tension. Figure 2: van Brummelen, Paula (November 2020): Movement of a surface structure with integrated Shape Memory al oy Figure 3: van Brummelen, Paula (November 2020): Placement of shape memory al oy in a 3d printed structure Figure 4: Touch sensitivity. van Brummelen, Paula (March 2021): Touch-sensitivity of a 3d printed material experiment Multifunctionality Looking at the kinet ic prop er ties of the sur face cat e ‐ gories men tioned at the begin ning, it is rec og niz able that the shape-changes of both areas are often lim it ed to one-dimen sion al back-and-forth move ments. As a result, they can, for exam ple in the field of adap tive build ing envelopes, most ly only take on one func tion. When incor po rat ing appro pri ate sen so ry capa bil ities, sur faces with mul ti ple defor ma tion poten tials could acquire mul ti ple adap tive capa bil ities. At the same time, com bi na tions of defor ma tions enable com plex kinet ic respons es. By over lay ing motion-gen er at ing struc tures, the use of dif er ent mate ri als with vari able prop er ties and the inte gra tion of micro elec tron ics, Embedded Movement explores how mul ti ple kinet ic and sen so ry poten tials can be inte grat ed into sur faces. As a first approach to real ize this, sur face designs with super im ‐ posed SMA and imprint ed touch-sen si tive zones were devel oped. In this way, the sur faces can react to tem ‐ per a ture changes and to touch with dif er ent move ‐ ment patterns. Figure 5: Motionstudies. van Brummelen, Paula (February 2021): kinetic 3d printed motion studies Surface Behavior The term behav ior is often used in the con text of active mate ri als to refer to the func tion al aspects of such sur ‐ faces 11 . In addi tion to their adapt abil ity to changes in their envi ron ment, it is also the per for ma tive prop er ties that char ac ter ize the behav ior of such Materials. These are giv en spe cial atten tion with in Embedded Movement. Through the care ful design of the move ‐ ment and reac tion pat terns, in which the for mal aspects of the sur faces, the defor ma tion as wel as speed and accel er a tion play an impor tant role, it is inves ti gat ed how human per cep tion of these sur faces can be influ ‐ enced. The first motion-stud ies with in Embedded Movement seem organic/lifelike in the way they move. But, since they are far from being nat ur al, the ques tion ris es, which attrib ut es of the sur faces evoke this and what poten tials this increased expres sive ness holds in terms of com mu ni ca tion between human and material. 1 Schäf ner, Wolfgang (2016): »Immaterialität der Materialien«, in: Nikola Dol , Horst Bredekamp, Wolfgang Schäf ner (Eds.), +ultra. gestaltung schaf t wissen, Berlin: E.A Seemann, pp 27-35. 2 Denz, Paul., Sauer, Christiane., Waldhör, Ebba., Schneider, Maxie., Vongsingha, Puttakhun (2020). »Smart textile sun-shading: current results from R&D project ADAPTEX«, in proceedings of the conference on advanced Building Skins 2020, Bern, pp 15 -20. 3 Ishi , Hiroshi (2012): »Radical Atoms: Beyond Tangible Bits - Toward Transformable Materials«, in: Interactions, Volume XIX, pp. 37 -51. 4 Ishi , Hiroshi (2017): »Radical Atoms: Beyond the „Pixel Empire“« in: Skylar Tibbits (Ed.), Active Matter, Massachusetts: MIT Press, pp. 225-236. 5 Yao, Lining et al. (2017) »Harnessing the hygroscopic and biofluorescent behaviors of genetical y tractable microbial cel s to design biohybrid wearables« in: Science Advances 3, https://advances.sciencemag.org/content/3/5/e1601984/tab-pdf,. 6 Berzina, Zane (2016): »Soft Technologies: Active Textiles, Adaptive Surfaces and Tangible Interfaces«, in: Nikola Dol , Horst Bredekamp, Wolfgang Schäf ner (Eds.), +ultra. gestaltung schaf t wissen, Berlin: E.A Seemann, pp. 201-206. 7 Tibbits, Skylar (2017): »An Introduction to Active Matter«, in: Skylar Tibbits (Ed.), Active Matter, Massachusetts: MIT Press, pp. 11 -17. 8 Papadopoulou, Athina., Laucks, Jared., Tibbits, Skylar (2017): »General Principles for Programming Material« in: Skylar Tibbits (Ed.), Active Matter, Massachusetts: MIT Press, pp. 125-142. 9 Correa, David., Menges, Achim (2015): »3D Printed Hygroscopic Programmable Material Systems«, in: Sabin, J., Gutierrez, P., Santangelo, C., MRS Proceedings, Volume 1800, mrss15-2134303 DOI:10.1557/opl.2015.644. 10 Ritter, Axel (2007): »Smart Materials: in Architecture, Interior and Design«, Basel: Birkhäuser. 11 Miodownik, Mark (2021): »Animate materials«, Royal Society, https://royalsociety.org/-/media/policy/projects/animate-materials/animate-materials- report.pdf, from February 2021. Water Resilience Operative Key Concepts for Climate- resilient Urban Waterfronts Elena Verzel a, University of Ferrara Initial doctoral stage Supervisor: Alessandro Massarente, University of Ferrara # Active bor der, tem po ral com po ‐ nent, mapping Abs Water has always been an essential social, economic t and cultural component in human beings’ existences. ra However, recent imbalances between climate changes, ct natural ecosystems and the anthropic world have dramatical y changed the terms of this relationship, transforming the idea of “water” from a reason of development to a reason of risk. As a reflection, also urban waterfronts, from being lively and active areas, have been gradual y losing their central role, more cause of dangers than opportunities. Therefore, through a renovated urban and cultural connection between water and built-up, is it stil possible to define a dif erent design methodology, based on more dynamic and adaptive operative key concepts, which converts these areas into climate-resilient places, capable not only to withstand the upcoming and always more chal enging threats but also to be (again) a resource for their cities? Pa Introduction pe The huge impacts pro voked by the inter ac tion between r cli mate changes, ecosys tem fragili ty and unplanned urban iza tion have recent ly stood out as one of the most rel e vant top ics in the cur rent European (and glob al) dis ‐ course. Higher tem per a tures, sea-lev el rise, intense rain fal s, and more fre quent floods are con stant ly chal ‐ leng ing our cities, not only rep re sent ing a threat to human lives but also being a seri ous eco nom ic, social and urban issue 1 2 3 . In par tic u lar, water front areas have been strong ly af ect ed by this phe nom e non, being con stant ly forced to cope with an always high er num ‐ ber of water-relat ed dis as ters, stronger, year after year, for mag ni tude and fre quen cy 4 5 . At the same time, though, the copi ous and prof itable eco nom ic oppor tu ni ‐ ties tight ly relat ed to the water activ ities (indus tri al pro ‐ duc tion, com mer cial, leisure, logis tics, etc…) have also put these areas under the pres sure of per sis tent pop u la tion growth and, con se quen tial y, urban expan ‐ sion even in flood-prone areas. Hence, this intrin sic con tra dic tion has now led water fronts to a severe state of vul ner a bil ity, risk ing com pro mis ing almost in an irre ‐ versible way their tra di tion al cru cial role. However, despite this con di tion, an analy sis on the devel op ment of water front con texts in the past decades has revealed how the lat ter, and specif ical y urban ones, have always been an evolv ing con text, mor pho log ical y but also eco nom ical y, cul tur al y and urban wise. From fun da men tal infra struc tures to exchange hubs, from pro duc tive sites to res iden tial and recre ative areas, urban water fronts present an intrin sic capa bil ity of rear ‐ rang ing and shap ing their char ac ter accord ing to the necessity/opportunities arose time after time with in the relat ed cities 6 . For this rea son, they have been iden ti ‐ fied as a suit able field for explor ing and research ing inno v a tive and adap tive design strate gies to cope with the always more unpre dictable con se quences of cli ‐ mate change and glob al socio-eco nom ic transformations. In this per spec tive, the research focus es on the unsolved ongo ing con flict between flood pro tec tion and urban plan ning in urban water fronts, reflect ing on the pos si bil ities that a more inte grat ed approach between archi tec tur al and urban solu tions on one side and safe ‐ ty neces si ties on the oth er might bring along. In par tic ‐ u lar, the aim is to inves ti gate which impli ca tions respon ‐ sive and adap tive design prin ci ples might have, not only in the phys ical def in ition of the space, but also in the urban, social and cul tur al per cep tion of it; the under ly ‐ ing idea is, indeed, to trans form pro tec tive mea sures into an oppor tu ni ty to increase the qual ity of the social and urban envi ron ment, retriev ing and enhanc ing the tra di tion al rela tion ship between water and urban set tle ‐ ments rather than imped ing it. To achieve that, though, dif er ent the o ret ical fun da men ‐ tals need to be established. Water resilience: theoretical background and operative design key concepts The con cept of “resilience” is nowa days wide ly used in the urban field, although it actu al y orig inates from the eco log ical envi ron ment. In one of his most famous papers, the ecol o gist Crawford Stanley Hol ing explains the dif er ence between two pos si ble prop er ties of a sys tem: “sta bil ity” and “resilience”. “Stability” is defined as “the abil ity of a sys tem to return to an equi ‐ lib ri um state after a tem po rary dis tur bance” (7 , p. 17); on the oth er hand, “resilience” is described as “the mea ‐ sure of the abil ity of these sys tems to absorb changes of state vari ables, dri ving vari ables, and para me ters, and stil per sist” (7 , p. 17). Bringing these def in itions into a more “urban” frame work, it could be argued that the main mea sures cur rent ly applied to face nat ur al dis as ‐ ters in water front areas (dikes, flood wal s, dams, …) are con ceived in order to guar an tee the “sta bil ity” con di ‐ tion, where water is pre vent ed, with al the means, from com ing in con tact with the built and human envi ron ‐ ment. However, the increase of mag ni tude and fre quen ‐ cy of water-relat ed haz