2019 Høst

Start semester

70 113 GK1 Skriveøvelser design

Full course name in Norwegian Bokmål:

GK1 Skriveøvelser design

Credits:

Course code:

70 113

Level of study:

Bachelor

Teaching semester:

2019 Autumn

Assessment semester:

2019 Autumn

Language of instruction:

Norwegian

Year:

2019

Person in charge

Steinar Killi

Required prerequisite knowledge

Kurset er et tilbud til de studentene som har Ex-phil før de begynner ved AHO.

Course content

Fire designtekster, artikler, kapitler, presentasjoner blir diskutert i grupper. Forskjellige professorer vil tilrettelegge tekstene med tilhørende arbeidsoppgaver gjennom kurset. Tekstene vil representere forskjellige tilnærminger til designfaget.

Learning outcome

KUNNSKAPER

Studentene skal kunne :

Ha et overblikk over forskjellige skriftlige formater innenfor design
Foreta en analyse av design tekster, med tanke på innhold og uttrykk
Kritisk lesning av fagtekster innen designfeltet.

FERDIGHETER
Studentene skal kunne anvende metoder som:

Komparativ analyse
Nærlesning av fagtekster i forskjellige sjangere
Forståelse for hvordan design sees og beskrives innenfor forskning samt i litterær og kunstnerisk sammenheng

GENERELL KOMPETANSE
Ha kjennskap til formater og strukturer i design litteraturen

Kjenne til typiske trekk ved design-faglig litteratur
Kunne diskutere og beskrive design i en rekke genre

Working and learning activities

Tekster vil bli distribuert og behandlet i seminarer med ansvarlig professor. En arbeids oppgave utføres i sammenheng med hver tekst.

Mandatory coursework	Courseworks required	Presence required	Comment
Exercise		Not required

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	Individual	Pass / fail

Workload activity	Comment
Attendance

Start semester

70 303 Digital fabrication, technologies and processes

Full course name in Norwegian Bokmål:

Digital fabrikasjon, teknologier og prosesser

Credits:

Course code:

70 303

Level of study:

Master

Teaching semester:

2019 Autumn

Assessment semester:

2019 Autumn

Language of instruction:

English

Year:

2019

Person in charge

Steinar Killi

Required prerequisite knowledge

Passed foundation level (BA-level) courses at AHO or equivalent, 180 ECTS.

Prerequisite prior knowledge: Completed foundation education or equivalent. Basic prior knowledge in CAD tools such as Rhino, Solidworks, Alias, Blender etc. is required.

Recommended prior knowledge:

Prior knowledge of 3D printing and related technologies is recommended.

Course content

Digital fabrication is in rapid development and increasingly involved in design and architectural processes, as a tool for prototyping and construction. The course is meant for design- and architectural students at master's level, that seek a deeper insight in the utilization of digital fabrication, in their studies and elsewhere.

This course will give insight into use, limitations and possibilities with some of these technologies through practical, hands- on exercises. The course is meant for both design and architecture students who want a practice based understanding of existing and emerging digital fabrication technologies. The course will enable the students to explore many of these technologies through small workshops and exercises.

SUPPLEMENTIVE INFORMATION

The course is a collaboration between the academic staff at the Institute of Design, the Institute of Architecture and staff at the workshops at AHO.

Learning outcome

KNOWLEDGE

At the end of the course the students will

have knowledge about SLA, SLS, FDM, 3DP, lasercutting, knifecutting and 3D scanning.
have hands-on knowledge in how to run the different machines.
know how to evaluate the usefulness of the different processes.

SKILLS
With the completed studies the student will

be better equipped in utilizing the latent potentials of the technology in the setting of product-/interaction- and architectural design.
possess the necessary knowledge involved in preparation and pre-processing of digital CAD files.

GENERAL COMPETENCE
The student should be able to explain the choice of methods for realizing the tangible object, and why.

Working and learning activities

As with other elective courses the course will consist of weekly learning activities, lectures, material exploration and use of available digital fabrication processes through exercises in the workshops. The course culminates with an exhibition demonstrating selected outcome of the course.

Curriculum

Anderson, C. (2012). Makers: the new industrial revolution. Random House.

Hopkinson, N., Hague, R., & Dickens, P. (2006). Rapid Manufacturing: An Industrial Revolution for the Digital Age. John Wiley & Sons.

Thompson, R. (2007). Manufacturing processes for design professionals. Thames & Hudson.

