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2017 Høst

60 150 GK5 City and Architecture

Full course name in Norwegian Bokmål: 
GK5 By og arkitektur
Credits: 
24
Course code: 
60 150
Level of study: 
Bachelor
Teaching semester: 
2017 Autumn
2018 Autumn
Assessment semester: 
2017 Autumn
2018 Autumn
Language of instruction: 
Norwegian
Year: 
2017
Person in charge
Halvor Weider Ellefsen
Required prerequisite knowledge

Alle tifligere semetsre skal være bestått.

Course content

GK5 By og arkitektur har Osloregionen som studieobjekt. Kurset er tredelt, bestående av en introduksjonsmodul, en prosjekteringsoppgave samt en forelesningsserie tematisert direkte til innholdet i de ulike kursmodulene.
A Introduksjon til by og arkitektur
B Prosjekteringsoppgave: Byutvikling
C Forelesningsrekke: Urbane praksiser

A INTRODUKSJON TIL BY OG ARKITEKTUR
Studentene introduseres til byen som tema og urbanisme som fagområde i arkitekturen gjennom flere mindre oppgaver, forelesninger og diskusjoner. Består både av gruppearbeid og individuelle oppgaver.

B PROSJEKTERINGSOPPGAVE: BYUTVIKLING:
Oppgaven er et større transformasjonsprosjekt i et gitt byområde, med forankring i aktuelle byutviklingstema og relevant fagdiskurs. Oppgaven utvikles gjennom analytiske forstudier som skal hjelpe gruppene å danne seg et bilde av hvilke strukturelle og arkitektoniske potensialer som kan utvikles, og hvilket konseptuelt rammeverk oppgaven bør baseres på.  Prosjektet som utvikles skal manifestere de intensjoner og lesninger studentene definerer i arbeidet med tomten. Målet er å skape et utgangspunkt for å artikulere et planprosjekt. Forløpet deles opp tematisk og avsluttes med en sluttgjennomgang med ekstern gjestekritiker.  Oppgaven er et gruppearbeid.

C FORELESNINGSREKKE: URBANE PRAKSISER:
Disiplinen urbanisme/byplanlegging er faglig sett sammensatt og henter kunnskap fra ulike fagtradisjoner. Forelesningsrekken på GK5 adresserer relevante problemstillinger innenfor urbanismefaget i dag, og gjør rede for fagets ulike tilnærminger og betraktningsmåter. Pedagogisk sett gjøres dette gjennom å presentere forskjellige teorier, prosjekter og praksisformer innenfor urbanismefaget. Forelesningene skal så langt det er mulig knyttes direkte opp mot studioundervisningen.

Learning outcome

GK5 skal samlet gi basisopplæring i teori, metode og praksis innenfor urbanisme.  Studentene skal etter endt kurs ha tilegnet seg grunnleggende kunnskaper om problemstillinger og arbeidsmåter innenfor urbanismefaget.

Videre skal studentene ha vært med på å utvikle og presentere et komplekst byplanprosjekt med reelle rammer og forankring i et aktuelt byplantema. Hovedfasene vil inneholde byanalyse, plan/prosjektutvikling samt presentasjon.

Endelig skal studentene i studiokurset oppøve evne til å arbeide overlappende i ulike skalaer og å etablere en grunnleggende forståelse av sammenhengen mellom arkitektur, landskap og samfunn.

Working and learning activities

Kurset er basert på prosjekteringsprosesser knyttet til en gitt problemstilling og kontekst. Studentene vil tilnærme seg prosjekteringsoppgaven gjennom analyse og tematiske studier, og basert på dette utarbeide et planprosjekt. Hovedoppgaven og flere av introduksjonsoppgavene vil være gruppearbeid.

Undervisningen vil bestå av forelesninger fra lærerteam og inviterte gjester i tillegg til prosjektveiledning i grupper, workshops, delgjennomganger og avsluttende gjennomgang med eksterne kritikere. 

Parallelt med dette kurset følger studentene det forelesningsbaserte kursopplegget 60 151 By- og byplanhistorie.  Her introduseres studentene til historisk og teoretisk kontekst og til verktøy og referanser som er relevante for prosjekteringsarbeidet.

Det gjennomføres en studiereise i løpet av semesteret, se semesterplan for datoer.  Målet med reisen er å gi studentene konkret erfaring med by og byutviklingsprosjekt av høy kvalitet. Erfaringene skal gi grunnlag for løpende diskusjon og refleksjon om aktuelle og relevante problemstillinger i urbanisme og planlegging.

Curriculum

Pensum vil finnes på kursets hylle i biblioteket ved kursoppstart. Tematisk relevante tekster vil tildeles gjennom semesteret i forbindelse med de ulike oppgavene.

Mandatory courseworkCourseworks requiredPresence requiredComment
Annet - spesifiser i kommentarfeltet Required
Annet - spesifiser i kommentarfeltet Not required
Obligatoriske arbeidskrav:
Mandatory coursework:Annet - spesifiser i kommentarfeltet
Courseworks required:
Presence required:Required
Comment:
Mandatory coursework:Annet - spesifiser i kommentarfeltet
Courseworks required:
Presence required:Not required
Comment:
Form of assessmentGroupingGrading scaleComment
Portfolio assessment (Vurderingsmappe)IndividualA-F
Vurderinger:
Form of assessment:Portfolio assessment (Vurderingsmappe)
Grouping:Individual
Grading scale:A-F
Comment:
Workload activityComment
Excursion
Lectures
Attendance
Forventet arbeidsinnsats:
Workload activity:Excursion
Comment:
Workload activity:Lectures
Comment:
Workload activity:Attendance
Comment:

Start semester

80 510 Civic Miniatures

Credits: 
24
Full course name in Norwegian Bokmål: 
Civic Miniatures
Course code: 
80 510
Level of study: 
Master
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
English
Year: 
2017
Maximum number of students: 
15
Person in charge
Espen Vatn
Jørgen Johan Tandberg
Claudia Andrea Pinochet
Required prerequisite knowledge

Passed base education.

Course content

"...to extract from fashion the poetry that resides in its historical envelope, to distil the eternal from the transitory"   

Baudelaire, “The Painter of Modern Life”

 

“The hallucinatory effect derives from the extraordinary clarity and not from mystery or mist. Nothing is more fantastic ultimately than precision.”

Alain-Robbe Grillet about the novels of Franz Kafka

 

What is the smallest possible form in which a public ambition in architecture can be manifested?

The studio will focus on small-scale buildings serving public functions. As an alternative to pharaonic scale public prestige projects, we will investigate how small public buildings can be instrumental in developing a direct engagement with a community.

The studio will work on recognizing and developing fundamental civic qualities in architecture, and investigating how these can be serialized and translated into a specific condition in Sao Paulo, connecting to existing public building programs in Brazil. Each proposal may dedicate itself to one specific function, or be flexible to accommodate a series of chosen functions.

The studio will revisit questions of typology and generality in relation to site, investigating ways in which small (200-400m2), self-contained systematized structures can support a specific social structure. We will investigate the possibilities for architecture to, in its implementation, be specific to its site condition, and still provide general answers relating to type and the possibility for serial production. In addition to investigating construction and fabrication techniques, the studio will have an ongoing discussion about theories of collectivity - what it means to define a space and architecture as “public”.

Students will be asked to write throughout the semester and develop the project simultaneously in writing as well as in drawing. Although we will encourage research into underlying economic or societal tendencies that can affect how the project unfolds, the main focus will be on developing well-functioning buildings.

 

Process:

Part 1: The General

An important part of the semester will be the study and documentation of relevant architectures. Students will conduct analysis and study relevant precedents. This architectural research is intended to be generative, i.e. leading to specific insights and design of a siteless systematized civic architecture for a humid subtropical climate (200-400 sq.m).