ards has revealed the cur rent (eco nom ic, urban and envi ron men tal) un-sus tain abil ity of these mod els and al their intrin sic limits. For this rea son, the research aims to elab o rate alter na ‐ tive design path ways, which are rather estab lished on the more com plex con cept of “resilience”. Yet, how can the lat ter be relat ed to the water front areas and how can we “build up” this con di tion? The start ing point to answer this ques tion is to deeply rethink the rela tion ‐ ship between water and urban isa tion, replac ing the com mon idea of liv ing sep a rat ed from the water with the idea of liv ing with the water. Long-term pre vi sions show that, in the com ing decades, more and more space wil be need ed around water front areas in order to pro tect them from water-relat ed dis as ters. Therefore, only accept ing a cer tain (inevitable) degree of flood ing already into the design phase wil enable to cre ate a resilient sys tem, able not only to ef ec tive ly respond to water-relat ed dis as ters, but also to trig ger a wider urban regen er a tion process. As a first step in order to achieve this pur pose, the research has iden ti fied three dif er ent oper a tive key con cepts, which wil rep re sent the essen tial basis for the accom plish ment of the desired design method ol o ‐ gy. These con cepts, which are deeply inter twined and whose impli ca tions strong ly af ect and are af ect ed by the achieve ment of the oth ers, can be sum ma rized as fol owing: redefin ing the con cept of water front as an “active bor ‐ der”. Urban water fronts can not be con sid ered any more as a “bound ary” 8 , a mono-dimen sion al and fixed sep a ‐ ra tion between water and land, nei ther can they become an irra tional and uncon trol ed space of urban ‐ iza tion process es. On the con trary, they need to be read as a “bor der” 8 , a “thick” edge that has its own iden ti ty and acts as a flu id and respon sive inter face between built and nat ur al, sol id and liq uid, per ma nent and tem ‐ po rary. Indeed, redis cov er ing the con cept of “Third Landscape” of Gil es Clément 9 , it is exact ly in the “unde fined” spaces and in their nat ur al ten den cy to wel come diver si ty and accept changes that it is pos si ‐ ble to realise the max imal poten tial of adapt abil ity. Hence, instead of “black-or-white” areas (dry-wet, built- unbuilt, nat ur al-urban), the chal enge of the design process would be to cre ate a more dynam ic, hybrid areas, capa ble of adapt ing their nature accord ing to the vari able exter nal con di tions. In this way, the bor der becomes “active” and, through a sequence of both archi tec tur al, land scape and urban episodes able to both accom mo date and react with water, it can actu al y lead to the cre ation of a “buf er space” which wil be able to actu al y absorb dis tur bances and stil rep re sent a social and urban oppor tu ni ty for the city. inte grat ing the “tem po ral com po nent” as fun da men tal part of the design process. When con sid er ing urban water fronts as ecosys tems 10 , the tra di tion al anthro ‐ pocen tric atti tude which tries to con strain a dynam ic real ity into a pre-ordi nat ed and fixed scheme appears more and more inap plic a ble. As water front areas are intrin si cal y evolv ing con texts, the design research needs to be focused on archi tec tur al and urban expres ‐ sions which can accom mo date dif er ent tem po ral pash ‐ es and be con sis tent with addi tive, trans for ma tive and adap tive log ics as a response to always-chang ing exter nal per tur ba tions. In these terms, the assump tion “once built, always built” is crit ical y exan imat ed in favour of a more dynam ic inter play between water and urban con text over the time, where the alter nance between absence/presence of water or the con tin u ous vari a tion of water lev els altime try can become a tool to dynam ical y shape the space dur ing dif er ent moments of the day, month, year or long term peri ods, cre at ing mul ti ple and chang ing urban and archi tec tur al sce nar ‐ ios and enhanc ing, as a result, also the iden ti ty and the urban qual ity of a place. includ ing land scape and urban map ping and draw ing an essen tial design sup port. Mapping is indeed seen as a fun da men tal resource to under stand eco nom ic, urban and mor pho log ical trans for ma tions con cern ing water ‐ front areas; how ev er, it can not be con sid ered as a neu ‐ tral rep re sen ta tion of a sub ject, but as a design process itself 11 , capa ble of propos ing inno v a tive con tents and shape real ity accord ing to estab lished objec tives 12 . In par tic u lar, it becomes an oper a tive tool to com bine objec tive inter pre ta tion lev els (such as land uses, vari a ‐ tion of water lev els altime try, cli mate change haz ards and impacts, pop u la tion, …) with design key con cepts and assump tions (such as future uses, expectations/needs, tem po ral design phas es, etc. ) in order to bring to light the inner rela tions and the intrin sic poten tials lying among the dif er ent com po ‐ nents act ing with in the water front sys tem and define, in this way, pos si ble resilient design pathways. Case studies The poten tials of these design assump tions have already been inves ti gat ed in some coun tries, either as part of nation al pro grammes, urban visions or realised projects. Regarding the con cept of “active bor der”, an inter est ing inter pre ta tion can be found in the guide lines iden ti fied by the Rotterdam Climate Adaptation Strategy 13 , a frame work devel oped by the Dutch city to ensure its adap ta tion to cli mate change in the com ing decades. Here, a great atten tion is paid to the explo ration of the pos si bil ities that water front areas can have to define the tran si tion between water and urban iza tion. In par tic u lar, water is seen not exclu sive ly as a threat, but also as the fun da men tal com po nent of the designs: the flood-risk issue is tack led through the design of an (inte grat ed) urban mul ti scale sys tem of open stepped quays, “flood ‐ able” parks and float ing struc tures which cre ates a pro ‐ tec tive bor der that wil help to with stand the water pres sure in case of rais ing lev els and, at the same time, enable the city to safe ly and har mo nious ly expe ri ence and live with the dynam ics of the delta. A sim ilar log ic, despite the sub stan tial geo graph ical, scalar, mor pho log ical and cul tur al dif er ences, lies in a land scape project designed by the Chinese land scape firm Turenscape, the Yanweizhou Park, a restora tion inter ven tion of a local wet land locat ed in the heart of Jinhua (Chiana). In this case, the design strat e gy cho ‐ sen to address the severe threats posed by the annu al flood ing of the scope area deeply refor mu lates the tra ‐ di tion al idea of pro tec tion: instead of strength en ing the exist ing hard bound ary between land and water through the rein force ment of con crete wal s, the pro ‐ pos al of the Chinese archi tects focus es on the idea of total y dis solv ing this edge into a sys tem of flood able veg e tat ed ter races, which not only slow even tu al flood ‐ ing down or absorb exces sive stormwa ter, but also cre ‐ ate a new, engag ing tran si tion al land scape, where icon ‐ ic sus pend ed bridges, flood able pedes tri an paths, pavil ‐ ions and gar dens final y con nect, instead of divid ing, local peo ple with the nature with in the city. Figure 1: Artist’s impression of The BIG U proposal. In the image it is visible the idea of the “active border”, consisting in a sequence of public spaces, undulated berms, rain gardens, street furniture, pavilions, deployable wal s and landform buildings which work both as a defence and an enhancement of the public realm. Source: https://big.dk/#projects-hud (accessed June 2021) Lastly, regard ing the sev er al pos si bil ities accord ing to which the “active bor der” par a digm can be artic u lat ed, it is worth to men tion the The BIG U pro pos al devel ‐ oped by an inter na tion al and mul ti dis ci pli nary team led by the Danish firm BIG (Bjarke Ingels Group) for the enhance ment and strength en of the low-lying area of Lower Manhattan in New York 14 . Despite the clear inten tion of ensur ing an ade quate pro tec tion against com ing threats such floods and storms, the main tar get of the pro pos al is “not (to) sep a rate the com mu ni ty from the (Manhattan’s) water front. Rather, the very struc tures that pro tect us from the ele ments wil become attrac tive cen tres of social and recre ation al activ ity that enhance the city and lay a pos itive ground ‐ work for its future.” (14 , p. 9). In the pro pos al, indeed, the water front is con sid ered nei ther as an entire ly built con ‐ text nor a com plete ly nat ur al sys tem, but it is envi ‐ sioned as an adap tive tran si tion (active bor der) which, var ious ly shaped as undu lat ed berms, rain gar dens, stormwa ter buf ers, street fur ni ture, pavil ions, deploy ‐ able wal s and land form build ings, can work as green infra struc ture, cre ate job oppor tu ni ties, sat is fy the neigh bour hoods’ neces si ty of facil ities and recre ation al areas, improve the social secu ri ty or even rep re sent a vehi cle for cul tur al expres sion and inte gra tion [ 1 ]. In al the describes strate gies, though, the achieve ment of this dynam ic tran si tion between water and built-up is deeply linked to the inclu sion of the “tem po ral com po ‐ nent” into the design process. This same prin ci ple can be ef ec tive ly analysed, on a smal er scale, in the Dutch exam ple of the “water squares” and, in par tic u lar, the Benthemplein project in Rotterdam 15 . The idea of cre ‐ at ing big urban reser voirs in order to store excess of stormwa ter has been already test ed in dif er ent inter na ‐ tion al con texts, such as Sao Paulo, where sev er al “piscinões” (“swim ming pools”) have been built in order to mit igate the impacts of severe rain fal s. However, the pecu liar ity of the Dutch project is the great empha sis giv en to the idea of con vert ing a neces si ty (stormwa ter pro tec tion) into