Mandatory coursework	Courseworks required	Presence required	Comment
Exercise	5	Required	Assignments will be given between ordinary course days

Form of assessment	Grouping	Grading scale	Comment
Oral Exam	Individual	Pass / fail

Start semester

61 110

Credits:

Full course name in Norwegian Bokmål:

Form - Landskapslaboratorium

Course code:

61 110

Level of study:

Bachelor

Teaching semester:

2019 Autumn

Assessment semester:

2019 Autumn

Language of instruction:

Norwegian

Year:

2019

Course content

Emnet er lagt opp som introduksjon til landskapsarkitektur med fokus på landskapet som romlig fenomen. Emnet gir en første innføring i formgivningen av et landskap ut fra egne observasjoner. Undervisningen og læringen er sentrert omkring et prosjektarbeid med flere mindre formgivningsoppgaver og inneholder opplæring i og introduksjon til:

Formgivning og utvikling av prosjektoppgaver
Grunnleggende arkitektoniske representasjonsformer
Analytisk frihåndstegning
Digitale tegne- og formidlingsprogrammer
Bruk av skolens verksteder

Learning outcome

Kunnskaper:

Grunnleggende kunnskap om formgiving i landskapsarkitektur
Grunnleggende kunnskap om landskapets naturlige og menneskeskapte former
Grunnleggende kartforståelse

Ferdigheter:

Kunne tilnærmingsmåter, kommunikasjonsformer og arbeidsmetoder rettet mot landskapet som form, på grunnleggende nivå
Grunnleggende ferdigheter i bruk av digitale tegne- og formidlingsprogrammer
Bruk av grunnleggende representasjonsformer som tegning og modell

Kompetanse:

Grunnleggende forståelse av landskap som romlig fenomen
Redegjøre skriftlig og muntlig for faglig innhold
Kjennskap til arbeid i skolens verksteder
Bruk av tegning og modell som representasjon og analytisk verktøy

Working and learning activities

Undervisningen foregår først og fremst i form av ukentlig veiledning og gjennomgang av prosjektarbeider.

I tillegg kan undervisningen gis i form av forelesninger, seminarer, workshops og feltarbeid. Felles gjennomganger der studentene legger frem eget arbeid eller gruppearbeid i plenum utgjør en viktig del av undervisningen.

Kontakten mellom lærere og studenter foregår på tomannshånd, i grupper eller i plenum.

Curriculum

Emneansvarlig utarbeider pensumliste

Mandatory coursework	Courseworks required	Presence required	Comment
Annet - spesifiser i kommentarfeltet		Required
Annet - spesifiser i kommentarfeltet		Not required
Annet - spesifiser i kommentarfeltet		Required

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	Individual	Pass / fail
Portfolio assessment (Vurderingsmappe)	Individual	Pass / fail

Start semester

70 113

Full course name in Norwegian Bokmål:

Skriveøvelser Design

Credits:

Course code:

70 113

Level of study:

Bachelor

Teaching semester:

2019 Autumn

Assessment semester:

2019 Autumn

Language of instruction:

Norwegian

Year:

2019

Person in charge

Steinar Killi

Required prerequisite knowledge

Kurset er et tilbud til de studentene som har Ex-phil fra før, når de begynner på AHO.

Course content

Syv design tekster, artikler, kapitler, presentasjoner blir diskutert i grupper. Forskjellige professorer vil tilrettelegge tekstene med tilhørende arbeidoppgaver gjennom kurset. Tekstene vil representere forskjellige tilnærminger til designfaget.

Learning outcome

KUNNSKAPER

Studentene skal kunne :

Ha et overblikk over forskjellige skriftlige formater innenfor design
Foreta en analyse av design tekster, med tanke på innhold og uttrykk
Kritisk lesning av fagtekster innen designfeltet.

FERDIGHETER
Studentene skal kunne anvende metoder som:

Komparativ analyse
Nærlesning av fagtekster i forskjellige sjangere
Forståelse for hvordan design sees og beskrives innenfor forskning samt i litterær og kunstnerisk sammenheng

GENERELL KOMPETANSE

Ha kjennskap til formater og strukturer i design litteraturen
Kjenne til typiske trekk ved design-faglig litteratur
Kunne diskutere og beskrive design i en rekke genre

Working and learning activities

Tekster vil bli distribuert og behandlet i seminarer med ansvarlig professor. En arbeids oppgave utføres i sammenheng med hver tekst.