We will investigate civic buildings, learning from very specific solutions, while also trying to understand to what extent a case study is specific to its site and program, and to what extent it has qualities applicable to other conditions. Each reference will in this way be studied both as manifested reality existing in a specific situation, and as an ideal type capable of being reinterpreted for different situations. A central argument is that architecture is not usually about producing ex nihilo, nor just about a specific site, but rather about extracting an essence from history, general qualities that can be reapplied under new and different conditions.

The precedents are selected for their relevance and common qualities in scale and program. They are specific solutions to a given site, program and time, yet holds something elusive, a hidden logic yet to be deciphered. We will study them very carefully on topics ranging from construction technique, materiality, spatial hierarchies, and relation to site, as well as scale, structure and proportions.

We then will make a version of the reference project acting as a system which could be produced serially, locating the siteless and general qualities in the originals. Each student will then choose a public programme to work with for the design of a general project: school, kindergarten, community center, chapel, library, small museum or technical infrastructure. The programme may come directly from the case study, or from a spatial potential uncovered in the course of the study. Other programmes are welcome as long as they are not in themselves too specific to a site or cultural situation.

 

Selection of references:

Bramante - Tempietto

Koh Kitayama - Klarheit

Peter Markli - La Conguita

Le Corbusier - Bâtiments de l'écluse, Kembs-Niffer

Oscar Niemeyer - CIEP schools

Mies van der Rohe - Chapel IIT

Carl Friedrich Schinkel - Neuer Pavillon

Aldo Van Eyck  - Public spaces and installations in Amsterdam

Aldo Rossi - Teatro del Mundo

 

Part 2:  The Deployment

The second part of the task will be implementation and adaptation of the general project developed in part 1 to a specific condition in Sao Paulo, where we will travel and engage with Universidade de Sao Paulo (USP) during elective week.

Brazil has been subjected to a wide range of public school building programmes, from the famous CIEP schools (Centros Integrados de Educacao Publica) in Rio de Janeiro designed by Oscar Niemeyer, CIAC (Centro Integrado de Apoio á Criança) implemented across Brazil, and the CEU (Centros de Educaçáo Unificada) in Sao Paulo. In addition, there is an ambitious program, SESC (Serviço Social do Comércio), set up as a private/public organization which provides social services and spaces for communities all over the country.

All of these are examples of a radical rethinking of educational and community spaces, capable of challenging what a civic building could and should be through their architecture. They all involve a level of seriality, prescriptions for fabrication and reapplication in new situations devised by the architect, evident in the choice of construction methods and in the architectural layout.

The students will choose one of several predetermined sites in Sao Paulo. Here a prototype building will be developed, in which the work in phase one is implemented and re-evaluated in meeting with its specific social and physical context.

 

Part 3: Development, Detailing and Presentation

In the last part we will aim to produce drawings at a high level of detail, with particular attention given to primary elements of architecture such as circulation, structure, facade and technical installations.

Large scale models and elaborate drawings will be important tools to develop the architectural nuances of each of the projects. Contrary to the rhetorics of the sublime often associated with public architecture, we will stay clear of deliberate dramatic effects. In the production of drawings and models we will aim to be sober and matter-of-fact, spending our energy where it is best utilized.

 

Study trip:

Sao Paulo in week 40 and 41. During our study trip we will work with Universidade de São Paulo. Specific dates for the trip will be handed out in the beginning of the semester.

Learning outcome

Upon completion of this course the students will have knowledge of detailed design and reflection upon a small scale public building. The students will also gain knowledge of fabrication methods, structures and precedent studies. The students will also gain much experience in model making and production of clear and communicative architectural drawings.

Working and learning activities

The studio will meet two days a week for studio and one half day for discussions or invited guests. The work of the semester will end up in a presentation of a given number of vertical a2 sheets and a series of well crafted models investigating different aspects of the project.

All reviews will be with printed drawings vertical a2 format. Students will also be asked to submit a pdf of the work two days before the midterm and the final.

Curriculum

Anthony Vidler, “The Idea of Type: The Transformation of the Academic Ideal, 1750-1830,” Oppositions, no. 8 (Spring 1977)

Lucan, J. (2012). Composition, non-composition. 1st ed. Oxford, UK: Routledge. (Essay: Procedure to be Followed in the Composition of Any Project. Jean-Nicolas-Louis Durand.)

Chambers, D. and Haley, K. (2016). Wherever you find people. The radical schools of Oscar Niemeyer, Darcy Ribeiro, and Leonel Brizola. 1st ed. Zürich: Park Books.

Carpo, M. (2011). The alphabet and the algorithm. 1st ed. Cambridge, Mass.: MIT Press.

Krauss, R. (2010). The originality of the avant-garde and other modernist myths. 1st ed. Cambridge, Mass. u.a.: MIT Press.

Pimlott, M. (n.d.). The public interior as idea and project. 1st ed.

Tafuri, M. (1976). Architecture and utopia. 1st ed.

Latour, B. (2011). Reassembling the social. 1st ed. Johanneshov: TPB.

Wallenstein, S. O. (2016). Architecture, Critique, Ideology. 1st ed.  (Essays: 1966: Thinking the City. Imagining Otherwise.)

Mandatory courseworkCourseworks requiredPresence requiredComment
Exercise Not required
Obligatoriske arbeidskrav:
Mandatory coursework:Exercise
Courseworks required:
Presence required:Not required
Comment:
Form of assessmentGroupingGrading scaleComment
Portfolio assessment (Vurderingsmappe)IndividualPass / failThe students are required to submit all three parts (Part 1, 2, 3) of the semester by given dates, which will be given out in the beginning of the semester. Failure to submit the parts by the given dates will lead to not passing the course.
Vurderinger:
Form of assessment:Portfolio assessment (Vurderingsmappe)
Grouping:Individual
Grading scale:Pass / fail
Comment:The students are required to submit all three parts (Part 1, 2, 3) of the semester by given dates, which will be given out in the beginning of the semester. Failure to submit the parts by the given dates will lead to not passing the course.
Workload activityComment
AttendanceAttendance on all studio and seminar days is strongly encouraged.
Forventet arbeidsinnsats:
Workload activity:Attendance
Comment:Attendance on all studio and seminar days is strongly encouraged.

70 502 Tangible Interactions

Full course name in Norwegian Bokmål: 
Interaction Design 1: Tangible Interactions
Credits: 
24
Course code: 
70 502
Level of study: 
Master
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
English
Maximum number of students: 
24
Person in charge
Nicholas Stevens
Required prerequisite knowledge

This course builds on some interaction prototyping skills, such as arduino, learnt in the undergraduate course at AHO. Knowledge of this and simple electronics will be very helpful but is not a requirement. Regular design attributes such as curiosity and experimental outlooks are required

Course content

Interaction Design 1 - launches students into the world of interaction design by focusing on core skills and materials used in designing physical and digital interactions. The course embraces and explores the creative opportunities made possible by recent developments in physical computing, sensor technologies and mobile devices, to consider physical everyday objects (embedded with switches, sensors and microcontrollers) as augmented interfaces for controlling digitally mediated experiences.

We focus on how humans interact with such objects and materials, and how their functionality, meaning and usage can be extended. The course provides students with the possibility to take part in an exploration of new social interaction patterns, to conceptualise and design demonstrators and working prototypes that address a unique set of design problems. This is a practice-led course, and will also provide students with a broad toolset of skills and techniques relevant across the board in interaction design, starting with a series of short workshops dealing with a range of physical interaction technologies and approaches that lead into larger projects.

Students will have the opportunity to work with Arduino microcontrollers, smartphones, Processing code and a broad range of sensors for prototyping and design-testing. The practical aspects of the course will be complemented by a series of lectures/talks and workshops by a range of practitioners and specialists in the field. Course tasks will focus on specific areas of application for tangible interaction; in previous years this has included museum exhibits, toys and musical installations.

