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Basics blog post #01
(2019)
Ausgabe #01 zeigt Arbeiten zehn Studierender aus dem Jahr 2019. Die Motive entstanden im Rahmen der Grundlehrezu den Themen Farbe, Darstellungsmethoden und generative Gestaltung.
Die vorliegende Dissertation befasst sich mit dem Initialwerk und der Initialphase in der Kunsttherapie. Sie gibt einen Einblick in die Phänomene im Vorfeld zur Kunsttherapie, beleuchtet die erste Begegnung zwischen Patient und Therapeut während des Vorgesprächs und beschreibt das frühe künstlerische Schaffen des Patienten in der Initialsitzung. Herzstück der Initialphase ist die erste künstlerische Arbeit des Patienten, die – wie der Initialtraum in der Psychoanalyse oder das Erstgespräch in der Psychotherapie – eine besondere Rolle innerhalb der Therapie einnimmt.
Diese besondere Rolle wurde mithilfe einer Kohortenstudie erforscht, an der 86 Patienten teilnahmen: 26 Patienten mit Schizophrenie, 46 Patienten mit Depression und 14 Patienten mit Borderline-Persönlichkeitsstörung. Für die Untersuchung wurde eine qualitative Forschungsmethode ausgewählt, die als Basis ebenso quantitative Erkenntnisse nutzte. Im ihrem Mittelpunkt stand die retrospektiv visuelle Erforschung von initialen und weiteren Kunstwerken, die aus kunsttherapeutischen Fallserien stammten. Zum Einsatz kamen weitere Elemente aus anderen Forschungsmethoden, wie bspw. der Entwurf einer Mindmap nach Buzan (2014), die Interpretation der visuellen und handschriftlichen Steckbriefe nach Rose (2007) oder die Bildung von Teilgruppen nach McLeod (2003). Im Ergebnis konnten für jede Kohorte spezifische Phänomene identifiziert werden, die für eine diagnostische Einschätzung des Patienten, zur Prognose therapeutischer Prozesse und für eine Behandlungsplanung mit Zielformulierungen in der Kunsttherapie verwendet werden können.
Die Kohortenstudie versteht sich als Pilotstudie, die einen ersten Beitrag auf dem Gebiet des Initialwerks in der Initialphase zur Kunsttherapie leistet. Ihre Ergebnisse können als Ausgangsbasis und zur Grundlage für vertiefende Forschungen auf diesem Gebiet dienen.
In view of growing concerns on climate change and temperature extremes, there is a need to explore novel methods that provide thermal comfort in architecture. Latent heat thermal energy storage with phase change materials (PCM) has been widely researched in last decades in the field of energy technology and proved beneficial for reduction and shifting of the thermal loads and improving the overall thermal storage capacity of building components. Although a variety of PCM containments have been investigated for indoor cooling applications, the examples of exposed, design-oriented macro-encapsulations are rare. This paper presents a study of visible, suspended ceiling encapsulations for passive cooling, made of glass and novel bio-based PCM. The aim is to provide an overview of correlations between basic containment geometries and their thermal behavior that serves as a base for the further design of custom-made PCM macro-encapsulations. An experimental set-up of test boxes is developed for thermal cycling and a comparative analysis of the thermal performance of varied PCM encapsulation geometries. The study concludes that the containments with the large exchange surface and the small thickness offer an optimal material distribution for the temperature reduction in the box. Based on experimental results, suggestions are made on further formal strategies for the design of cooling elements for local thermal regulation.
New methods for designing with phase change materials (PCM) could widen the range of applications of passive systems for indoor cooling in architecture. This paper investigates material and formal strategies for generative architectural design that support the thermal performance of PCM. Dendritic geometry of PCM encapsulation with a large surface area per unit volume is proposed for enhancement of the heat transfer between PCM and surroundings. The prototype of the PCM ceiling component is digitally designed, manufactured in glass and tested in an experimental set-up for thermal cycling. Correlations are made between geometric configurations and cooling performance of dendritic and spherical PCM containments. The presented methodology integrates tools and techniques from digital design and energy technology, with an aim to contribute to novel PCM-based concepts for local thermal regulation in architecture.