Curriculum

Vil bli gitt ved oppstart av kurset

Mandatory coursework	Courseworks required	Presence required	Comment
Exercise	6	Not required

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	-	Pass / fail

Workload activity	Comment
Attendance

Start semester

40 301 Body and Space Morphologies : Architecture & Film

Full course name in Norwegian Bokmål:

Body and Space Morphologies : Architecture & Film

Credits:

Course code:

40 301

Level of study:

Master

Teaching semester:

2019 Autumn

Assessment semester:

2019 Autumn

Language of instruction:

English

Year:

2018

Maximum number of students:

Person in charge

Rolf Gerstlauer

Required prerequisite knowledge

Admission to AHO and successful completion of three years bachelor level studies (180 ECTS) and a desire to conduct your own experimental artistic research on moving images producing and containing architectural phenomena and conditions.

NOTE:

This elective course is only open for students in 40 531 Body and Space Morphologies : Catharsis VIII - Acting and the Collective VIII + LISTA Field-Studio I

This elective course is mandatory for students who are planning to work for longer periods in Lista.

Course content

Body and Space Morphologies is a research based teaching program that offers a series of elective courses and master studios in explorative architectural design, sensing and thinking. The aim of the studio course series is to work and deeper investigate primal architectural phenomena and conditions, and to develop those into experienced distinct architectural sensations or interests. The elective courses on Architecture & Film are for students that wish to create their own architectural problem(s) through studies in film-making and the production and discussion of moving imagery; for students who have an urge to seek deeper into particular architectural issues and who want to challenge their own creative process and to get to know themselves better in the making and understanding of an architecture. Beyond the success of a mere problem-solving and/or established architectural critique, Body and Space Morphologies studios and elective courses prepare and try to enable students to conduct their own architectural artistic research.

Architecture & Film Fall 2019:
An investigation towards a discursive space in video/film. Architectural body and space in film have since the early days of film inspired and influenced architectural practice. New production and representation techniques in 3D-tools, games, film, and video continue to challenge our understanding for, and development of the architectural space.

The elective course Architecture & Film will focus on the morphology of body and space through investigations in photographic and moving images. The aim with the course is to further understand, influence and critically develop the architectural space through a phenomenological and perceptual approach. The course uses the video camera and editing software as creative tools to individually observe, register, and interpret different situations, sensations and phenomena – and with the aim to anew reflect upon and inform architectures spatial properties.

Collaborations:

- Julie Dind, scholar, Performance and Performance Studies, Pratt Institute New York

Learning outcome

Knowledge:
The ability to prepare and conduct an advanced visual experimental architectural design research through the work on and manufacturing of moving imagery; including process preparation/adaption, development of own working method, critical verbal/written reflection on the basis of ones own visual material (moving imagery), and the conclusion of the research in a final presentation and film-screening. The students learn how to conceive and perceive architectural form, space and body within the autonomous and un-programmed architectural construct produced and discovered on screen, and how to further discuss the occurring architectural phenomena as conditions within a body and space morphology discourse.

Skills:
The students will receive an introduction to theories of architecture, film, and video connected to the topic of the course. Weekly practical exercises will provide a thorough basic knowledge of the use of digital video camera and editing software (Adobe Premiere and After Effects) as the tools for registration, observation and creative interpretation. Exercises, lectures, and discussions contribute to give the students the opportunity to develop a critical stance on the use of camera/editing software as architectural tools in order to further facilitate an advanced, experimental design based on a current, critical architectural discourse. The students discover, retrieve and nourish architectural ideas from an immediate and impulsive reaction i.e. through intuitive and reflective filmmaking.

Competence:
In the final workshop week that focuses on approaching “the problem of body”, every student should be able to sense and aware body through architectural space and the making or active on-looking of a video camcorder as their bodily extension and intuitive reflective subjective tool that makes a new reality. In textual works we use the course experience to argue for how a new bodily reality or architectural space is created in the video montage – a body and space that cannot exist outside of the video.

The goal of the studio is to skill students towards independent and self-sufficient artistic architectural research that produces new architectural content, awareness and ideas; preparing them both for their final experimental architectural thesis/diploma but also for an artistic parallel to scholarly research in general (e.g. the alternative PhD as offered by the Norwegian Artistic Research Programme). In general, students are enabled to trust their creative work and seeing/reading ability towards strong and independent yet sufficient architectural content and ideas. They mature in their personal architectural awareness and should be able to make their artistic voice heard, no matter what context they operate in, through the work with moving imagery.

Working and learning activities

The main activity is the artistic research / architectural design based on the individual capacity to produce and read moving imagery with an architectural content. The course starts with a brief historical, theoretical and philosophical discussion on film in general, and on kinetic representation of architectural space in particular. Students will be introduced to the field of investigation through lectures, literature and a series of films and video art.