Most students will then proceed to Interaction Design 2, where the skills learnt here will be applied to information and data analysis and presentation, using other interactive and audiovisual platforms – for example public, multitouch screens, ubiquitous and mobile devices.
 

Learning outcome

a. Knowledge:
Get an overview of research and projects within the field of physical computing and the history of tangible interactions and design; the approaches, issues and challenges faced by designers in the field.
Gain an understanding of historical and current technologies and practical applications.
Develop a critical framework and approach for the analysis and discussion of work in the field.
Understand the possibilities of working with interaction design within specific contexts.

b. Skills:
Understanding of basic electronics and Arduino. All students will be taught methods and tools to make working physical prototypes, and gain basic practical abilities with electronics.
Explore and practice interaction design methodology, embodied interaction, realtime interaction and social computing in a physical context.
Design interactive objects with a focus on engaging experiences for communication, education and play.
The ability to build experiential and testable prototypes to assess design concepts.

c. General competence:
Gain the ability to explore and understand connections between interaction design and industrial design.
Further develop the ability to continuously iterate and explore concepts in order to refine them.
 

Working and learning activities

Core components of the course are exploration and developing experiential prototypes of concepts. These are developed during the course by number of smaller projects that culminate in a larger final project at the end of the semester. The majority of the work will be done as pairs (different pairs for each project) with some projects of individual work and others of larger groups. Projects typically have multiple presentations throughout in order to allow students to see and comment on each others work. Typical weeks will have a presentation, possibly a lecture or workshop and then 1 or 2 opportunities for mentoring. Some projects may require a more intensive period with longer set hours during the week. This will be outlined at the beginning of the semester. The remaining time is able to be utilised as the student feels appropriate in order to develop the project, however it is encouraged that the majority of the time is spent working from the class studio in order to develop an inspiring and encouraging environment.
 

Mandatory courseworkCourseworks requiredPresence requiredComment
Exercise RequiredStudents need to present and submit all projects in order to be assessed for the course. Students will be informed at the completion of each project as to wether they have any out standing submissions. If students do not submit these deliverables for what ever reason ( medical absences etc) they can deliver later in the semester but must deliver before the final project commences (unless they have obtained an extension from administration).

If any students have difficulties or conflicts in working within their pair or group, they need to inform the course responsible and we can arrange a solution.
Obligatoriske arbeidskrav:
Mandatory coursework:Exercise
Courseworks required:
Presence required:Required
Comment:Students need to present and submit all projects in order to be assessed for the course. Students will be informed at the completion of each project as to wether they have any out standing submissions. If students do not submit these deliverables for what ever reason ( medical absences etc) they can deliver later in the semester but must deliver before the final project commences (unless they have obtained an extension from administration).

If any students have difficulties or conflicts in working within their pair or group, they need to inform the course responsible and we can arrange a solution.
Form of assessmentGroupingGrading scaleComment
Project assignmentGroupPass / failThe final project will be graded pass/fail by an external assessor and this results in the grade for the course.

Vurderinger:
Form of assessment:Project assignment
Grouping:Group
Grading scale:Pass / fail
Comment:The final project will be graded pass/fail by an external assessor and this results in the grade for the course.

Workload activityComment
AttendanceThere is an 90% attendance rate required for all presentations, lectures and workshops etc. Students also need to schedule their own mentoring sessions. Non attendances need to be accompanied by a doctors certificate.
Forventet arbeidsinnsats:
Workload activity:Attendance
Comment:There is an 90% attendance rate required for all presentations, lectures and workshops etc. Students also need to schedule their own mentoring sessions. Non attendances need to be accompanied by a doctors certificate.

70 504 Systems Oriented Design: “Design for Democracy“

Credits: 
24
Full course name in Norwegian Bokmål: 
Systems Oriented Design: “Design for Democracy“
Course code: 
70 504
Level of study: 
Master
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
Norwegian / English
Year: 
2017
Person in charge
Birger Sevaldson
Linda Blaasvær
Required prerequisite knowledge

Bachelor degree or equivalent in design or architecture.

Course content

The course is suitable for all design topics including architecture, urbanism and landscape architecture. The course ranges from micro to macro scale and students can develop and choose their perspective. The course has a main theme but even individual programming is possible. The course well suited as preparation for the diploma.

 

Design for a complex world

Designers today are confronted with an increasing complexity. Constantly new fields and tasks are opened up for designers and the importance of design increases. Complex socio-technical, problems are addressed by designers, both in the development of design solutions and the development of processes for complexity. To be better prepared for this development, we as designers must learn to handle greater complexity, understand larger contexts, learn more about the consequences of our choices, both for businesses, customers, individual users as well as and society.

 

Systems thinking

A deeper understanding of processes and entanglements of systems is called systems thinking. In Systems Oriented Design (SOD), we have developed an approach to systems thinking that is especially developed for practicing designers. It is the designerly approach to systems. We follow in the footsteps of many great SOD projects that have opened up new fields and which has given the design profession extra weight and more substance.

SOD is part of a larger movement with many approaches called Systemic Design (systemic-design.net). This movement was started by SOD teachers here at AHO and other people mainly from Canada and the US.

Read more on

www.systemsorienteddesign.net

www.systemic-design.net

 

Focus theme: Design for Democracy

We are experiencing major unrest in the world, democratic values are at stake, people fleeing from their homes and from war. Many nations are heading to democracy but it is a cumbersome way forward. Even established democracies are struggling, examples we have from the European Union and the United States. Norway is not an exception when it comes to the need for better participation and accountability of voters and citizens in general. The democratic systems' inherent short term perspectives together with the complexity of the driving processes makes it very difficult for citizens to voice long-term considerations and to know how to claim participation. Local democracy is underdeveloped compared to the major tasks that communities are confronted with. These range from sustainability to economic development and integration.

On the other hand, design has a long tradition of developing processes from a democratic perspective. Universal Design and Participatory Design processes are examples of this. Also designer have been involved in democracy in designing voting processes and information distribution for a long time. But design for democracy can be developed further. Can we, through design, envision and describe a future that supports a balanced distribution of power, values, and resources? Can we contribute to building democratic cultures and lowering the threshold for participation in democratic processes? Can we design processes that make it easier to think long term and through this encourage sustainable development? Can we, through the design of our surroundings help the emergence of democratic organizations?

The theme Design for Democracy seeks innovation to support democratic processes in small and large scale. Democracy is under pressure and there is no guarantee that democracy will prevail without a comprehensive effort to protect and develop democratic processes. This effort for developing democracy may in many ways be perceived as a design process, and designers have a lot to contribute.

In our age where the Internet has made it possible to reach out with ones opinions and where Democracy 2.0 has been relevant for a while, it is important with an effort to find out how designers can help.

The theme may involve a number of areas and issues where design can be a crucial factor:

How to convey democratic history?

How to help people to vote for their long-term interests?

How to make discussions of sustainability more accessible?

How to vote on behalf of others, your children, grandchildren, future generations or others who cannot vote? (Agency)

How Designing voting process as an interactive service?

How Reveal / uncover and communicate processes that undermine democracy?

How to fight for democracy? (Activism) What is the role of digital media in the ongoing popular uprisings?

How to build democratic cultures?

How to design our environment, cities, architecture and nature in democratic processes and democratic expression?

How designing new democratic arenas? - Networks, Technology and mobile phones as the venue for Democracy 2.0.

Design for variety, tolerance and integration.

Crowd Sourcing. (Self-organizing systems)

How can design fight oversimplified solutions and populism?

How can design make economic processes transparent?

The course is open to all students at AHO and it endeavors to think in transdisciplinary perspectives and to develop new perspectives or take positions that are not covered by the AHO disciplines. Examples include organizational design and design for action (action design) or entirely new perspectives.