a ben e fit for the urban envi ron ment. This tar get was achieved exact ly through the inclu sion already into the design phase of the pos si bil ity of an evolv ing per cep tion and space usage of the area over the time. Indeed, this square is shaped in three low ered basins [ 2 ] which per fect ly work as sport and the atre area (with zones ded icat ed for skaters, dancers, foot ‐ bal , vol ey bal and bas ket bal ) but, in case of extreme weath er con di tions, they can eas ily rearrange into capa cious water stor ages, reduc ing stormwa ter pres ‐ sure and pre vent ing local drainage sys tem from col apsing. Lastly, it is worth not ing how in al the above-men tioned ini tia tives urban and land scape map ping played a fun ‐ da men tal role in the devel op ment of adap tive and resilient design solu tions. In The BIG U, sev er al indi ca ‐ tors (such as expect ed surge lev els, land use, eth nic ity, income, open spaces, social infra struc tures, …) were over lapped in order to assess vul ner a bil ity and, at the same time, to research pos si ble design path ways which could com bine safe ty needs with res idents’ desire for an improved pub lic realm [ 3 ]. Similarly, in the Yanweizhou Park project, map ping was an essen tial sup port to com bine into sys temic vision tra di tion al (and often sta t ic) urban fea tures with the extreme ly frag ile and dynam ic eco log ical envi ron ment of the Yanweizhou wet land. Final y, in both the “waters quare” projects and the Rotterdam Climate Adaptation Strategy the rep re ‐ sen ta tion of crit ical ities became a fun da men tal tool to research when and at what water lev el adap tive mea ‐ sures need ed to be devel oped, to inves ti gate pos si ble inter ven tions and final y to eval u ate and even tu al y imple ment the pro posed design principles. Figure 2: Benthemplein in Rotterdam. The image shows sequence of the three main basins, which are normal y used for recreational purposes but can be transformed into water storage during extreme weather conditions. Source: https://www.theneweconomy.com/technology/rotterdams- water-management-gives-rise-to-exceptional-city (accessed June 2021) Figure 3: Selection of some explorative indicators used for the definition of The BIG U proposal. In this case mapping tools were used not only to enhance flood protection but also, and above al , to improve the urban quality and fulfil the social and cultural needs of the involved communities. Source: BIG (Bjarke Ingels Group) with One Architecture, Starr Whitehouse, James Lima Planning + Development, Green Shield Ecology, AEA Consulting, Level Agency for Infrastructure, ARCADIS, Buro Happold (2014): The Big “U”, Rebuild by design, http://www.rebuildbydesign.org. . (accessed June 2021) Conclusions As analysed in the pre vi ous para graphs, the con se ‐ quences of cli mate change com bined with recent the socio-eco nom ic trans for ma tions con cern ing urban water fronts have arisen new chal enges that tra di tion al mea sures seem to be unable to ef ec tive ly address. The unpre dictabil ity of water-relat ed dis as ters and the speed with which these phe nom e na are increas ing in mag ni tude and fre quen cy have led to the neces si ty to design resilient sys tems, capa ble not only to avoid, but also to absorb even tu al dis tur bances and stil recov er. In order to achieve this con di tion, though, the paper has iden ti fied some key con cepts which need to lead the design process, becom ing both its the o ret ical and prac ‐ ti cal ground: active bor der, tem po ral com po nent and urban and land scape map ping. As the analy sis of the case stud ies has demon strat ed, indeed, the com bi na ‐ tion of the pro posed key con cepts reveals to be a fun ‐ da men tal pre req ui site in order to achieve in oper a tive terms that adap tive and respon sive con di tion in water ‐ front areas that is essen tial for a resilient behav iour in case of extreme sit u a tions. Moreover, in this way, not only is safe ty accom plished, but also urban water fronts become, again, attrac tive areas and a space where to cre ate social, cul tur al and eco nom ic oppor tu ni ties for the cities. Therefore, through a fur ther analy sis of “best-prac tice” case-stud ies (such as the Dutch envi ron ment) and the com par ison with oth er con texts which have been recent ly expe ri enc ing the severe con se quences of cli ‐ mate change but whose water man age ment and design appears to be stil behind if com pared to oth er inter na ‐ tion al expe ri ences (such as in the Mediterranean basin, and in par tic u lar the Adriatic and Ionian area), the fol ‐ low ing step of the research wil be the trans la tion of these key con cepts into oper a tive archi tec tur al and urban design prin ci ples and strate gies, in order to build a design method ol o gy that can also become a ref er ‐ ence for oth er coun tries which are stil try ing to define more suit able resilient means for the devel op ment and the pro tec tion of their own urban waterfronts. 1 Aerts, Jeroen/ Major, David C./ Bowman, Malcom J./ Dircke, Piet (2009): Connecting Delta Cities: Coastal Cities, Flood Risk Management and Adaptation to Climate Change, Amsterdam, The Netherlands: VU University Press. 2 IPCC (2014): Climate Change 2014: Synthesis Report. Contribution of Working Groups I, I and I I to the Fifth Assessment Report of the Intergovernmental Panel on Climate Change [Core Writing Team, R.K. Pachauri and L.A. Meyer (eds.)]. Geneva, Switzerland: IPCC. 3 UNISDR (United Nations International Strategy for Disaster Reduction) (2015): Sendai framework for disaster risk reduction 2015 to 2030, https://www.undrr.org/publication/sendai-framework-disaster-risk-reduction-2015-2030, from June 15, 2021. 4 Adger, Neil W./Hughes, Terry P./ Folke Carl/ Carpenter, Stephen R./ Rockstrom Johan (2005): »Social-ecological resilience to Coastal«, Science, Vol. 309 no. 5737, pp. 1036-1039. 5 Aerts, Jeroen/ Botzen, Wouter (2011): Climate adaptation and flood risk in coastal cities, London, UK: Earthscan. 6 Hil , Kristina (2011): »Climate-Resilient Urban Waterfronts«, in: Jeroen Aerts/Wouter Botzen, Climate adaptation and flood risk in coastal cities, London, UK: Earthscan, pp. 123-143 7 Hol ing Crawford Stanley (1973): »Resilience and Stability of Ecological Systems«, in: Annual Review of Ecology and Systematics Vol.4. 8 Sennett, R. (2008): »Reflections on the public realm«, in: Gary Bridge/ Sophie Watson (eds), A Companion to the City, Chichester: Wiley-Blackwel , pp. 380-387. 9 Clément, Gil es (2004): Manifesto del Terzo paesaggio, Macerata, IT: Quodlibet. 10 Corner, James (2006): »Terra fluxus«, in: Charles Waldheim, The landscape reader, New York, NY: Princeton Architectural Press, pp. 21-33. 11 Corner, James (1999): »The Agency of Mapping: Speculation, Critique and Invention«, in: Denis Cosgrove, Mappings, London, UK: Reaktion Books, pp. 213–252. 12 Paez, Roger (2019): Operative Mapping: Maps as Design Tools, Barcelona, Spain: Actar Publishers, Elisava. 13 Rotterdam Climate proof, De Urbanisten (2013): Rotterdam Adaptation Strategy, city of Rotterdam, http://www.urbanisten.nl/wp/wp- content/uploads/UB_RAS_EN_lr.pdf from June 20, 2021. 14 BIG (Bjarke Ingels Group) with One Architecture, Starr Whitehouse, James Lima Planning + Development, Green Shield Ecology, AEA Consulting, Level Agency for Infrastructure, ARCADIS, Buro Happold (2014): The Big “U”, Rebuild by design, http://www.rebuildbydesign.org/data/files/675.pdf from June 20, 2021. 15 De Urbanisten (2011-2012): Water Square Benthemplein, http://www.urbanisten.nl/wp/?portfolio=waterplein-benthemplein from June 20, 2021. School Patios The Influence of Architecture on Childhood Development; The Concept of the Third Teacher / Vila Nove de Gaia Valeria Wiendl, Universidade Lusófona do Porto Silvia Alves, Universidade Lusófona do Porto Initial doctoral stage Supervisor: Edite Rosa, Universidade Lusófona do Porto # Outdoor envi ron ment; school patios; chil ‐ dren development Abs Several studies early pointed out the crucial need for t leisure activities on children's cognitive development ra process (i.e. Waldorf method, Reggio Emília schools, ct Montessori method, Froebel kindergardens). The relevance of the topic has been recurrent for more than a century and it is stil relevant. In Portugal, daily school hours vary between 6 to 10 hours and testimonies informal y recol ected from teachers, warn about the increasing failure on children's motor coordination. In this context, the opportunity of the discussion about the potential positive impact of the design of school patios is raised, both in the transmission and assimilation of knowledge and in the psychomotor development of children, as wel as a main strategy to avoid dissemination of contagious il nesses. This investigation is focused on case studies elected from schools for children 3-10 years old in Vila Nova de Gaia (VNG). Pa 1. Introduction pe There is cur rent ly a con cern for school build ings to r meet the demands con cern ing light ning, ther mal and acoustic com fort, air qual ity and good ven ti la tion of the rooms. We talk about the ide al mate ri als to be used inside, the choice of floor ing and colours. But what has been said about exte ri or use? Psychologists and teach ers point out about the decrease in motor coor di na tion in chil dren, derived from seden tary lifestyles or the decrease in the use of qual ity recre ation al space 1 According to UN data, about 55% of the world pop u la ‐ tion already lives in urban areas, by 2050 this num ber should reach the 70% mark. In the case of Portugal, Vila Nova de Gaiaś schools has fol owed this trend. With this we have the removal of human beings from nat ur al envi ron ments and the increase in the so-cal ed "nature deficit dis or der", with chil dren at greater risk obe si ty, anx iety, depres sion, anx iety, atten tion deficit, cog ni tive prob lems. 2 Children between the ages of 3 and 10 remain between 6 – 10 hours dai ly with in the school com pound. It is a home-school-home itin er ary, always con fined in closed spaces, cor re spond ing to approx imate ly 70% of the time in indoor spaces, being rec og nized by schol ars as "Indoor gen er a tion", chil dren and ado les cents with lit tle con tact with fresh air, con ‐ tem plate the sun light and main tained con tact with green ery. 3 Fol owing stud ies of the spread of dis ease and the tuber cu lo sis cri sis in Europe between the 19t hand ear ly 20t hcen turies, build ings reflect ed these con cerns, much aimed at their nat ur al ven ti la tion. This theme is again present in the cur rent Covid-19 pan dem ic cri sis, and the need for class rooms with direct con tact with the out doors, open air. They could have tak en advan ‐ tage of this need and al ied them selves with con vic tions linked to the ideals of bio phil ia, sus tain abil ity and bet ter ped a gog ical for mats, but unfor tu nate ly the main focus remained only on the issue of con ta gion 2 . Figure 1: Dif erent Pedagogies and the space Several ped a go gies, cre at ed since the late 19t hcen tu ry, already ana lyzed the impact of the qual ity of the environment/architecture on the learn ing process 5 . They con sid er that the envi ron ment can be con sid ered as a third teacher: first ly it wil be the teacher, fol owed by the teach ing method. 