Exercises in video sketching* and video editing will train the students’ practical skills and insight in the relation between space and the image, and space in the image. Each course day starts with an hour-long talk on the challenge of the day (mandatory lecture). The students manufacture their video individually and then screen and discuss the video work in plenum.

Mandatory reading material is handed out on the respective course days. A literature list is available online and serves as a recommended reading list (not mandatory). *Video sketching: to draw – to doodle – to paint with video.

Work Effort/Demands
A typical course day consists of a lecture, the screening of a film/video and the production and discussion of the video sketches. The students 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 7-8 hours of attendance and work.

The final workshop-week has its own outline and demands daily attendance and work. This year's 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.

Curriculum

Abraham, A. A new nature: 9 architectural conditions between liquid and solid

Allen, S. Points and Lines

Arendt, H. The Human Condition

Arendt, H. On Violence

Barthes, R. Camera Lucida: Reflections on Photography

Barthes, R. Empire of signs

Barthes, R, & Heath, S. Image, music, text

Benjamin, W. The work of art in the age of its technological reproducibility, and Other Writings on Media

Benjamin, W. Walter Benjamin’s archive: Images, texts and Signs

Benjamin, W. On HashishB erger, John. About Looking

Berger, J. Why Look at Animals?

Berger, J; with Dibb, M., Blomberg, S., Fox, C. & Hollis, R. Ways of Seeing

Borges, J. L. Labyrinths

Calvino, I. Invisible cities

Deleuze, G. Francis Bacon: the logic of sensation

Deligny, F. The Arachnean and other texts

Descola ,P. Beyond Nature and Culture

Descola, P. The Ecology of Others

Derrida, J. The truth in painting

De Toledo, S. A. Cartes et lignes d’erre / Maps and wander lines: Traces du réseau de Fernand Deligny

Druot, F., Lacaton, A. & Vassal, J-P. Plus

Ellis, B. E. American Psycho: A novel

Fehn, S. The poetry of the straight line_Den rette linjes poesi

Fjeld, P. O.. Sverre Fehn. The pattern of thoughts

Flusser, V. Towards a Philosophy of Photography

Frampton, K. Labour, work and architecture: collected essays on architecture and design

Gissen, D. Territory: architecture beyond environment

Godard, J-L, & Ishaghpour, Y. How video made the history of cinema possible

Hays, M. K. Architecture theory since 1968

Hejduk, J. Architectures in Love. Sketchbook Notes

Hustvedt, S. The blazing world: A novel

Hustvedt, S. What I loved: A novel

Kittler, F. Optical Media

Kittler, F. & others. ReMembering the Body: Body and Movement in the 20th Century

Koestler, A. The Roots Of Coincidence. An Excursion Into Parapsychology

Koestler, A. The Act of Creation, a Study of the Conscious and Unconscious in Science and Art

Koestler, A. The Ghost In The Machine: The Urge To Self-Destruction

Kracauer, S. Theory of Film: the Redemption of Physical Reality

Krauss, R. & Bois, Y. A. Formless – A Users guide

Kwinter, S. Architectures of time: toward a theory of the event in modernist culture

Leatherbarrow, D. Uncommon ground: architecture, technology, and topography

Merleau-Ponty, M. Phenomenology of PerceptionM umford, Lewis. The transformations of man

Kolhaas, R. & Obrist, H. U. Project Japan: Metabolism Talks

Richter, G., & Friedel, H. Gerhard Richter: ATLAS

Scarry, E. The Body in Pain: The Making and Unmaking of the World

Serres, M., Malfeance: appropriation through pollution

Skinner, B. F. Walden Two

Sontag, S. Regarding the Pain of Others

Sontag, S. On Photography

Stein, E. On the Problem of Empathy

Stein, E. Potency and Act, studies toward a philosophy of being

Stein, E. Finite and Eternal Being: an Attempt at an Ascent to the Meaning of Being

Thoreau, H. D. Walden, Or, Life in the Woods

Vesely, D. Architecture in the Age of Divided Representation. Question of Creativity ...

Viola, B. Reasons for knocking at an empty house: writings 1973- 1994

Woolf, V. Kew Gardens

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	Individual	Pass / fail	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 concise 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 09:30 to 17:00 or 18:00.

Workload activity	Comment
Attendance	A typical course day consists of a lecture, the screening of a film/video and the production and discussion of the video sketches. The students 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 7-8 hours of attendance and work. The final workshop-week has its own outline and demands daily attendance and work. This year's 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.

Workload activity

Comment

Attendance

A typical course day consists of a lecture, the screening of a film/video and the production and discussion of the video sketches. The students 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 7-8 hours of attendance and work.