The course should obviously be interesting for service and interaction design but also for product design, where one can think of many approaches that could lead to democratic products. Just think of the refinement of social signals and separation embedded in automobile design. On the systems level it is a big problem with today's mass production, which can be socially destructive and oppressive, and where there are big challenges when it comes to sustainability. Another interesting issue in the realm of products is the current development of 3D print technology. While general main steam commercialization tends to streamline and drain cultural expression, how might distributed manufacturing influence a growing diversity and new opportunities for individuals to express themselves? The tolerance for and thriving of diversity is a hallmark of democracy.

Architects are encouraged to apply. Architecture has a long history in serving the establishment and power. Today ethical discussions and an awareness of social responsibility increases. A deep knowledge of the process mechanisms, economics, cultural drivers and ethics in this is crucial. There is great frustration in parts of the Norwegian population of many of today's development projects and the accompanying processes. Participatory design processes should be explored.

The course is also relevant for urbanism and urban development as well as landscape and nature management. Participation in place development is statutory by Norwegian law but "we have bad processes for participation" (Geir Vikan, Councilman Tønsberg Municipality)

Learning outcome

The course is suitable for all design topics including architecture, urbanism and landscape architecture. The course ranges from micro to macro scale and students can develop and choose their perspective. The course has a main theme but even individual programming is possible. The course well suited as preparation for the diploma.

 

Design for a complex world

Designers today are confronted with an increasing complexity. Constantly new fields and tasks are opened up for designers and the importance of design increases. Complex socio-technical, problems are addressed by designers, both in the development of design solutions and the development of processes for complexity. To be better prepared for this development, we as designers must learn to handle greater complexity, understand larger contexts, learn more about the consequences of our choices, both for businesses, customers, individual users as well as and society.

 

Systems thinking

A deeper understanding of processes and entanglements of systems is called systems thinking. In Systems Oriented Design (SOD), we have developed an approach to systems thinking that is especially developed for practicing designers. It is the designerly approach to systems. We follow in the footsteps of many great SOD projects that have opened up new fields and which has given the design profession extra weight and more substance.

SOD is part of a larger movement with many approaches called Systemic Design (systemic-design.net). This movement was started by SOD teachers here at AHO and other people mainly from Canada and the US.

Read more on

www.systemsorienteddesign.net

www.systemic-design.net

 

Focus theme: Design for Democracy

We are experiencing major unrest in the world, democratic values are at stake, people fleeing from their homes and from war. Many nations are heading to democracy but it is a cumbersome way forward. Even established democracies are struggling, examples we have from the European Union and the United States. Norway is not an exception when it comes to the need for better participation and accountability of voters and citizens in general. The democratic systems' inherent short term perspectives together with the complexity of the driving processes makes it very difficult for citizens to voice long-term considerations and to know how to claim participation. Local democracy is underdeveloped compared to the major tasks that communities are confronted with. These range from sustainability to economic development and integration.

On the other hand, design has a long tradition of developing processes from a democratic perspective. Universal Design and Participatory Design processes are examples of this. Also designer have been involved in democracy in designing voting processes and information distribution for a long time. But design for democracy can be developed further. Can we, through design, envision and describe a future that supports a balanced distribution of power, values, and resources? Can we contribute to building democratic cultures and lowering the threshold for participation in democratic processes? Can we design processes that make it easier to think long term and through this encourage sustainable development? Can we, through the design of our surroundings help the emergence of democratic organizations?

The theme Design for Democracy seeks innovation to support democratic processes in small and large scale. Democracy is under pressure and there is no guarantee that democracy will prevail without a comprehensive effort to protect and develop democratic processes. This effort for developing democracy may in many ways be perceived as a design process, and designers have a lot to contribute.

In our age where the Internet has made it possible to reach out with ones opinions and where Democracy 2.0 has been relevant for a while, it is important with an effort to find out how designers can help.

The theme may involve a number of areas and issues where design can be a crucial factor:

How to convey democratic history?

How to help people to vote for their long-term interests?

How to make discussions of sustainability more accessible?

How to vote on behalf of others, your children, grandchildren, future generations or others who cannot vote? (Agency)

How Designing voting process as an interactive service?

How Reveal / uncover and communicate processes that undermine democracy?

How to fight for democracy? (Activism) What is the role of digital media in the ongoing popular uprisings?

How to build democratic cultures?

How to design our environment, cities, architecture and nature in democratic processes and democratic expression?

How designing new democratic arenas? - Networks, Technology and mobile phones as the venue for Democracy 2.0.

Design for variety, tolerance and integration.

Crowd Sourcing. (Self-organizing systems)

How can design fight oversimplified solutions and populism?

How can design make economic processes transparent?

The course is open to all students at AHO and it endeavors to think in transdisciplinary perspectives and to develop new perspectives or take positions that are not covered by the AHO disciplines. Examples include organizational design and design for action (action design) or entirely new perspectives.

The course should obviously be interesting for service and interaction design but also for product design, where one can think of many approaches that could lead to democratic products. Just think of the refinement of social signals and separation embedded in automobile design. On the systems level it is a big problem with today's mass production, which can be socially destructive and oppressive, and where there are big challenges when it comes to sustainability. Another interesting issue in the realm of products is the current development of 3D print technology. While general main steam commercialization tends to streamline and drain cultural expression, how might distributed manufacturing influence a growing diversity and new opportunities for individuals to express themselves? The tolerance for and thriving of diversity is a hallmark of democracy.

Architects are encouraged to apply. Architecture has a long history in serving the establishment and power. Today ethical discussions and an awareness of social responsibility increases. A deep knowledge of the process mechanisms, economics, cultural drivers and ethics in this is crucial. There is great frustration in parts of the Norwegian population of many of today's development projects and the accompanying processes. Participatory design processes should be explored.

The course is also relevant for urbanism and urban development as well as landscape and nature management. Participation in place development is statutory by Norwegian law but "we have bad processes for participation" (Geir Vikan, Councilman Tønsberg Municipality)

Working and learning activities

Students will work on a semester project individually or in groups (recommended size of groups is maximum two students).

Project Plans are created for each project individually according to the their demands. Each project requires, in principle, its own project design. The course itself is a dynamic social system that must be adjusted and tweaked in real time. Therefore, students must be actively involved in designing the course. We expect corrections of the course and changes in the approaches along the way. We emphasize that the students must be very active in designing their own project.

Communication

Communication within the project is acquired through co-inquiry, co-mapping and co-design and use of gigamaps to form consensual images of complex situations.

Communication outwardly practiced orally at the project presentations in open reviews and using appropriate techniques such as posters, video or narratives.

 

Expectations to the student:

Students are expected to be able to work independently and be able to use their previous experience from design or architectural education into their project. We expect a high level of activity and effort.

More than 20% of undocumented absence in lectures and other announced activities may result in a fail. Students are expected to evaluate their project systemically. This applies to the approach to the task, the threshold for systemic impact and synergy. It is expected of students that they can describe a problematique or problem-field, and specify a field for mapping / exploration. The course aims to prepare students to work professionally as a systems-oriented designer or architect within, product, service interaction design or architecture, or a more general (hybrid) direction in design. It is expected that the student demonstrate maturity in execution, development and implementation of their design project.

Students are expected to open up new themes or areas to work within as a designer or architect.

Form of assessmentGroupingGrading scaleComment
Project assignment-Pass / failSubmission of semester project communicated in an easily accessible manner with video or other visual techniques and in terms of exhibition to AHO WORKS EXHIBITION.
The main delivery is a project report with the following specifications:
1) Full name and contact info and private email (not aho email when it disappears.)
2) Abstract of maximum one page
3) One title picture representing project.
4) All permits obtained and anonymization completed
5) Table of Contents at the beginning
6) COMPLETE reference list at the end!
7) ALL images numbered and with copyright cleared and with credits.
8) All other deliveries as video and slides must be cleared with rights on all materials.