21 Among rec og nized ped a go gies, we can high light Kindergartens by Froebel 17 , Waldorf 18 , Montessori 19 and Reggio Emilia 20 . They schema tized ide al spaces for the teach ing prac tice, or report the impor tance of hav ing rooms with direct rela tion to the out side. (Fig.1) Figure 2: Diagram made by Montessori on body and leg correlation Within Portugal, Maria Montessori's ped a gog ical lines are more wide spread among archi tects, pos si bly due to the way they are equat ed in lay out and dimen sions, but with out rad ical y break ing with the cur rent build ing method. A doc tor and edu ca tion al ist, between 1949 and 1952 she received three nom ina tions for the Nobel Peace Prize. In 1926 she pub lished her book La Scoperta del Bambino 4 , pre sent ing her stud ies on think ing about learn ing in the ear ly years of the child. Based on the child's scale, he devel oped obser va tions rel e vant to the act of design ing, and spec ified for the first time the child's scale as an impor tant fac tor to take into account when design ing space. “Evidently, the ratio nal means of com bat ing sco lio sis is the mod ifi ca tion of the work ing con di tions of school ‐ child ren, pre vent ing them from remain ing for hours in a vicious posi tion" (4 ,p.19) Montessori reports on the need for fur ni ture suit able to the children's ages, in order to achieve auton o my, thus pro mot ing motroc ity and psy cho log ical val ues in their devel op ment. It also con cludes the indis pens able link of nature con tact, espe cial y in urban school chil dren, in order to pro mote an adult who respects his envi ron ‐ ment, as he lived and inter act ed with nature and not only made obser va tions dis tanced from reality. Presents a chap ter on the pro por tions of a child's body, hav ing ver ified that in a new born baby the legs only cor re spond to 32% of its stature, at 3 years of age, when they start kinder garten they rep re sent 38% and exceed adult pro por tions at 7 years of age, with the legs rep re sent ing 57% of the body (only at puber ty wil the trunk grow until it reach es 50% of an adult's). (Fig.2) And from this, he explains the nat ur al need for a child to move. This new con cern, of spaces and schools ori ent ed to respect the child's per spec tive and devel op ment, can be seen in Arne Jacobsen's design for Munkegaard Primary and Secondary School, Copenhagen, 1956, where he sought to relate the class rooms to the out ‐ doors. Aldo Van Eyck and his 700 play can nons devel ‐ oped in the Netherlands, with the aim of qual ify ing aban doned areas af ect ed by the pump ing of the Second World War with recre ation al and con vivial spaces 21 . Figure 3: Apol o Schools, Amsterdam, 1980 (in: www.ahh.nl) In Herman Hertzberger's school build ing projects, we can see the dia logue between archi tec ture and the user, with the per spec tive of design ing spaces from the child's per spec tive, com bined with the inter est of ped a ‐ gog ical devel op ment. 6 (Fig.3). They was a stu dent, as a child, in a school with Montessori method ol o gy, and devel oped as his first work after grad u at ing, a school in this ped a gog ical line, exact ly where his wife worked as a teacher. 7 The high lights of both Montessori ped a gogy and Hertzberger's design inten tions lie in the fol ow ing points, the last three of which are the architect's: (Fig.4) (Fig.5) (Fig.6) To make a child self-suf i cient, when ev er pos si ble in safe ty. Through appro pri ate fur ni ture and the dis tri b u ‐ tion of spaces which are easy to under stand and understand; cre ate direct links from the class rooms to the out side, not only for rea sons of salubri ty, but using it as an exten sion of the inte ri or room; pro mote con vivial spaces as wel as more pri vate spaces of con cen tra tion, try ing to stim u late pub lic and pri vate rela tions, cor re lat ing them with the teach ing itself and under stood the func tion ing of the city cre ate a more attrac tive cor ri dor, not only to pass through but also to be in: he cal ed it a "learn ing street stim u late and pro voke, through details in the archi tec ‐ tur al design, that the spaces are inhab it ed, and that there is an inter ac tion of the user with the space. He wrote sev er al stud ies on lived space, where we can high light in the projects Apol o Schools, Amsterdam, 1980 and Montessori, Delft, 1960, some images that il us trate this con cern and inten tion of envi ron ments that com mu ni cate (Fig.4) (Fig.5) (Fig.6) Maia 10 says: "not always being a child means hav ing child hood", report ing that the child needs to be stim u lat ed in this learn ing process and we con sid er that the school square design, can have this role of stimulus/provocation. Noites 11 con sid ers that in the class room of the future, spaces wil be "defined accord ‐ ing to the actions that are intend ed to be car ried out (inter act ing, shar ing or pre sent ing and more inti mate spaces for actions such as cre at ing, inves ti gat ing or developing)". Figure 4: The design of the furniture, which serves as a bench as a play space. In the child's eye, it chal enges curiosity and use. Montessori, Delft, 1960 (in: Images taken from the Hertzberger website: www.ahh.nl) In coun ter point to these occu pa tions of the exte ri or and the inten tions of the Hetzberger projects, we wil analyse in the next phase of this ULP doc tor al project, the real ity of the school squares. Located in the dis trict of Porto, name ly in Vila Nova de Gaia, there are 70 pub ‐ lic teach ing estab lish ments divid ed into 14 group ings 9 . Raising these ques tions, is the school square in VNG con sti tut ed as a dis tinct ele ment of the school itself or inte grat ed in the strate gies between the build ing and the square? We wil seek to inves ti gate whether the square man ages to pro mote social iza tion, cre ativ ity, motor skil s, lan guage, think ing, explo ration and how it man ages to pro mote child development. Fol owing the rec om men da tion of para graph 2 of Article 25 of the Decree-Law 14 ⁄797, of 11 June, the Joint Order No. 26 ⁄897 of 25 August, which deter mines for the out door space easy access to the activ ity room, no less than twice the size of the activ ity room (which is 2 m²/child, with a max imum of 25 chil dren). But teach ‐ ers teach ers say isn’t enough! Figure 5: Type occupation of the outdoor space of VNG schools For pri ma ry school there is no def in ition of min imum area required, it only refers to safe ty issues, and it is ver ified that in school yards for these ages there are no designed ele ments, with the excep tion of shel ter, in the few cas es where this occurs. From the teach ers' per ‐ spec tive these are ele ments that con tribute less to the dis cov ery process and to the psy chic and motor devel ‐ op ment, if com pared with unstruc tured play 12 and the devel op ment of risk man age ment by the child, with the sup port of archi tec ture 13 The DL 5 ⁄02018, repass es the munic ipal ities to the com ‐ pe tences of main te nance and works of school spaces. It is nec es sary to unveil how the pro gram of needs is pre sent ed in the ten ders that are pre sent ed to architects. How do the archi tects ide al ize this space? The research wil seek to under stand if dur ing the inter ven tion project the square is con sid ered as an inte gral part in the children's edu ca tion and in what way it is designed. Peter Barrett and his team recent ly devel oped a research at the University of Salford, UK, on pri ma ry school projects: HEAD Project (Holistic Evidence and Design). They found that class rooms with phys ical dif ‐ fer ences could have learn ing vari a tion of more than 15% when over one year. And how can the out doors con tribute to this fac tor? Psychologists and teach ers argue that con tact with nature, play and crafts con tribute favourably to chil dren with learn ing dif i cul ties 14 . Currently, stan dard toys such as slides or oth er pre- designed toys are intro duced to pri ma ry schools. First of al , it is impor tant to under stand who is propos ing them and for what purposes. It may be the source of the ques tion ing, if there is an inter pre ta tion in which the unstruc tured space should be devoid of ele ments and design. The edu ca tors under line that they need space avail able for chil dren to run freely, but that they should not be total y flat, to stim u late oth er move ments as wel . And they ask for spaces where chil dren can have var ious interpretations. In the archi tects' sur veys, under devel op ment at the time, we can see that there is a require ment to delim it the flat space to its ful extent so that the child can run and jump, when teach ers also refer to the need to car ry bar ri ers, dif i cul ties as a process of per son al growth and coor di na tion. And that they delim it spaces for play ‐ ing and sit ting (such as pic nic tables, for exam ple) when chil dren need to have out side spaces to stim u late their cre ativ ity and appro pri a tion, as advo cat ed by Hetzberger. 