The final workshop-week has its own outline and demands daily attendance and work. This year's 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.

Start semester

2019 Høst

80 516 Re-store: Chungking Express

Credits:

Full course name in Norwegian Bokmål:

Re-store: Chungking Express

Course code:

80 516

Level of study:

Master

Teaching semester:

2019 Autumn

Assessment semester:

2019 Autumn

Language of instruction:

English

Year:

2019

Maximum number of students:

Person in charge

Claudia Andrea Pinochet

Lina Elisabeth Broström

Required prerequisite knowledge

Admission to AHO and successful completion of three years bachelor level studies (180 ECTS).

Interest and proficiency in history, material technology and structures is encouraged.

Course content

In this studio we will use the framework of critical restoration to explore the impact of tourism in the built environment. Students will work individually on a semester long-design project resulting in specific proposals for the restoration and adaptive reuse of existing tourist sites.

With our cell phone cameras, facebook and other miscellaneous (social) media, we capture and consume architecture for pleasure and curiosity. But all of this sampling is more than just a meaningless collection of virtual data. Its dissemination and decontextualization creates new narratives, parallel realities that have power over architecture. As eloquently described by Superstudio’s Salvages, in many cases what matters “is not so much the physical reality […] but rather the metaphysical idea of a mythical land whose reality has become a legend”.

What role does the tourist have in the maintenance (or destruction) of our built environment? How should architecture mediate between the growing visitor numbers and our new icons? Architectural interventions, big and small, can alter the way a site is perceived. This is particularly relevant with tourism or sites that are visited by hundreds of people on any given day. The studio will therefore examine different forms of organized tourism and the impact it has on our built environment.

According to the World Tourism Organization, tourism in every continent has practically doubled over the last 15 years — growing 7.0% and welcoming more than 1.3 Billion tourists last year alone, the highest increase in decades.

While international travel continues to increase, mass tourism has established itself as one of the most lucrative industries, capable of sustaining entire national economies. From cheap airline tickets, virtual search engines like Airbnb and Kayak; to google-translate and travel blogs reporting on train schedules and toilets in remote places; the experience of travel has completely transformed over the last decade. However this is just the beginning. As the population of emerging economies like Brazil, Russia, India and China (BRICs) rise into the middle class and leisure time becomes available, the growth of tourism will explode to new levels.

Tourism infrastructure can become a catalyst for the creation of new social and economic value. Tourists have a big role to play in the present and future of our built environment, often contributing (unknowingly) to the survival or destruction that which they cherish and defining the politics and development of a place.

From Supertudio’s salvages to CyArk and Faktum Arte’s replicas and UNESCO’s conservation project, this studio will seek to explore the politics and material challenges of the preservation practice. We will read and discuss preservation theory and work with different surveying techniques to document and analyze existing tourist destinations. Paying close attention to material qualities and looking for lessons on construction techniques while reflecting on the architectural ambitions of previous authors and the context that fostered those projects.

Later in the semester participants will be asked to develop a proposal restoring a given site. Large scale models and elaborate drawings will be important tools to develop the architectural nuances of each of the projects.

Essential to our studio will be, of course, exercising the role of the architectural tourist. Thus, we will have a field trip to Hong Kong, involving walking tours, participating in local events and visiting contemporary practices and examples of restoration projects.

This will be a parallel studio run in conjunction with Hong Kong University (HKU). On our study trip, we will work in the HKU campus, where we will hold our mid-reviews and to participate in local events. (Further details regarding the collaboration and program with HKU will be provided at the beginning of the semester.)

Learning outcome

— Understanding of both the history of restoration and critical reuse projects to increase self-awareness of own disciplinary position.

— Articulation of tactics towards the maintenance and renewal of our existing built environment based on close observation and analysis of present conditions. Approaching the reuse and transformation of existing structures at varying scales.

— Familiarizing with surveying and analytical techniques and improved understanding of structural and material technology.

— Command of techniques of presentation and representation to develop a clear architectural idea.

— Ability to independently develop an architectural project on the basis of an individual idea and to argue convincingly on its behalf.

— Knowledge of the constituent elements of an architectural work, including site, type, structure, enclosure and material.

— Benefit from exchange with international architecture program in very different context.

Working and learning activities

— Reading and critical discussions on theory of tourism and preservation.

— A methodological approach to representational work, such as working with detailed drawing sets and well crafted physical models.

— Development of an architectural proposal of simple materiality, chasing modesty and delight in working with existing conditions and the contextual realities of the project.