The report should contain the following structure and sections:
Title and subtitle
Abstact
Introduction, (Shortly about the fields, state of the art, approach, project, results)
Research and inquiries (present data, information, findings and insights)
Process and methods
The project presentation
Discussion (criticality is required, pro et contra)
Conclusion and further work

The students are evaluated on the basis of participation and effort, milestone reviews, assessment and final project delivery.
Minimum delivery: Project report, video and exhibition that easily communicate project.
The course is assessed as; Pass / Fail.
It is compulsory attendance at lectures, tutorials and presentations. More than 20% absence will result in a fail.
Vurderinger:
Form of assessment:Project assignment
Grouping:-
Grading scale:Pass / fail
Comment:Submission of semester project communicated in an easily accessible manner with video or other visual techniques and in terms of exhibition to AHO WORKS EXHIBITION.
The main delivery is a project report with the following specifications:
1) Full name and contact info and private email (not aho email when it disappears.)
2) Abstract of maximum one page
3) One title picture representing project.
4) All permits obtained and anonymization completed
5) Table of Contents at the beginning
6) COMPLETE reference list at the end!
7) ALL images numbered and with copyright cleared and with credits.
8) All other deliveries as video and slides must be cleared with rights on all materials.

The report should contain the following structure and sections:
Title and subtitle
Abstact
Introduction, (Shortly about the fields, state of the art, approach, project, results)
Research and inquiries (present data, information, findings and insights)
Process and methods
The project presentation
Discussion (criticality is required, pro et contra)
Conclusion and further work

The students are evaluated on the basis of participation and effort, milestone reviews, assessment and final project delivery.
Minimum delivery: Project report, video and exhibition that easily communicate project.
The course is assessed as; Pass / Fail.
It is compulsory attendance at lectures, tutorials and presentations. More than 20% absence will result in a fail.

70 503 Service Design 1

Full course name in Norwegian Bokmål: 
Service Design 1: Methods and Tools
Credits: 
24
Course code: 
70 503
Level of study: 
Master
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
English
Maximum number of students: 
15
Person in charge
Natalia Lucia Agudelo Alvarez
Required prerequisite knowledge

Passed foundation level courses at AHO or relevant and equivalent education (Design related bachelor).

Recommended previous knowledge:

  • User centred design methodologies
  • Qualitative research and analysis
  • Ideation techniques
  • Prototyping
  • Concept communication​
Course content

The course has two main sections, both developed by means of projects. The first project is intended to be an applied introduction to the concepts, methods and resources used for the design of services; the second one is a broader project for a partner (private company or public organization), where the students will work as professional Service Design consultants.

The course’s orientation is essentially practical, it builds on the idea that the best way to develop skills is by means of projects and practical experiences, and by exposing the students to different experiences and feedback from multiple observers.

 

Learning outcome

a. Knowledge:

  • Be able to describe the difference between products and services and what it means to design a service.
  • Understand how to use Service Design methodologies such as AT-ONE and User Centred Design for the development of service design projects.
  • Understand how service design can influence a company’s strategy and value creation.

b. Skills:

  • Refine the skills of observation, analysis, and creativity that lead to the formulation of relevant and valuable solutions for the user(s) as well as viable and feasible for the service provider.
  • Develop the skills to understand how businesses think, and hunt for business opportunities.
  • Visualize, communicate, and prototype both the current experience (what is) and the suggested new one (what could be).
  • Develop skills to evaluate the proposed solutions and business projects, according to the differential potential in the eyes of the user(s) and service provider.
  • Be able to plan and facilitate workshops for project teams.
  • Take a proactive and professional role in a team in collaboration with project partners.

c. General competence:

  • Gain methodical insight by participating actively in a service design process.
  • Promote professional experience in a real organization, strengthening the ability to work in a team with an emphasis on results.  
Working and learning activities

The main teaching will be based upon tutoring sessions in the classroom, AT-ONE Innovation workshops, structured presentations, and discussions with the course participants.  

The course also integrates lectures, studio work (groups and individual), and project(s) in collaboration with external partners where the students will form and work as design consultancies.

Curriculum

The course has two main sections, both developed by means of projects:

  • First project: An applied introduction to the concepts, methods, and tools used for the design of services.
  • Second project: A broader project for a partner (a private company or public organization), where the students will work as professional Service Design consultants.

Being a practice-driven course, the student’s progression through both projects will be presented by means of:

  • Group and individual mid-term deliverables and presentations 
  • Workshops
  • Evidencing material

Details regarding the calendar, main events, deliverables, and evaluation criteria will be described and detailed in the brief for each project at the beginning of each section.

Mandatory courseworkCourseworks requiredPresence requiredComment
Presence required Required
Obligatoriske arbeidskrav:
Mandatory coursework:Presence required
Courseworks required:
Presence required:Required
Comment:
Form of assessmentGroupingGrading scaleComment
Portfolio assessment (Vurderingsmappe)-Pass / failBeing a practice-driven course, the student’s progression through the course will be assessed by means of:
• Evidencing material
• Group and individual mid-term deliverables
• Presentations
• Project reports

In each section students will have group and individual deliverables that will receive qualitative assessment to identify their strengths and weaknesses, each project will also have a final presentation that will be assessed in pass and fail by an external sensor and the course leader. The details for each project regarding the deliverables and the evaluation criteria will be described in the brief for each project at the beginning of the section.

The students need to pass both sections to pass the course.

For those students that fail one of two modules, a portfolio assessment of the whole coursework (this comprises all group and individual deliverables presented by the student during the semester, additionally to the final presentation), will be carried out by the course leader and a second Service Design lecturer from the Institute at the end of the semester to finally decide if the student has reached the desired learning outcomes presented before in this document.
Vurderinger:
Form of assessment:Portfolio assessment (Vurderingsmappe)
Grouping:-
Grading scale:Pass / fail
Comment:Being a practice-driven course, the student’s progression through the course will be assessed by means of:
• Evidencing material
• Group and individual mid-term deliverables
• Presentations
• Project reports

In each section students will have group and individual deliverables that will receive qualitative assessment to identify their strengths and weaknesses, each project will also have a final presentation that will be assessed in pass and fail by an external sensor and the course leader. The details for each project regarding the deliverables and the evaluation criteria will be described in the brief for each project at the beginning of the section.

The students need to pass both sections to pass the course.

For those students that fail one of two modules, a portfolio assessment of the whole coursework (this comprises all group and individual deliverables presented by the student during the semester, additionally to the final presentation), will be carried out by the course leader and a second Service Design lecturer from the Institute at the end of the semester to finally decide if the student has reached the desired learning outcomes presented before in this document.
Workload activityComment
AttendanceThis is an intensive course and it demands consistent and hard work from the participants. Although the projects are often developed in groups, individual deliverables will be required and are mandatory.

Students are required to attend at least 90% of the main course events described in the detailed calendar for each project to pass the course. The course leader will take assistance 15 minutes after the beginning of each session and will inform the students when they are close to failing the course due to attendance.

Certified medical absences won't affect the participation, but they need to be informed on time to the course leader and to the Student Administration.
Forventet arbeidsinnsats:
Workload activity:Attendance
Comment:This is an intensive course and it demands consistent and hard work from the participants. Although the projects are often developed in groups, individual deliverables will be required and are mandatory.

Students are required to attend at least 90% of the main course events described in the detailed calendar for each project to pass the course. The course leader will take assistance 15 minutes after the beginning of each session and will inform the students when they are close to failing the course due to attendance.

Certified medical absences won't affect the participation, but they need to be informed on time to the course leader and to the Student Administration.