2. Metodology Despite the dif er ences in topog ra phy, typol o gy and pro gram mat ic con tent both in archi tec ture and ped a ‐ gog ical process, the present work wil focus on the out ‐ door envi ron ment and its appro pri a tion by chil dren from pub lic pre-school and pri ma ry schools. It wil present the fol ow ing method olog ical structure: 2.1 Case Studies a. Analysis of works car ried out that con sid ered the exte ri or of the build ing an exten sion of the school's inte ‐ ri or space: Apol o Schools, Amsterdam, 1980 and Montessori, Delft, 1960 (Herman Hertzberger); Primary and sec ondary school, Copenhagen, 1956 (Arne Jacobsen); Municipal Orphanage, Amsterdam, 1960 (Aldo van Eyck). French School, Porto — Pólo Jardim Infância Marques de Aguiar (1959) and Pólo 1º ciclo Nuno Valentim (2014) Study work ing group projects like PatioVivo Foundation in Chile 23 Centro Infantil El Guadual/Daniel Joseph Feldman Mowerman + Iván D.Q. Sanchez, 2014 b. Analysis of the design ele ments and space designed by Aldo van Eyck in Dutch playgrounds c. Establish the main dif er ences in the design of out ‐ door play ground spaces fol ow ing Wardorf-Montessori- Froebel-Emilia ped a go gies and tra di tion al ped a gogy in Portugal. d. Analysis of the Portuguese reg u la tions on edu ca tion and school environment. Figure 6: At the entrance of the school, in the design of the volumes, he interprets the need for half a wal , which can serve as a bench for parents to wait for their children and be able to combine activities (8).* Today, the exterior wal no longer consists of perforated bricks. 2.2 Survey of school outdoor spaces in VNG: By means of GoogleMaps and avail able pho tographs (due to covid-19 it is not pos si ble to enter al the schools), sam pling wil be made of the 70 estab lish ‐ ments (by area, for exam ple). They wil be cat a logued by typol o gy and brief descrip tion of the occu pa tion of the exter nal space, solar inso la tion, floor type (in case it is con firmed that this type of doc u men ta tion does not exist in the respon si ble bod ies). (Fig.7) Figure 7: In the images, the architect seeks to create spaces for living-conviviality on the stairs, which is normal y designed only to serve as circulation. Or he seeks to create amphitheatres, in this case in the interior, to promote convivial spaces, but designed with dimensions and materials that serve to promote living. Apol o Schools, Amsterdam, 1980 (in: www.ahh.nl) 2.3 Selection of the objects of study: Due to the need for epi demi o log ical con trol of the pan ‐ dem ic due to COVID-19, schools were forced to use out door spaces fre quent ly. In this way, it wil be pos si ble to have study mate r ial on what they look like and which ele ments and pro vi sions of the out door space are nec ‐ es sary for children's devel op ment at the cog ni tive, af ec tive and psy chomo tor level. In VNG, analysing the schools designed from the Estado Novo peri od to the cur rent year of the research. The fol ow ing schools wil be cho sen for case studies: 01 with Centenary typol o gy (Estado Novo); 01 with the Open typology; Cedro School, by the archi tect Fernando Távora (1960) 2.4 Surveys and Pilot Project With the col ab o ra tion of pro fes sion als in the area of Social Sciences, sur veys wil be car ried out with the school com mu ni ty: teach ers, stu dents, par ents and oth ‐ ers. We wil use research and design inter ven tions in schools wil be pro posed as a process of analy sis, seek ‐ ing to under stand how they are includ ed in the process of improv ing spaces, and what the school they would wish to have/work or design/design would look like. To base our research, we invit ed 2 schools to par tic i‐ pate in the Pilot project. They are enter ing school recess. The project has inter est ed the ped a gog ical team, but is wait ing for approval from the school management. The chil dren wil be invit ed to par tic ipate by mak ing a sur vey of their school. With the help of teach ers and par ents, they wil build a mod el of the space, delim it ing the street, the pave ment, the sur round ing wal , the yard and its con nec tion with the school build ing. They wil be asked to draw or pho to graph the spaces in the school they use most and how. After the school sur vey, we wil car ry out the post-occu ‐ pan cy analy sis 15 , con clud ing with mark ing the most enjoy able out door spaces. 3. Expected Outcomes . Open dis cus sion about the school square and its poten tial in child devel op ment and the rea son for the appar ent aban don ment of the requal ifi ca tion of school squares (dis cus sions with archi tects and the community). . Create pilot project with 1 – 2 schools in order to analyse the impact on some changes and the con struc ‐ tion by al involved in a new real ity. And pub lish the result of this activ ity in local newspapers. . Create a bank of ideas and mod u lar solu tions or pos si ‐ bil ities so that when ev er pos si ble they can be imple ‐ ment ed in a quick, ef ec tive and low cost way, avoid ing the bureau cra cy of permissions. 4. Conclusion In the Sustainable Development Goals, item 4 is ded i‐ cat ed to qual ity edu ca tion, and we wil seek to fos ter this debate through the use of school yards, seek ing to stim u late the cre ation of indi vid u als who seek to relate to the city space. Therefore, with in the scope of this doc tor al research, the study wil seek to establish: "the poten tial of school play grounds in their abil ity to cre ate stim u la tion and child devel op ment: social isa tion, cre ativ ity, motor skil s, lan guage, think ing, exploration. wil seek to pro mote a bet ter under stand ing of the school space as a whole, where the out side can and should also be part of the design process. wil devel op a basic plan, with a choice of var ious mate ‐ ri als and design pos si bil ities which should be tak en into account in both the archi tec tur al and land scape design of school yards: dura bil ity, low main te nance and low cost; impor tance of light; health; ther mal com fort; colour; artic u la tion of spaces; mobil ity; mod u lar ity and the pos si bil ity of inter ac tion with the envi ron ‐ ment elements. It is nec es sary to requal ify the "habi tat" and, in the spe ‐ cif ic case of our research, to con note the exte ri or space of the school and the impor tance of the rela tion ships between those who "inhab it" the school, between the build ing and its equipment. 1 IAVE (2018): Instituto de Avaliação Educativa. Resultados Nacionais das Provas de Aferição. 2 Louv, Richard. (2016): A última criança na natureza:. Resgatando nossas crianças do transtorno do défict de natureza. São Paulo, Aquariana. Tít. orig.: Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder. 3 Bewley, Daisy Elizabeth. (2019): "Raising an Indoor Generation: Outdoor Environmental Education Impact on Adolescent Development". Student Theses 2015-Present. 95, https://research.library.fordham.edu/environ_2015/95 4 Montessori, M. (1965): Pedagogia científica: A descoberta da criança. Flamboyant: São Paulo, 1965. 5 Kowaltowski, D. C.C. K. (2011): Arquitetura escolar: o projeto do ambiente de ensino. Oficina de textos FAPESP, São Paulo/SP. 6 Hertzberger, Herman. (1996): Lições de Arquitetura. Tradução: Carlos Eduardo Lima Machado. São Paulo: Livraria Martins Fontes Editora Lda. Tít. orig.: Lessons for students in architecture 7 Burke, Catherine; CULLINAN, Dominic; DYER, Emma. (2021): Interview with Herman Hertzberger. Architecture and Education: Emma Dyer. [Consult. 08/03/2021]. Disponível em: www: . 8 Hertzberger, Herman (2018): Space and Learning: Lessons in Architecture 3. Rotterdam: 010 Publishers, 2008. 9 IGeFE (Education Management and Financing Institute), in the SRIE program (School Infrastructure Requalification System) 10 Maia, Christiane Matinatti; Scheibel, Maria Fani (2006): Didática: organização do trabalho pedagógico. Curitiba: IESDE Brasil. 11 Noites, M. A. S. (2017): Repensar os espaços escolares. O impacto do Espaço-Físico na Educação: Ensino Básico e Secundário.Tese de Doutoramento em Estudos da Criança Especialidade em Comunicação Visual e Expressão Plástica. Outubro de 2017. Disponível em: < ;. 12 Rosa, A. R. (2013): A importância de brincar no exterior: análise dos níveis de envolvimento de crianças em idade pré-escolar. (Dissertação de mestrado em Psicologia da Educação). Disponível em: https://estudogeral.sib.uc.pt/bitstream/10316/25510/1/Tese%20- %20Ana%20Rita%20Rosa.pdf 13 Staback, Danniely. (2017): “The American Kindergarten”, 2017. Project to MIT. Disponível em: https://architecture.mit.edu/architecture-and-urbanism/project/american- kindergarten 14 Lima, Mayumi Souza. (1984): A importância da qualidade do espaço na educação das crianças. Revista Criança, São Paulo, no27. 15 Woods, Lois. (2018): Children's perspectives of primary school environments. 16 Dias, Manuel Graça (2014): Ao volante pela cidade: Paulo Mendes da Rocha. Rev. Anabela Prates Carvalho. Lisboa : Relógio d'Água. 106, [7] p.: il. ; 25 cm. (Arquitectura). ISBN 978-989-641-423-8 17 Arce, Alessandra. (2002): Lina, an exemplary child! Friedrich Froebel and the kindergarten pedagogy. 18 Lanz Rudolf (2000): Waldorf pedagogy: Path to a more humane teaching, Edit. Antroposófica, 2000. 19 Minato, Rochele & Kunen, Adriana & Pezente, Maria & Pagno, Daniele. (2019). Dialogue between architecture and teaching: contributions of architecture combined with the Montessori method for the teaching-learning process. IMED Architecture Magazine. 7. 65. 10.18256 / 2318-1109. 2018.v7i2.3042. 20 Trindade, Viviane Ribeiro da et al. (2020): "THE PEDAGOGY OF REGGIO EMILIA: the environment as a stimulus to child protagonism." Electronic Journal of the Faculty of Alta Floresta 9.2: 35-43. 21 LEFAIVRE, Liane; Roode, Ingeborg de. (2002): Aldo van Eyck: the playgrounds and the city. Amsterdam/ Rotterdam: Stedelijk Museum Amsterdam/ NAi Publishers. 