Form of assessment	Grouping	Grading scale	Comment
Project assignment	Individual	Pass / fail	Pass/Fail, based on the following criteria in relation to the given assignments: The final grade in the course will be given based on: — Participation and design production for weekly studio meetings: 30% — Mid review and Interim review presentation: 30% — Final review presentation: 40% Mid review, Interim review and final reviews are mandatory milestones. Work presented for the Mid review, the Interim review and the Final review will be evaluated according to the following criteria: Conceptual idea: Students should develop a clear individual architectural idea which is represented with relevant techniques and brought to life. In parallel show the ability to develop an architectural project on the basis of this idea and to argue convincingly on its behalf in pin-ups and desk crits. Material and method: Students are expected to articulate all material produced in studio with rigour. From survey and analytical techniques to structural and material technology. The assignment will be evaluated on methodological approach to representational work, such as working with detailed drawing sets and well crafted physical models.

Workload activity	Comment
Excursion	Excursion to Hong Kong is strongly encouraged. Attendance is not mandatory, but alternative assignment or work can be expected.
Attendance	Students are expected to be present and working during all studio meetings, twice a week. Students are also expected to be present during all seminars and reviews. Students are expected to deliver and complete assignments as stated on the briefs. Students are responsible for managing their own schedules. Deadlines for pin-ups, reviews and AHO works are not negotiable.
Group work	Students are expected to participate and to be active participants in a collaborative studio environment. That means being present and contributing during pin-ups, desk crits and group conversations, as well as communicating with your fellow students on a daily basis.
Individual problem solving	Students are expected to show independence and initiatives when developing their work, both in theory and practice. To actively locate and supply your individual project is essential for a successful result.

Start semester

70 506 Digital Service Experiences

Credits:

Full course name in Norwegian Bokmål:

Digital Service Experiences

Course code:

70 506

Level of study:

Master

Teaching semester:

2019 Autumn

Assessment semester:

2019 Autumn

Language of instruction:

English

Year:

2019

Maximum number of students:

Person in charge

Mosse Sjaastad

Required prerequisite knowledge

A third semester Master course (only available for students in their final year). Open for all students from interaction and service design. Students are required to have passed at least one of the interaction and service design courses given at the Master level (Interaction design 1&2, Service design 1&2). Priorities will be given to students that have passed two of these courses. Students are required to follow up and expand on their previous chosen specialisation/field (interaction and/or service design) in which they can document advanced design skills through a portfolio and application.

Recommended prerequisit knowledge

This course builds on the design skills and methods learnt across the previous Master courses in interaction and service design. In “Digital Service Experiences” students and teachers integrate and push these skills and mindsets to create projects that explores the possibilities for designing for digital service experiences across interaction and service design. The course is recommended for students with a strong foundation in interaction or/and service design, that want to develop and extend their skills across these fields.

Course content

“Digital Service Experiences” is an advanced Master course in interaction and service design. The course addresses current developments in the design of digital services, with an emphasis on experiential, creative and innovative qualities. The field of digital services is growing, and the design possibilities and challenges in this field are rapidly evolving. As designers we need to interpret and explore this changing landscape, and create our own methods and perspectives on how digital services can deliver valuable and meaningful experiences, empowering users and citizens, and through this expand the tools and mindsets for design as a discipline.

In this course students will develop projects across 3-5 themes and modules. Themes and modules will reflect current research and industry trends and will be updated each year. The modules will be run by different teachers, and involve a range of internal and external experts. The modules can be connected to research projects, external partners or emerging problematics within the field of interaction and service design. The themes will reflect current developments in the fields, and therefore change over the years. Current themes might include: new methods for digital service prototyping, ritual design and experience, novel techniques and creativity methods in digital design, exploration of technology in an interaction and service context, the ethics and politics of digital services, pop-up service piloting, as well as themes that reflects innovations in the digital service sector.

Students work individually or in small groups depending on the demands of the themes and modules. Each module will be followed by a supervisor and/or a partner. Partners and supervisors depend on the themes that the projects take up. Each module supervisor will be responsible for the students during the module.

As this is a final year Master course the students are expected to be self-driven and mature within their own practice. Together the students are expected to integrate skills and knowledge across interaction and service design, working either individually, inparallel, or in teams.

The main teaching structure is mentoring on project level and an ongoing evaluation of progress. There is a common structure for milestones and core-deliverables throughout the modules (development of project descriptions and plans, documentation and deliverables, and main presentations). Co-learning is central across the modules and students will be involved in developing research, lectures and materials that will be shared with the whole group.