70 501 Industrial Desgign 1: Technoform

Full course name in Norwegian Bokmål: 
Industrial Design 1: Technoform
Credits: 
24
Course code: 
70 501
Level of study: 
Master
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
English
Maximum number of students: 
15
Person in charge
Steinar Killi
Required prerequisite knowledge

Passed foundation level courses, or equivalent. Able to use CAD tools

Course content

Technoform is an advanced course in industrial design dealing with the interaction between new technology and advanced form generation. The course builds on the legacy of industrial design both in Norway and Scandinavia, aesthetic approaches are explored in a cultural context within a technological frame. This is approached through two extensive iterations. First an incremental viable solution that builds on and refine solutions already available. Then a more radical proposition within the same theme that requires an even more creative and inventive process. The outcome of the course will be physical products.

Learning outcome

Knowledge

By the completion of the course the student shall have knowledge about:

  • perform a design process for physical products within to paradigms; as an iteration and through recontextualisation. The first part would typically be an incremental process while the second pursue on a process that aim for more radical innovations.

Skills
By the completion of the course the student shall have the ability to:

  • work and research through new manufacturing trends, that could be the foundation for advanced form-generation.
  • to use methods like Peer Creative development, backcasting and possibility driven design.
  • sketching, mock up building and CAD are extensively trained during the course

Competence

By the completion of the course the student shall:

  • have increased their tacit competence in performing a design process
  • be able to perform design processes that is not human centered driven
Working and learning activities

Workshops, lectures, individual and in groups. Peer feedback is a core method in the course

Curriculum

Curriculum will be presented at the course start and will consist of articles that can be downloaded from the Internet.

Mandatory courseworkCourseworks requiredPresence requiredComment
Exercise5Not required There are 6 midterm presentations, so called “Peer Reviews”. Attendance at at least 5 of these are mandatory to pass the course.
Obligatoriske arbeidskrav:
Mandatory coursework:Exercise
Courseworks required:5
Presence required:Not required
Comment: There are 6 midterm presentations, so called “Peer Reviews”. Attendance at at least 5 of these are mandatory to pass the course.
Form of assessmentGroupingGrading scaleComment
Project assignmentIndividualPass / fail The course has 2 main deliveries/studio projects. Both needs to be passed in order to pass the course.
Vurderinger:
Form of assessment:Project assignment
Grouping:Individual
Grading scale:Pass / fail
Comment: The course has 2 main deliveries/studio projects. Both needs to be passed in order to pass the course.

70 110 Design Basics

Credits: 
20
Full course name in Norwegian Bokmål: 
GK1 Introduksjon til design - Designeren
Course code: 
70 110
Level of study: 
Bachelor
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
Norwegian
Person in charge
Kathinka Bene Hystad
Required prerequisite knowledge

There are no prerequisites beyond admission to the program

Course content

Basic design - Part 1 Design Basics is the first part of the basic course in design. This is a rehearsal and practice-based course that provides a general introduction to the design subject. The course includes - amongst others - an introductory orientation to the design professional. Furthermore, the course describes the different tools and methods used in design practice. In addition the course includes an integrated drawing course that focus on methodological and analytical freehand drawing. The basic course focuses primarily on the design aspects of industrial design profession through individual design assignments and an aesthetic exploration of two-and three-dimensional expressions, including the use of color. Through a series of exercises oriented towards various design processes, the student will explore various specific issues through individual work with drawing and workshop based model building based on different themes and materials, and practice visual communication skills in presentations.

Learning outcome

Knowledge On completing the course the student should have acquired knowledge of relevant methods and tools in industrial design. The student should have acquired knowledge about the application of different aesthetic effects in two-dimensional and three-dimensional expression. Skills On completing the course the student should have acquired the ability to practice basic skills such as drawing, ergonomics, model building, CAD, visual communication and presentation skills including oral presentation skills. General competence On completing the course the student should have acquired a basic aesthetic awareness and formalize sensitivity. The student should have acquired experience with the use of different materials through exploration of different materials intrinsic properties.

Working and learning activities

Aesthetics; Through exercises and discussions Designerly approach; Through lectures, discussions and reviews Tools and methods; Through introductory lectures and tutorials Communication; Lectures, tutorials and reviews Material Understanding; Through exploration and experimentation Skills; independent work

Curriculum

Per Farstad: Industridesign - 2. utgave  Universitetsforlaget, ISBN 978-82-15-01310-7                                                       

Rowena Reed Kostellow: Elements of Design  and the Structure of Visual Relationships, by Gail Greet Hannah. Exercises in Three-Dimensional Design. Princeton Architectural Press, New York. ISBN: 1-56898-329-8

 

Anbefalt støttelitteratur:

Cheryl Akner-Koler: Three-dimensional visual analysis Konstfack, ISBN 91-87176-16-5 Anskaffes ved henvendelse til Konstfack, University College of Arts, Crafts and Design, Stockholm www.konstfack.se

Cuffaro m. Flere: The Industrial Design, Reference + Spesification Book, Rockport Publishers 2013, ISBN 978 1 59253 847 8

Koos Eissen & Roselien Steur: Sketching Product Design Presentation Bispublishers ISBN 978 90 6369329 9 (utgitt 2014!) www.sketching.nl

Paul Rodgers: Product Design. Portfolio Laurence King Publishing 2011 ISBN 9781856697514 Veldig god, aktuell og oversiktlig innføring i design thinking.

Erik Lerdal: Slagkraft, håndbok i ideutvikling Gyldendal, ISBN 978-82-05-36286-4

GRIP; En veileder i miljøeffektiv produktutvikling for industridesignere og andre produktutviklere (GRIP), Kompendie tilgjengelig som PDF på Moodle, samt på biblioteket

Rune Monö: Design for Product understanding – The Aesthetics of Design from a Semiotic Approach Rune Monö an Liber AB, ISBN 91-47-01105-x

Erik Olofsson, Klara Sjølen: Design sketching   http://www.designsojourn.com/good-books-on-design-sketching/

Eissen, K. & Steur, R (2011) ‘Sketching: The Basics’. BIS publishers. ISBN 9789063692537

Klara Sjölén and Allan Macdonald: Learning Curves http://www.designsketching.com/learningcurves.php 978-91-633-8952-8

Mike Baxter: Product Design – Practical methods for the systematic development of new products Stanley Thornes Publishers Ltd, ISBN 0-7487-4197-6

Carl Liu: Design book - Koos Eissen, Roselien Steur: Sketching 5th print - Drawing Techniques for Product Designers http://www.amazon.com/gp/product/9063691718?ie=UTF8&tag=designsojourn-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=9063691718

Dick Powell: Presentation Techniques http://www.amazon.com/gp/product/0316912433?ie=UTF8&tag=designsojourn-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=0316912433

Yoshiharu Shimizu: Creative Marker Techniques: In Combination With Mixed Media  http://www.amazon.com/gp/product/476610580X?ie=UTF8&tag=designsojourn-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=476610580X

Form of assessmentGroupingGrading scaleComment
Other assessment method, define in comment fieldIndividual-
ExerciseIndividualPass / fail
Portfolio assessment (Vurderingsmappe)IndividualPass / fail
Project assignmentIndividualPass / fail
Portfolio assessment (Vurderingsmappe)IndividualPass / fail
Project assignmentIndividualPass / fail
Other assessment method, define in comment fieldIndividualPass / fail
Vurderinger:
Form of assessment:Other assessment method, define in comment field
Grouping:Individual
Grading scale:-
Comment:
Form of assessment:Exercise
Grouping:Individual
Grading scale:Pass / fail
Comment:
Form of assessment:Portfolio assessment (Vurderingsmappe)
Grouping:Individual
Grading scale:Pass / fail
Comment:
Form of assessment:Project assignment
Grouping:Individual
Grading scale:Pass / fail
Comment:
Form of assessment:Portfolio assessment (Vurderingsmappe)
Grouping:Individual
Grading scale:Pass / fail
Comment:
Form of assessment:Project assignment
Grouping:Individual
Grading scale:Pass / fail
Comment:
Form of assessment:Other assessment method, define in comment field
Grouping:Individual
Grading scale:Pass / fail
Comment:
Workload activityComment
Attendance
Forventet arbeidsinnsats:
Workload activity:Attendance
Comment:

60 306 The City's public spaces

Credits: 
6
Full course name in Norwegian Bokmål: 
Byens offentlige rom
Course code: 
60 306
Level of study: 
Master
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
Norwegian / English
Year: 
2017
Maximum number of students: 
24
Person in charge
Jonny Aspen
Required prerequisite knowledge

Det kreves ingen forkunnskaper utover opptakskrav i studieprogrammet.