22 UNESCO: repensar a educação: rumo a um bem comum mundial? Brasília: UNESCO Brasil, 2016. 91 p., il. 23 PATIOVIVO. https://criancaenatureza.org.br/acervo/fundacion-patio-vivo/ from June 20, 2021 24 Strong-Wilson, Teresa & El is, Julia. (2007): Children and Place: Reggio Emilia's Environment As Third Teacher. Theory into Practice. 46. 40-47. 10.1080/00405840709336547. Reflexive Practice Maja Zander Fisker, The Royal Danish Academy Initial doctoral stage Supervisor: Henrik Oxvig, The Royal Danish Academy # Architectural media, Photography, Place Abs The presented experimental work is a part of the PhD t Project Reflexive Practice – Trans-medial Process and ra Method in architectural Education. The experiments are ct based on an architectural practice that reflects upon the significance of heterogeneous medial af ordances conceptual y, creatively and aesthetical y. Through a montage of photographic series and footage of casting models and a specific site (with the working title Simultaneity – Scapes & Elements), the project examines how the trans-medial practice influences the creator's imagination and creative process. The practice is contextualized on a critical reflection on the notion of place as a material and social compound. A “Movement is a trans la tion in space.” rte Gil es Deleuze 1 fact The pre sent ed work is part of the exper imen tal com po ‐ nent of an ongo ing PhD project on trans-medi al ity. It engages in a dis cus sion on the rela tion between modes of artic u la tion in aes thet ic prac tices and our social imag inary, between how we con ceive of and con struct spa tio-tem po ral sit u a tions, and how these prac tices impact on our under stand ing of the places we live in. The con tention is, that place is a spe cif ic out come of rela tions between space and time. If we under stand space as a dimen sion of simul tane ity and rela tion al mul ti plic ity, and time as a dimen sion of dura tion and con tin u ous becom ing, we can define a con cept of place as a dynam ic rela tion ship of change able and vari able time-space orga ni za tions 2 . What dif er en ti ates one place from anoth er is the com bi na tion of the spe cif ic, albeit volatile, con di tions that coex ist exact ly here. The con tex tu al sit u a tion is not defined by its delim ita tion, but by its per me abil ity and open ness to oth er dis parate cohe sions. A place con sists not only of many dif er ent pro ce dur al speeds, but of dif er ent tem po ral ities, of what Merleau-Ponty cal s Depth, a simul ta ne ous pres ‐ ence of past, present, and future 3 . This simul tane ity is per cep ti ble but at the same time a chal enge to the imag ina tion. In order to com pre hend the sensed, we must mobi lize an imag inary to match this com plex ity, to form a basis for under stand ing the sit u a tion al con texts, for under stand ing not only what con sti tutes a place, but how it is per me at ed by dif er ent forces. The artist and film mak er, John Akomfrah, con sid ers the mul ti screen mon tage as a means to bring dif er ent ontolo gies into a rela tion ship. He states: “the manip u la ‐ tion of tem po ral ity can be ordered to serve some thing else too, which is the coex is tence of dif er ent ren di tions of time itself.” 4 . To let sit u a tions of dif er ent time and space unfold simul ta ne ous ly, he claims, is an orches tra ‐ tion of time as a kind of coexistence. Accordingly, the present exper imen tal work oper ates with sim ilar con di tions. The exper iments con sist of a mon tage of select ed pho to graph ic series and footage of a spe cif ic site and cast ing mod els, with the work ing title Simultaneity – Scapes & Elements. The the mat ic focus is the simul ta ne ous con stituent aspects of a place, encom pass ing how the medi al artic u la tion has an impact on per cep tion and cre ation of place. The pho to graph ic series of the site con veys a selec tion of con tex tu al sit u a tions, not depict ing a land scape as a whole, but rather local sit u a tions artic u lat ing spe cif ic pro ce dur al con di tions of a place. The pho to graph ic series of cast ing mod els work in three phas es: 1s tphase – pos itive forms, etch ings in poly styrene, 2n d phase – neg a tive forms, plas ter cast ing molds, and 3r d phase – pos itive forms, glass castings. Figure 1: Excerpts of the experimental component. SIMULTANEITY – Scapes & Elements. Photographic series, on site and glass casting model phases I, I & I I. Photos: Maja Zander Fisker, 2020. The exper imen tal work inves ti gates how to trans pose con tex tu al sit u a tions between media, empha siz ing pro ‐ ce dur al sim ilar ities rather than visu al resem blance. The trans po si tions are not focused on topo graph ical form or scale, but on sit u a tion al process es that are phys ical y deci sive con stituents of the giv en context. The act of pho tog ra phy here func tions as a cat a lyst that medi ates between the mod els' var ious iter a tion phas es and there by their imme di ate hier ar chy. The phys ical mod els are con tin u al y destroyed in the cast ing process, where as the pho to graph ic series enables a fix ‐ a tion and expo si tion of the vari ety of spa tio-tem po ral artic u la tions with in the sin gu lar stages. As pho to graph ‐ ic mon tage, the series alters for mer tem po ral inter re la ‐ tions or spa tial cat e gories, as it oper ates non-hier ar chi ‐ cal space-time artic u la tions in sequences of paired stil and mov ing images. The mon tage forms its own sequen tial tem po ral ity through the prox im ity and simul ‐ tane ity of coex ist ing dif er ences. These jux ta po si tions serve to ques tion and chal enge their respec tive con ‐ ven tions and con no ta tions. And yet, as Akomfrah claims, it is rather asso ci a tions than con tra pun tal prop ‐ er ties that af ect the change in read ing, and there by mean ing cre ation in the mate r ial, and cause an emer ‐ gence of new sit u a tions through the respon sive encounter with a spectator. Working with pho tog ra phy includes reflec tions on the rela tions between stil and mov ing images. The stil - image works as an inci sion in the world. The fix at ed record ing estab lish es a com po si tion, a sin gu lar event, and is yet a frag ment of a cohe sion. The move ment- image, the record ing in or of move ment, ads a dura tion. The moment is, accord ing to Deleuze, an immo bile sec ‐ tion in move ment and move ment a mobile sec tion in dura tion, a whole. Thus, move ment also means trans ‐ for ma tion of this whole. Furthermore, pho tog ra phy alters the sense of mate ri al i‐ ty in the mod els, as the mate r ial qual ities become ambigu ous and appears with new spa tial con se ‐ quences. The close-up is gen er al y defined by the way it frames, and in this case specif ical y by its abil ity to record and fix ate pos si ble inter fer ence in the pho to ‐ graph. In the move ment-image, the close-up per mits the record ing of micro-move ments, which appear as smal vibra tions, mir ror ing or dis tor tions, and reflect Deleuze’s def in ition of af ect-images 5 . The cre ation of mean ing in the trans-medi al process takes place in par al el with in two dif er ent reg is ters. One con sists of the iter a tive vari a tions of the mate r ial with in the indi vid ual medi um. The oth er con sists of the jux ta po si tion of the vari a tions of the mate r ial, reit er at ed in the medi al trans po si tions. The inter fer ence in and between these reg is ters caus es an addi tion al diver si ty in the for ma tion of mean ing, as it is not lim it ed to con di ‐ tions in a sin gle state ment, but in this vari ety of medi al articulations. Thus, derived from iter a tions, the mate r ial does not con ‐ vey mere infor ma tion, it con tains a more: a con glom er ‐ ate of mate r ial speci fici ties, which may deal with the same prob lem, but con tin u al y nuances its pos si ble mean ing 6 . This ambi gu ity in the mate r ial is not in itself cod ed and there fore appears as an open, sen su ous enun ci a tion that in the encounter with the recip ient evokes an af ect. In the process, the af ect becomes a co-cre ative premise for the creator's imag ina tion. The artic u la tions are not sta t ic state ments, but rather tem ‐ po rary, non-sta t ic tem po ral sit u a tions. Imagination, here, is insep a ra ble from the mate r ial pro duc tion and there fore linked to the dif er ent media and the trans po ‐ si tions. The trans-medi al process thus impact on thought and per cep tion, in the exchange between af ect and imag ina tion, as the trans po si tions inces sant ly insti ‐ tute these recur ring encoun ters with the mate r ial in new forms of aes thet ic manifestation. Figure 2: Excerpts of the experimental component. SIMULTANEITY – Scapes & Elements. Excerpts from photographic montage. Photos: Maja Zander Fisker, 2020. Figure 3: Excerpts of the experimental component. SIMULTANEITY – Scapes & Elements. Excerpts from photographic montage. Photos: Maja Zander Fisker, 2020. Figure 4: Excerpts of the experimental component. SIMULTANEITY – Scapes & Elements. Excerpts from photographic montage. Photos: Maja Zander Fisker, 2020. These man ifes ta tions work not only as vehi cle for the creator’s cre ative process, but as inter per son al expres ‐ sions that act into the com mu nica tive field of cre ation and encour age exchange, to be incor po rat ed and test ‐ ed in col ec tive space 7 . The aes thet ic cre ation pro ‐ duces mod els for the imag ina tion and influ ences our social imag inary, as an inher ent appeal to the Other, an appeal that tran scends the delim ita tion of the indi vid ‐ ual, accord ing to Arendt 8 . And by virtue of the rela tion ‐ al ges ture of appeal, the pos si bil ity aris es of tran scend ‐ ing our frame of under stand ing towards new meaning- creation. 1 Deleuze, Gil es (2020): Cinema I, The Movement-Image, translation by Hugh Tomlinson and Barbara Habberjam, London: Blomsbury Academic. 2 Massey,Doreen (2005): For Space, London: Sage. 3 Merleau-Ponty, Maurice (1984): “Eye and Mind” Art And its Significance. An Anthology of Aesthetic Theory. David Ross, Stephen [Ed.], Albany: State University of New Youk Press. 