Learning outcome

a. Knowledge:

- The core knowledge outcome of the course is to integrate and mature the processes and methods learnt in interaction- and service- design across the Master of Design.

- Further, students are expected to develop domain-specific knowledge across their projects.

- Knowledge about advanced themes in the field of digital services.

b. Skills:

- Develop and mature individual skillsets as designers across interaction- and service-design.

- Developing knowledge on emerging or newly relevant themes in the field of digital services.

- In “Digital Service Experiences” students develop and expand core project-handling skills. Including scoping, research, project-description, time-management and communication.

c. General competence:

Across “Digital Service Experiences” the goal is to develop the maturity of the students’ design competence and skills . This is done by both focusing on exploration and professionality on an advanced project-level.

Working and learning activities

The main activities of the course will be project- and module-specific. Across the course there will be a focus on maturing skills for self-driven project planning, developing and scoping. The course is run in a studio setting, and co-learning across the projects, with some shared lectures and presentations etc, are important. Students need to schedule their own mentoring sessions and develop project plans for each module.

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	-	Pass / fail	Students need to present and submit all projects, documentations and presentations in order to be assessed for the course. The course consist of 3 - 5 modules, and all modules need to be passed in order to pass the whole course. Evaluation will be based on the following elements: design projects, presentations, minor deliverables and workshops. Projects will be assessed for their relevance to the frame set in each module. If during the semester the student fail in one of the modules, they will be given the option to supply material within the timeframe of the semester. And in addition the external sensor for the final module will go through all the deliverables from the whole semester for this student do a portfolio evaluation. The course will be assessed by an external sensor/examiner.

Workload activity	Comment
Attendance	The semester has an expected high general attendance from the students and has a 90% attendance at lectures and workshops.

Start semester

70 305 Creative Technologies

Credits:

Full course name in Norwegian Bokmål:

Creative Technologies

Course code:

70 305

Level of study:

Master

Teaching semester:

2019 Autumn

Assessment semester:

2019 Autumn

Language of instruction:

English

Year:

2019

Maximum number of students:

Person in charge

Kai Reaver

Required prerequisite knowledge

The course is open to masters students of design, architecture, urbanism and landscape. A mix of students from each discipline will be promoted.

Prerequisite prior knowledge

Completed foundation education (180 ECTS) in design, architecture, urbanism or landscape architecture.

Recommended prior knowledge

The course is focused on giving introduction to how technologies can be explored as materials and tools for creative processes, with a specific emphasis on augmented and virtual reality. Prior experience with, and an interest in technology tools and platforms, such as Unity, programming, Rhino CAD, Arduino, etc, is recommended. Students are expected to work in groups and individually.

Course content

The course has two objectives. Firstly, it aims at informing students of the various tools and techniques involved with technologies that are currently becoming increasingly relevant for design, architecture and urbanism; such as mixed reality (AR, VR, etc), machine learning, 3D scanning, sensors, data and creative code. Secondly, it seeks to engage with these technologies and tools in a critical fashion, through open-ended exploration, play and error. The course aims to expose students to emerging technologies, tools and methodologies, and the content of the course will therefore be updated each year. In the Autumn of 2019, this course will have a particular focus on mixed reality and its use in informing urban governance. Through these objectives, the course seeks to teach master students at AHO the various possibilities that lay in emerging technologies that are available for design-processes and which might guide their studio work. As such, the course has a theoretical and practical approach to technology. It involves a series of lectures, visits to partners working with relevant tools, as well as individual case work among students.

Students will be expected to create a case study related to an existing service, protocol or platform which may be improved/modified through their work. The themes and exercises of the course will cover:

Creative exploration of new or emerging technologies with a focus on mixed-reality
Making use of technology in creative processes
Interdisciplinary exploration of technology as materials and tools for creative processes.
Hands-on exercises
Larger in depth project for the final week with an individual project from each student.

Learning outcome

Knowledge

With the completed studies the student will have a broader understanding of how emerging technologies effect design-processes, as well as be able to explore a set of technologies for creative purposes.

Skills

With the completed studies the student will be better equipped in utilizing the latent potentials of emerging technology in the setting of product/interaction, architectural, urban or landscape design.

General competence

The student should be able to explain the choice of methods and technologies for realizing their chosen projects, and why. The student should be able to critically reflect on the role of technology in their creative processes

Working and learning activities

As with other elective courses the course will consist of weekly learning activities, lectures, material exploration and use of available technology resources. Each course day will focus on a student's project work with new assignments given on a bi-weekly basis. Assignments will be presented at the beginning of each following course day, with the occasional supplement of lecture in subjects such as ‘Theory of Mechanical Production’, ‘Research through design’, ‘Technology in a historical perspective’, ´The So-called Smart City´, etc.