Course content

This course has the city’s public spaces as its thematic focus. The course sets out to explore, through theory as well as empirical research in Oslo, what the main characteristics of urban public spaces can be said to be today. We will look into how public spaces are produced, used and perceived across a range of spatial settings and social contexts. Some of the questions we will deal with are the following: What are the most important forces shaping todays urban public spaces? In what ways are urban public spaces changing? What is it that makes urban spaces public?

Learning outcome

Knowledge: The students will gain knowledge about contemporary urban public spaces that will be of great value for discussing architecture and urban development. Skills: The students will be trained in reading, discussing and presenting theoretical texts. The students will also be trained in various modes of researching concrete urban public spaces. Competence: The students will acquire competence that prepares them, based on their own research material, for writing a final discursive paper on the topic of contemporary urban public spaces.

Working and learning activities

The course will consist of three parts: 1) a selection of lectures on issues of urban public spaces, 2) readings of a selection on theoretical texts (students are expected to prepare presentations) and seminar discussions, 3) background research related to the writing of a final paper. Mandatory work requirements Students are expected to read a selection of the curriculum for each weekly session. The students will also be given the task of preparing seminar presentations based on their readings. Throughout the semester the students (tentatively small groups of 2-3 students) will spend time on conducting a case study of their own. The students are then, towards the end of the semester, expected to write up a final paper based on both case study material and theoretical readings.

Curriculum

pensumliste utleveres ved kursstart

Form of assessmentGroupingGrading scaleComment
Project assignment-Pass / failThe students shall write up a final paper that is to be handed in towards the end of the semester. The students shall also prepare a short presentation for the final critique.

The course is assessed as Pass/Fail, subject to the Regulations for Master’s degree programs at AHO, §6-14.
Vurderinger:
Form of assessment:Project assignment
Grouping:-
Grading scale:Pass / fail
Comment:The students shall write up a final paper that is to be handed in towards the end of the semester. The students shall also prepare a short presentation for the final critique.

The course is assessed as Pass/Fail, subject to the Regulations for Master’s degree programs at AHO, §6-14.

40 301 Body and Space Morphologies : Architecture and Film XIII

Full course name in Norwegian Bokmål: 
Body and Space Morphologies : Architecture and Film XIII
Credits: 
6
Course code: 
40 301
Level of study: 
Master
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
English
Year: 
2017
Maximum number of students: 
15
Person in charge
Rolf Gerstlauer
Required prerequisite knowledge

Passed Foundation Level. Students participating in the master studio Catharsis are given priority in the course registration. The produced short-films of the course will be published. 

Course content

Body and Space Morphologies is a research based teaching program that offers master studios (Catharsis, 24ect) and elective courses (Architecture & Film, 6ect) in explorative architectural design, sensing and thinking. We aim at, prepare for and enable students to conduct their own architectural investigation as an artistic parallel to scholarly research.

Based on performativity theories, performance studies, neurodiversity studies as well as phenomenology and perception theories, Architecture & Film works and investigates primal pre- architectural phenomena/conditions/etc and develops or performs these into experienced distinct architectural sensations/interests/identities on screen.

Architecture & Film uses video and editing software as the tools to individually observe, register, create and perform sensible events/situations/sensations/phenomena on screen. Emphasis is set on “a tactile, bodily way of seeing” that explores and projects the range of optical and haptic visuality, and that anew reflects upon and informs architectures spatial and material properties. 

Learning outcome

You learn to conduct advanced architectural investigations through the manufacturing of and discussion on moving imagery related to the theories of optical and haptic visuality, and you will be able to connect the findings with a phenomenology of architecture and/or body & space morphology. 

Knowledge of the basics in:

  • phenomenology (of perception / of architecture)
  • performativity, performance and performance studies
  • body & space morphologies
  • new media studies / theories of architecture, film and video connected to the topic of the course

Skills in:

  • alternative ways of seeing
  • video and filmmaking
  • editing software
  • story boarding

Competence to:

  • study and create phenomena/events etc with or through moving imagery
  • engage in and critically discuss ways of seeing
  • conceive of and present/communicate unique architectural content/research through a visual material and the phenomena or conditions experienced in it
Working and learning activities
  • Introduction to a historical, theoretical and philosophical discussion on film in general, and on kinetic representation of architectural space in particular (lectures and film-screenings)

  • The main activity is the artistic research based on the individual capacity to produce and read moving imagery with an architectural content (daily lectures and film-screenings, exercises in video-sketching and public screenings/discussions of the videos made)

  • Two course days are reserved for an in-depth training in the video editing software

  • Mandatory reading is handed out on the respective course days, a recommended reading list is available online

  • The final elective-course-week is organized as a workshop on "The Problem of Body" and ends with a public screening and review of the final films made this week

  • Publication and distribution of the course material 

Curriculum

Thesis / Point of Departure

The course starts with the following temperatures:

  • Architecture and film have since the beginning of film inspired each other. Imagination and the space of imagination belongs to both architecture and film

  • The production and representation of architectural space/body in film/video influences architectural practice

  • New tools and techniques of production together with complex systems and arenas of communication further inspire and challenge our perception, understanding and development of architectural space/body

and establishes the arguments:

  • Architecture’s traditional limitations are expanded

  • Architectural space seeks its renewal in a discussion / the further comprehension of time/space or time/space/place relationships

raising the following questions:

  • Given that architecture’s traditional limitations are challenged; how to perceive and understand architectural space when it occurs in that expanded environment?

  • .. and how to free a new architectural space emerging from its existence in that expanded environment? 

Semester Task

The topic of this semester is Performativity - Boarded Bodies

  • Architecture sets the stage for all human behavior. Moving imagery too creates, depicts and contains behavior; as narratives, phenomena and pure sensations just

Projected on screen or the medium it reflects upon, dwelling architecture and behaving yourself:

  • How to perform within body & space morphologies (the real) using a camcorder (the tool) to extend and expand your body (acting the acted)?

    How to perform, sense and inform what already moves and so it moves us again? 

Body and Space Morphology - a syllabus

Body and space morphology is about the relationship between body and space.


How it manifests itself to be human in a room; outdoors, indoor, outside and inside, and within the manmade room. Alone or together, as one amongst the thousand, or as the thousand above the one.

Body and space morphology is about your body and the room you have within.


How it manifests itself to be human in architecture; what it inspires us to, and what it inspires as an architecture, towards an architecture. Seeing the offer that lies in architecture, the perversion of it, the infrastructure, the poesy, the container, the gate, darkness or light from darkness.

Body and space morphology is about meeting the wall.


How it manifests itself being human between the walls; knowing or not knowing the self, loneliness, longings and all that is imaginable. Seeing change, insights and outlooks, transparency and visibility, hideouts in an omnipresence of the stage. Seeing light come and go, seeing chairs and mirrors shrink and grow. Seeing how all things inhabit and capture the room. Beining between and at the walls. Looking at how they swallow and devour the things. Seeing how the walls become.

Body and space morphology is about the problem of body.


How it manifests itself to face the unknown; what presents itself as new or what just became in front of you. That which yet not has a name, although it shows itself, can be touched, heard, smelled and felt. That which stands sound and nevertheless can leave, that which can or cannot be moved; moves us.