4 Løgstrup, Johanne (2020): The Contemporary Condition Co-existence of Times – A Conversation with John Akomfrah, Berlin: Sternberg Press. 5 Deleuze, Gil es (2020): Cinema I, The Movement-Image, translation by Hugh Tomlinson and Barbara Habberjam, London: Blomsbury Academic. 6 Deleuze, Gil es (2006): “What is the Creative Act?” In Two Regimes of Madness, Texts and Interviews 1975-1995, Ed. David Lapoujade, translation by Ames Hodges and Mike Taormina, Cambridge, MA: MIT Press. 7 Butler, Judith (2020): The Force of Nonviolence – An Ethico-Political Bind, London: Verso. 8 Arendt, Hannah (1958). The Human Condition. Chicago: The University of Chicago. Scient Committee tific Anders Kruse Aagaard Dr., Aarhus School of Architecture Naime Esra Akin Assoc. Prof., PhD., Aarhus School of Architecture, EAAE Joaquim Almeida Prof. Dr., Departamento de Arquitectura, Universidade de Coimbra Oya Atalay Franck Prof. Dr., Director of the ZHAW School of Architecture, Design and Civil Engineering; EAAE, ARENA Alper Alkan Senior Lecturer, Department of Architecture, Faculty of Architecture and the Built Environment, TU Delft Matthias Bal estrem Prof. Dr., HafenCity University Hamburg; EAAE Fabrizia Berlingieri Assistant Prof., Department of Architecture and Urban Design, Politecnico di Milano Anđelka Bnin-Bninski Dr., Faculty of Architecture, University of Belgrade; ARENA Manuel Bogalheiro Prof. Dr., Departamento de Arte dos Media, University Lusófona of Porto Ignacio Borrego Prof. Dr., Institute of Architecture, TU Berlin Boštjan Botas Kenda Prof., Academy of Fine Arts and Design, University of Ljubljana Andrea Braidt Mag. Dr., Academy of Fine Arts Vienna; ELIA Roberto Caval o Prof. Dr., Department of Architecture, Faculty of Architecture and the Built Environment, TU Delft; EAAE, ARENA Graça Correia Prof. Dr., Departamento de Arquitectura, University Lusófona of Porto Johan De Walsche Prof. Dr., Faculty of Design Sciences, University of Antwerp; EAAE, ARENA Débora Domingo Calabuig Prof. Dr., Universitat Politècnica de València; EAAE Riet Eeckhout Dr., Faculty of Architecture, KU Leuven J. Kent Fitzsimons Assoc. Prof. Dr., École nationale supérieure d’architecture et de paysage de Bordeaux, France; EAAE Lidia Gasperoni Dr., Institute of Architecture, TU Berlin Andrea Gritti Assoc. Prof. Dr., Department of Architecture and Urban Design, Politecnico di Milano Anke Haarmann Prof. Dr., HAW Hamburg, Department Design, Zentrum für Designforschung Christoph Heinemann Prof., HafenCity University Hamburg Karin Helms Prof., PhD, Arkitektur- og design høgskolen i Oslo (AHO) Matevž Juvančič Assistant Prof. Dr., Faculty of Architecture, University of Ljubljana Bernd Kniess Prof., HafenCity University Hamburg Thierry Lagrange Prof. Dr., Faculty of Architecture, KU Leuven Jacopo Leveratto Assistant Prof., Politecnico di Milano Mona Mahal Prof. Dr., HafenCity University Hamburg Michael McGarry Prof., Queen’s University Belfast Elena Montanari Assistant Prof. Dr., Politecnico di Milano Ralf Pasel Prof., Institute of Architecture, TU Berlin Claus Peder Pedersen Prof. Dr., Aarhus School of Architecture; EAAE, ELIA Mark Pimlott Assistant Prof., Department of Architecture, Faculty of Architecture and the Built Environment, TU Delft Gennaro Postiglione Prof. Dr., Politecnico di Milano Paul O Robinson Assistant Prof., Faculty of Architecture, University of Ljubljana Alessandro Rocca Prof. Dr., Department of Architecture and Urban Design, Politecnico di Milano Edite Rosa Prof. Dr., Departamento de Arquitectura, Faculty of Architecture, University Lusófona of Porto Mia Roth-Čeri na Assoc. Prof. Dr., Faculty of Architecture, University of Zagreb; EAAE Sofia Salema Assistant Prof. Dr., Departamento de Arquitectura, University of Évora Markus Schwai Prof. Dr., Department of Architecture and Planning, Faculty of Architecture and Design, NTNU Trondheim Sal y Stewart Prof., Mackintosh School of Architecture, Glasgow School of Art, UK, EAAE Eli Støa Prof. Dr., Department of Architecture and Planning, Faculty of Architecture and Design, NTNU Trondheim Pier Paolo Tamburel i Assistant Prof., Politecnico di Milano Ana Tel es Assoc. Prof., School of the Arts, University of Évora, Portugal; ELIA Maria Topolčanská PhD., Akademie výt varných umění v Praze, Czech Republic, ELIA Manuela Triggianese Assistant Prof. Dr., Department of Architecture, Faculty of Architecture and the Built Environment, TU Delft Johan Van Den Berghe Prof. Dr., Faculty of Architecture, KU Leuven Esther Venrooij Prof. Dr., LUCA School of Arts, Ghent Boštjan Vuga Associate Prof., Sadar+Vuga; AA School of Architecture, London Jürgen Weidinger Prof., Institute of Landscape Architecture, TU Berlin Tadeja Zupančič Prof. Dr., Faculty of Architecture, University of Ljubljana Panel Members Anders Kruse Aagard A Aarhus School of Architecture dig ital fab ri ca tion, mate ri als, wood con struc tions, con ‐ crete, experiments more → Naime Esra Akin Aarhus School of Architecture sus tain able archi tec ture, social sus tain abil ity, urban/public spaces, archi tec tur al pedagogies more → Alper Semih Alkan TU Delft media the o ry, rep re sen ta tion, visu al ity, hybrid mediality/materiality, tech ni cal images, dis eg ‐ no, drawing more → Matthias Bal estrem B HCU Hamburg space per cep tion, archi tec ture psy chol o gy, typol o gy, pub lic inte ri ors, design teach ing, design build more → Fabrizia Berlingieri Politecnico di Milano urban archi tec tures; design for tran si tions; infra struc ‐ ture and urban form; con tem po rary archi tec tur al design theories more → Marcel Bleuler Zurich University of the Arts I explore research in terms of a nego ti a tion of the rela ‐ tions between artis tic pro duc tion, knowl edge pro duc ‐ tion, social com mu ni ties as wel as soci ety at large. more → Anđelka Bnin-Bninski University of Belgrade archi tect engi neer with spe cial iza tions in the o ry of arts and media and archi tec tur al philosophy edu ca tor, cura tor and inter dis ci pli nary researcher prac tic ing architect cur rent research focus on crit ical strate gies and activist tac tics of archi tec tur al draw ing research in practice Manuel Bogalheiro Universidade Lusófona do Porto phi los o phy of tech nics, mate ri al ities of media, the o ry of cul ture, ecology more → Ignacio Borrego Gómez-Pal ete TU Berlin Practicing archi tect with focus on indus tri al and con ‐ tem po rary fab ri ca tion systems. more → Boštjan Botas Kenda University of Ljubljana my research areas are visu al com mu ni ca tions in pub lic space in rela tion to pub lish ing products more → more#2 → Marco Bovati Politecnico di Milano rela tion between Urban and Architectural Design and the aim of sustainability strate gies for sus tain able archi tec ture and urban regen ‐ er a tion, with par tic u lar atten tion to the inter me di ate scale (block, district) role of envi ron men tal fea tures in defin ing the guide lines of the interventions reuse and recy cling of aban doned soils, build ings and urban tissues more → Margitta Buchert Leibniz University Hannover The pri ma ry fields of research are 'Reflexive Design‘, 'Urban Architecture' along with the aes thet ics and con ‐ tex tu al ity of archi tec ture, arts, cities, and nature. more → Roberto Caval o C TU Delft archi tec ture, urban design, inter dis ci pli nary & mul ti ‐ scale approach, design-dri ven research, infra struc tures & built envi ron ment, cir cu lar ity, cross-domain per spec ‐ tive, exper imen tal ped a go gies, par tic ipa to ry process es, prac tice-ori ent ed research more → Johan De Walsche D University of Antwerp design research method ol o gy and design education design as a tool for antic ipat ing fast transitions more → Florian Dombois Zurich University of the Arts sound art, per for mance, art & archi tec ture, artis tic research; stud ies on time, labil ities, wind and tec ton ‐ ic activity Who is addressed by the research, who can take it fur ‐ ther, trans form it into a new state of rela tion? What if artists, archi tects, design ers are the recip ients, the peo ‐ ple who gain from research directly? more → Débora Domingo-Calabuig Universitat Politècnica de València Her inter ests include the meth ods, means, and impact of archi tec tur al research. Her research focus es on the open design process es of the 60s and 70s archi tec ture and urban design. more → Daniel Dubowitz Manchester School of Architecture urban ism prac tice and research – col ab o ra tive urban ‐ ism: regen er a tion of post-indus tri al cities across the UK, new meth ods for mak ing tomorrow’s cities, mean ‐ ing ful engagege ment of cit izens in their transformation ped a gogy research: stu dent inves ti ga tion how archi tec ‐ ture can be on the move and acti vate a state of change more → Riet Eeckhout E KU Leuven Riet Eeckhout’s research focus es on the agency of draw ing with in the dis ci pline of archi tec ture, more specif ical y the gen er a tive capac ity of archi tec tur al draw ing sur pass ing its rep re sen ta tion al nature. She exhibits, lecture’s and writes about her draw ing prac tice from with in the dis ci pline of archi tec ture. The research is dri ven by projects in col ab o ra tion with an inter na ‐ tion al net work of archi tects and the o rists to build knowl edge on arte fac tu al agency in process es and results. more → Kent Fitzsimons F Ecole nationale supérieure d'architecture et de paysage de Bordeaux My research adopts a crit ical approach to the o ries regard ing the rela tion ship between social forms and mate r ial forms. This has brought me to study how archi ‐ tec ture and archi tec tur al thought con struct ideas about the body (gen der, hand icap, age ing), the inten tions and ef ects of sus tain able urban mobil ity projects (modal shift, active modes, social mix ity), and the con trasts between politi ciz ing archi tec ture as form and politi ciz ‐ ing archi tec ture as process. Domen Fras University of Ljubljana Typography and type face design are two fields of my prac tice and research. I par tic ipat ed in numer ous pub lic and cul tur al projects in var ious media link ing