During the elective course week at the end of the semester, a larger project is to be conducted and presented for the rest of the group. There are several goals for the one-week projects. Aside from being a chance for students to engage in a particular context of use, a goal for the course is to disseminate on experimental uses of mixed-reality.

Curriculum

Design Nonfiction - Tellart. Video-series. http://www.designnonfiction.org

Barfield, Woodrow. “Commercial Speech, Intellectual Property Rights, and Advertising Using Virtual Images Inserted in TV, Film, and the Real World”. UCLA Entertainment Law Review, 2006.

Barfield, Woodrow ´Fundamentals of Wearable Computing and Augmented Reality. 2. Edition. CRC Press, 2015.

Berck, Colton. “Aug City: The Cyber-Spatial Impacts of Augmented Reality on the Field of Urban Planning.” Http://digitalcommons.unl.edu/arch_crp_theses/42 2017

Billinghurst, mark and Hirokazu Kato. “Collaborative Augmented Reality.” Communications of the ACM, no 7 (July 1, 202)

Bratton, Benjamin. The Stack, On Software and Sovereignty. MIT Press 2014

Deleuze, Gilles. “Postscript on the Societies of Control.” October 59 (1992)

Dourish, Paul. Where the Action Is: The Foundations of Embodied Interaction. MIT Press, 2001

Edwin, Gardner. “Hack the City!” Amateur Cities, 2015

Hill, Dan. “Network Urbanism.” But What Was the Question? (blog) 2016

Hill, Dan. “The Battle for the Infrastructure of Everyday Life”. Ibid, 2017

Hill, Dan. “The City is my Homescreen.” Dark matter and Trojan Horses (blog) 2019

Hill, Dan. “The Street as Platform 2050.” But What Was the Question? (Blog) 2016

Landry, Charles “The Digitized City: Influence and Impact” Comedia, 2016

Mumford, Lewis. “The City in History: It’s Origins, It’s Transformations, and It’s Prospects” Mariner Books, 1968¨

Townsend, Anthony. “Smart Cities: Big Data, Civic hackers, and the Quest for a New Utopia.” Norton & Company, 2014.

Metahaven, eds “Black Transparency: The Right to Know in the Age of Mass Surveillance.” Sternberg Press, 2015

Virilio, Paul. “Open Sky.” Verso, 2008 (English translation by Julie Rose)

Waal, Martijn de. “The City as Interface: How Digital Media are Changing the City”. Reflect #10. Rotterdam: nai010 Publishers, 2014.

Wood, David Murakami. “Towards Spatial Protocol: The Topologies of the Pervasive Surveillance Society.” Academia.edu, 2019.

Mandatory coursework	Courseworks required	Presence required	Comment
Exercise	4	Required	There are 5 minor modules in the course, each with a deliverance. In order to pass the course at least 4 of these must be delivered. There will be a mandatory exhibition of the modules at the end of the course.

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	-	Pass / fail	The deliverances from each module and a final exhibition makes up the basis for assessment.

Workload activity	Comment
Lectures	Lectures on creative technologies and other related subjects.
Individual problem solving	Between ordinary course days individually tasks will be given.
Workshops	Larger workshop in elective course week
Attendance

Mandatory coursework:	Exercise
Courseworks required:
Presence required:	Not required
Comment:

Form of assessment:	Portfolio assessment (Vurderingsmappe)
Grouping:	Individual
Grading scale:	Pass / fail
Comment:

Mandatory coursework:	Exercise
Courseworks required:	5
Presence required:	Required
Comment:	Assignments will be given between ordinary course days

Form of assessment:	Oral Exam
Grouping:	Individual
Grading scale:	Pass / fail
Comment:

Mandatory coursework:	Annet - spesifiser i kommentarfeltet
Courseworks required:
Presence required:	Required
Comment:

Languages

2019 Høst

Start semester

70 113 GK1 Skriveøvelser design

Start semester

Start semester

Start semester

70 303 Digital fabrication, technologies and processes

Start semester

61 110

Start semester

70 113

Start semester

40 301 Body and Space Morphologies : Architecture & Film

Start semester

80 516 Re-store: Chungking Express

Start semester

70 506 Digital Service Experiences

Start semester

70 305 Creative Technologies

Pages

Workload activity:	Excursion
Comment:	Excursion to Hong Kong is strongly encouraged. Attendance is not mandatory, but alternative assignment or work can be expected.