Body and space morphology is about the distance in space.


How it manifests itself to stand still; moving just a little, approaching things nevertheless, every thing, to jump, penetrate, going into things, turning around, looking up and down, taking on the things, looking back and keep moving on.

Body and space morphology is about what we do not know and approach anyway.


Without a map there are only lines and without a compass directions just get more, then the word world is exploded before recognition has become, and it is resemblance and closeness that which implodes us astray. This you might endure and as you wish.

Body and space morphology is about “to act necessities”;

wanton and radically so, using your hands, using the other, using your head but not meaning a thing, acting abstract, acting the figure, autonomous it is and dirty it will get, serious too; ridiculous radically so. 

Mandatory courseworkCourseworks requiredPresence requiredComment
Presence required dagerRequiredA typical course day consists of a lecture, the screening of a film/video and the production and discussion of the video sketches. You work individually with the tasks and deliver at the end of the day. The material produced is discussed in plenum. Two days are reserved for an in-depth training in the video editing software. Each course day demands 6-8 hours of attendance and work.

The final workshop-week has its own outline and demands daily attendance and work. This semester the focus will be on the human body in motion and in the meeting with spatial infrastructures and/or obstacles. The course collaborates for this week together with the French/Swiss Butoh dancer Julie Dind. The results of that collaboration will be published.
Obligatoriske arbeidskrav:
Mandatory coursework:Presence required
Courseworks required: dager
Presence required:Required
Comment:A typical course day consists of a lecture, the screening of a film/video and the production and discussion of the video sketches. You work individually with the tasks and deliver at the end of the day. The material produced is discussed in plenum. Two days are reserved for an in-depth training in the video editing software. Each course day demands 6-8 hours of attendance and work.

The final workshop-week has its own outline and demands daily attendance and work. This semester the focus will be on the human body in motion and in the meeting with spatial infrastructures and/or obstacles. The course collaborates for this week together with the French/Swiss Butoh dancer Julie Dind. The results of that collaboration will be published.
Form of assessmentGroupingGrading scaleComment
Portfolio assessment (Vurderingsmappe)IndividualPass / failIndividual artistic research work: On each of the ten course days, a new challenge is presented and will be worked on individually and then discussed in plenum at the end of the day. The material handed in consists of a video-sketch and a short text.

The final workshop runs from Monday to Friday. Each student works on her/his own finalfilm and installation and is meant to produce a final written critical reflection on the basis of her/his own produced visual material.

Examination: The extern sensor(s) discuss the video-sketches produced in the individual course days and assess the material of the final workshop week. In total 6-8 video sketches plus 1 final edited film with poster (inclusive all text work) are to be produced and reviewed.

Attendance and participation: Minimum 80% attendance of 8 course days w/ lectures, exercises and reviews and 2 course days with seminars and software introduction. The final workshop week is mandatory. A course day lasts from 10:00 to 16:00 or 17:00.
Vurderinger:
Form of assessment:Portfolio assessment (Vurderingsmappe)
Grouping:Individual
Grading scale:Pass / fail
Comment:Individual artistic research work: On each of the ten course days, a new challenge is presented and will be worked on individually and then discussed in plenum at the end of the day. The material handed in consists of a video-sketch and a short text.

The final workshop runs from Monday to Friday. Each student works on her/his own finalfilm and installation and is meant to produce a final written critical reflection on the basis of her/his own produced visual material.

Examination: The extern sensor(s) discuss the video-sketches produced in the individual course days and assess the material of the final workshop week. In total 6-8 video sketches plus 1 final edited film with poster (inclusive all text work) are to be produced and reviewed.

Attendance and participation: Minimum 80% attendance of 8 course days w/ lectures, exercises and reviews and 2 course days with seminars and software introduction. The final workshop week is mandatory. A course day lasts from 10:00 to 16:00 or 17:00.

Start semester

40 308 In Transit: Elective course

Full course name in Norwegian Bokmål: 
In Transit; Elective course
Credits: 
6
Course code: 
40 308
Level of study: 
Master
Teaching semester: 
2017 Autumn
Assessment semester: 
2017 Autumn
Language of instruction: 
English
Year: 
2017
Maximum number of students: 
15
Person in charge
Håvard Breivik
Tone Selmer-Olsen
Required prerequisite knowledge

The IN TRANSIT elective course is mandatory for students that enroll in the studio course SCARCITY AND CREATIVITY (SCS).

Course content

THE ROLE OF THE ARCHITECT IN HUMANITARIAN RESPONSE

The students will be introduced to the international humanitarian community’s response mechanisms in crisis and development contexts, focusing on the role of the architect and urban planner in this system. The course will examine how our professions can influence a shift in emergency response in becoming integration initiatives. Despite the temporary nature of emergency accommodation, such facilities tend to become permanent settlements – of which the Bourj Al Shamali camp in Lebanon is only one of many examples.

The course aims to stimulate critical thinking around ‘temporality’ and existing response mechanisms, and how to identify potential intersections of architecture and humanitarian response.

URBAN DISPLACEMENT

More than half of the world’s population is urban, of which one third lives in informal settlements. Furthermore 80% of internally displaced persons (IDPs) currently live outside camp settings. The term ‘urban displacement’ refers to the specific challenges related to urban contexts where IDPs, refugees, and migrants often mix with the urban poor in the existing host community.  

The issue of displaced populations in urban contexts is the most pressing challenge in the context of global displacement. This includes displaced populations hosted by local families, living in subsidized or rented housing, dispersed in the urban fabric (often mixed with economic migrants and the local poor) or gathered in informal spontaneous settlements, often referred to as camps. The course will explore the need for including the host community from the onset of the planning process, and not only addressing the immediate needs of the new arrivals.

Learning outcome

The students will gain knowledge about United Nations policy and operational responses, and the broader international humanitarian community, and endeavor to understand why architecture, urban design, and urban planning should be an integrated part of emergency response, and integration / development projects.

Working and learning activities

The course requires active participation in seminars and the student is expected to gather data for his/her work with the assignment before, during, and after the stay in Lebanon.

Lectures will be conducted by experts from the Norwegian Refugee Council/NORCAP and its extended international network. Existing guidelines, toolkits and material published by the UN, the NRC, and the UN clusters will be included in the curriculum.

Mandatory courseworkCourseworks requiredPresence requiredComment
Annet - spesifiser i kommentarfeltet RequiredThe IN TRANSIT elective course runs in parallel with the SCS Studio. Participation in both courses is mandatory. The course starts with an introduction in August at AHO. Classes normally spread throughout the academic semester are here concentrated in periods corresponding with the overall schedule of the SCS Studio course. Integrated in the semester is a study week (“fordypningskursuke”), devoted to individual work with specific assignments.
Obligatoriske arbeidskrav:
Mandatory coursework:Annet - spesifiser i kommentarfeltet
Courseworks required:
Presence required:Required
Comment:The IN TRANSIT elective course runs in parallel with the SCS Studio. Participation in both courses is mandatory. The course starts with an introduction in August at AHO. Classes normally spread throughout the academic semester are here concentrated in periods corresponding with the overall schedule of the SCS Studio course. Integrated in the semester is a study week (“fordypningskursuke”), devoted to individual work with specific assignments.
Form of assessmentGroupingGrading scaleComment
Portfolio assessment (Vurderingsmappe)-Pass / failThe assignment for the elective course will be a hand-in in the form of drawings, models, and/or texts that document a theme related to the studio course. The assignment will be taken up and further developed in the studio course. The final assessment will be in December 2017.
Vurderinger:
Form of assessment:Portfolio assessment (Vurderingsmappe)
Grouping:-
Grading scale:Pass / fail
Comment:The assignment for the elective course will be a hand-in in the form of drawings, models, and/or texts that document a theme related to the studio course. The assignment will be taken up and further developed in the studio course. The final assessment will be in December 2017.

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