archi tec ‐ tur al, graph ic and typo graph ic design with strong focus on a rela tion ship between the infor ma tion con veyed by typog ra phy and its visu al form. Lidia Gasperoni G TU Berlin phi los o phy of archi tec ture, aes thet ics, media, anthro ‐ pocene, fieldwork archi tec tur al the o ry and phi los o phy with a focus on media phi los o phy anthro pocene the o ries, and aesthetics Pieterjan Ginckels KU Leuven As a future-ori ent ed researcher, ped a gogue, archi tect, and visu al artist, Pieterjan Ginckels sets up col ec tive exper iments, deal ing with visu al archi tec tur al cul tures and the (post-)mil ennial and super fi cial sen si bil ities of the per son ae that are part of it — stu dents, artists, archi tects, thinkers, and pol icy makers. #mis an thro pocene #post mil en ni al stu dio #rad ical sat u ‐ ra tion #speedtrip #per for mance more → Pedro Guilherme Universidade de Èvora archi tec tur al competitions research by design draw ing research architecture's inter na tion al iza tion Álvaro Siza Vieira draw ings and research method more → Anke Haarmann H HCU Hamburg As a philoso pher and artist, I am inter est ed in the aes ‐ thet ic for mu la tions of prac tice-based research. I have worked on artis tic research for more than 10 years, pub ‐ lished philo soph ical books on the top ic and curat ed exhibitions. more → Christoph Heinemann HCU Hamburg Based on my prop er approach on design expe ri enced in our archi tec tur al prac tice ifau as wel as on the design meth ods we devel op and teach in our design stu dio at HCU in Hamburg, I am espe cial y inter est ed in a pro jec tive approach on archi tec ture based on sit u a ‐ tive devel op ment strate gies and rela tion al prac tices, al ow ing to com bine and process spe cif ic expe ri en tial knowl edge and over ar ch ing soci etal issues. more → Marjan Hočevar University of Ljubljana epis temic cul tures, cog ni tive styles, reflex iv ity, soci etal changes, inte gra tion / autonomy more → Matevž Juvančič J University of Ljubljana edu ca tion of gen er al pub lic on the top ics of sus tain abil ‐ i ty, pub lic par tic ipa tion, visu al iza tions and visu al com ‐ mu ni ca tion process es, gener ic urban ele ments, sus tain ‐ abil ity of urban neigh bour hoods, notions of spa tial char ac ter, spa tial seman tics and spa tial identity more → Thierry Lagrange L KU Leuven design-dri ven research methods act of drawing act of looking the draw ing in rela tion to new spatialities more → Jacopo Leveratto Politecnico di Milano crit ical spa tial prac tices (prac tices of inhab ita tion and strate gies of placemaking); pub lic space design (tac ti cal inter ven tions and re-acti ‐ va tion projects); post-human archi tec ture (design for inter species cohabitation) more → Jo Liekens KU Leuven archi tec ture as a prac tice of ago nis tic stag ing, dis ‐ sensus and pol itics; con gre ga tion al agency, vibrant mat ters and more-than-human per spec tives in architecture more → Mona Mahal M HCU Hamburg Mona Mahal works at the inter sec tion of art and archi ‐ tec ture, across spa tial, image, sound, and text practices. more → Michael McGarry Queen’s University Belfast design prac tice research, rep re sen ta tion, artis tic prac ‐ tices, spa tial ity in the visu al arts more → Nela Milić University of the Arts, London Elena Montanari Politecnico di Milano inte ri or archi tec ture; muse um and exhi bi tion design; built her itage; museo graph ic heritage Elena Montanari’s research work revolves around the inter play among inte ri or archi tec ture, museo graph ic cul ture and her itage val oriza tion, with a par tic u lar focus on the lat est trends in the design of muse um archi tec ‐ ture, on the adap ta tion of his tor ical build ings into exhi ‐ bi tion spaces, on the devel op ment of inno v a tive memo ‐ r ial forms in her itage cities and in places of mem o ry, on the muse al iza tion of “dif i cult built her itage”, and on the raise of inno v a tive the o ries and prac tices con cern ing exhi bi tion design his to ry and museo graph ic heritage. Dorotea Ottaviani O University of Johannesburg cre ative prac tice research, adap tive reuse, pub lic space, archi tec tur al pedagogy more → Maria Rita Pais P Universidade Lusófona more → Claus Peder Pedersen Aarhus School of Architecture Claus Peder Pedersen’s research focus es on archi tec ‐ tur al design method olo gies and cre ative process es with inter est in rep re sen ta tion and dig ital design tools. He is active in pro mot ing prac tice- and design-dri ‐ ven research. more → Mark Pimlott TU Delft pub lic inte ri or, rep re sen ta tion, sub jec tiv ities, ter ri to ry and inte ri or, con tin u ous interior Mark Pimlott's research is pri mar ily con cerned with the pub lic inte ri or, as a prod uct of, on the one hand, ide olo ‐ gies and their imprint on ter ri to ry, the city, its insti tu ‐ tions and sub jec tiv ities, and on the oth er, sys tems of rep re sen ta tion con scious ly or uncon scious ly attached to those ideologies. more → Gennaro Postiglione Politecnico di Milano inte ri or architecture inte ri ors; archi tec tur al ethnog ra phy; adap tive reuse; re- housing His research field is inte ri ors cul ture, at the inter sec tion between peo ple, places, and prac tices, cross ing archi ‐ tec ture, ethnog ra phy, and mate r ial cul ture. The same the o ret ical back ground nour ish es also his research by design activ ity focused on adap tive reuse of minor and neglect ed heritage. more → Paul O Robinson R University of Ljubljana Paul O Robinson is a visu al artist, archi tect, edu ca tor and mak er of objects and spaces that ques tion the hege mo ny of insti tu tion al ized prac tice. His mul ti form work and instal a tions emerge through the arti fice and lay ered entan gle ments between sur face and nar ra ‐ tive content. more → Alessandro Rocca Politecnico di Milano archi tec tur al and urban design design-dri ven research urban and rur al wilderness archi tec tur al the o ries, types and techniques more → Edite Rosa Universidade Lusófona do Porto design project, hous ing and pub lic equipment’s, urban and pub lic space, social sustainability The research inter ests are cen tred in the area of Architecture, in par tic u lar in the stud ies of mod ern archi tec ture and prac tice of con tem po rary architecture. more → Mia Roth-Čerina University of Zagreb pro fes sion al, teach ing and research prac tices are archi ‐ tec tur al edu ca tion and edu ca tion al spaces, as wel as the pub lic space they inter act with more → Sofia Salema S Universidade de Èvora archi tec tur al research; teach ing and research prac tices in archi tec tur al edu ca tion; Álvaro Siza Vieira draw ings and research method; her itage and research prac tices in restoration/conservation works; research prac tices in recog ni tion of her itage values more → Markus Schwai Norwegian University of Science and Technology urban design, spa tial plan ning, smal scale urban changes (intend ed to change behav ior), par tic ipa tion — co-design, design dri ven research more → Ana Tel es T Universidade de Èvora active pianist music his to ry and analy sis (20t hand 21s tcen turies), piano music, piano per for mance practices more → more#2 → Maria Topolčanska Academy of Fine Arts Prague ped a gogy and research on archi tec ture, city, art, urban pol itics, urban com mons, prop er ty, land, mass hous ing, hous ing and work, typol o gy, urban design, urban iza tion his to ry, post-state social ist urban ity, edu ca tion of archi ‐ tects, study vs. pro duc tion of knowl edge in archi tec ture, archi tec tur al think ing in research, the o ry of con tem po ‐ rary prac tices of archi tec ture, archi tec ture relat ed cura ‐ to r ial and edi to r ial practices more → Manuela Triggianese TU Delft In her research, she explores the role of design in large scale inter ven tions among mul ti ple actors and she links her research to edu ca tion by engag ing them in al activities. more#2 → Ilaria Valente V Politecnico di Milano Design meth ods and tools for archi tec tur al and urban regen er a tion in mar gin al fab rics and frag ile territories. more → Jo Van Den Berghe KU Leuven exper imen tal archi tec tur al design Techné and Poiesis in mak ing archi tec ture (the poet ics of making) inno v a tive ver sions of the archi tec tur al draw ing as an indis pens able locus between Techné and Poiesis design-dri ven research and reflec tive archi tec tur ‐ al practice more → Esther Venrooij KU Leuven With a sharp focus, both in her stud ies and cre ative impuls es on audio topog ra phy, she explores the way sound and move ments inhab its space. more → Boštjan Vuga University of Ljubljana archi tec ture, research, education pub lic! porous! placed! i am very much inter est ed how bound aries could be employed to place a porous archi tec tur al struc ture onto a spe cif ic place in order to gen er ate or enhance publicness! more → Jürgen Weidinger W TU Berlin land scape achitecture design ing and imple ment ing land scape archi tec ‐ ture projects reflec tions on aes thet ical per cep tion and expe ri ence in land scape archi tec tur al design crit ical reflec tion on the rela tion of prac tice and aca d e ‐ m ic the o ries con cern ing the design disciplines more → Steffen Wel inger Norwegian University of Science and Technology pub lic build ing, pub lic space, live projects, archi tec ture as a strate gic tool, didactics more → Katrina Wiberg Aarhus School of Architecture land scape archi tec ture and urban landscapes cli mate adap ta tion and resilience with regard to water (ris ing sea lev els, cloud burst, e.g.), research through design ing, land scape analy sis and sce nar ios empha siz ‐ ing values‐, scale and time perspectives more → Tadeja Zupančič Z University of Ljubljana archi tec ture, urban design, dig ital design; research in archi tec ture, research by design, cre ative prac tice research; spa tial iden ti ty, vul ner a bil ity, sen si tive designer; archi tec tur al edu ca tion, life long learn ing in archi tec ture, dig ital sup port to archi tec tur al design/research/education more →