UdK 2030 Zukunftstag
(2019)
When going deep into the area of sustainability and looking at the crosslinks that open up regarding the practice of design, a dark narrative appears whereby sustainable design is a failing practice, either aiming too high by trying to tackle global, inter- and intragenerational challenges, or aiming too low by focusing on, for example, material impacts of new products and services; this narrative appears to have an upper hand over one that is more positive and constructive that sees the strengths and potentials that design can bring to the challenges of sustainability. While the growth-oriented sustainable development discourse still dominates the way sustainable design is practiced, there are other streams with a more holistic view of sustainability. These streams are rooted in a post-growth / no-growth or strong sustainability discourse, which are slowly making their way into design practice through the guise of sufficiency, resilience and activism with a common theme of sharing knowledge, allowing citizens to be an active part of their community.
The dark narrative of sustainability in design as well as the call for designers to transform a practice of “un-sustainability” into one that allows “futuring”, leaves most of them shrugging their shoulders in light of how to implement the theoretical (utopian) requirements into their own practice. I argue for providing a different, more positive narrative, moving past the finger-pointing attitude towards reminding oneself what the practice of design in the context of sustainability can bring to the table.
Why there are new directions in sustainable design is largely because design has broadened beyond its product and service fixation towards a more process-oriented practice and an awareness of the impact designers have on this world. In these processes, designers are often taken outside the boundaries of growth-oriented economic progress towards social progress. They are continuously reminded that they cannot operate outside of a societal context and that their work has an impact on the Earth’s dynamic equilibrium (however small it might be).
Thus, the aim of my work is to re-frame sustainable design as a default configuration, stripping it from the unwieldy term of sustainability and extracting its core features of transformation, participation and future-focused thinking. Considering this core configuration, design is bound to be situated between anthropo- and eco-centricity, putting into question current user- and human-centric design approaches that tend to marginalize the everyday context and wider implications of the designed product or service.
Through an investigation that spanned the last five years, I have come to realize that sustainable design has nothing to do with a specific practice, but rather with a mindset which is, at its basis, tied to ethical considerations rooted in everyday life. It is moreover tied to broad, interdisciplinary knowledge that is needed to grasp the interconnected and global challenges that lie ahead. To make this point, in my work I am retracing the steps from the early roots of sustainable design within the sustainability movement towards its radical opening in different directions such as design activism, transformation design, design for social innovation and participatory design.
Furthermore, I propose a re-framing of the practice of sustainable design, (tentatively) linking it with a research-through-design approach and subsequently, through the design case, constructing a dynamic, interdisciplinary action repertoire for designers.
When framing this renewed idea of sustainable design, not only do the two dimensions of transformation and participation almost automatically appear in the current discourse, but also the notion of opening up contexts through design in a way that is directed towards possible (sustainable) futures becomes apparent. Several overarching perspectives resurface in the course of this work:
1 Opening – How can designers open access to contexts, tools, knowledge and technology through collaborative, interdisciplinary action?
2 Making – How can designers provide processes to involve stakeholders in critically assessing and making possible futures?
3 Transforming – How can designers transform contexts and situations from one state to a preferred one (and how can they facilitate the negotiation-processes tied to them with regards to social equity and intra-generational justice)?
The topic of transformation and future-focused thinking is currently engaging most of design, not exclusively sustainable design, and this thinking seems to provide an underlying idea that design may be able to provide at least part of the skill-set required to cater to this transformation. It is, however, not only the context and situations design claims to transform, but also user behavior and market incentives. In this research, transformation is viewed as a careful byline to a project which spans almost six years and is now coming to a close.
The design case for this research is the project Neighborhood Labs which has been run by an interdisciplinary group of design researchers, citizens and other stakeholders in a central, but isolated area in Berlin’s Mitte district. It incorporated the development of a research concept and experimentation process which builds on a participatory design methodology as well as a living lab approach. It was planned open-ended with the potential of stakeholders taking over after the official end of the research project.
In terms of sustainability, the subject and guiding theme of sharing and collaboration was the baseline of the design phases and iterations. While focusing at first on the sharing of concrete objects in a specific community of practice, there was a shift to sharing knowledge, as well as to the empowerment of citizens to impact local decision-making processes, a much fuzzier subject than the sharing of objects or services. The project was run in three intertwined phases:
– Sharing phase / Neighborhood lab: Setting up and running a living lab. Investigating the context and building the infrastructure. Approaching the neighborhood and designing tools for gathering insights about needs and issues within it while drawing active citizens towards the project. After this step, insights inform the research process and help focus the research question further. This phase produced several concepts and sketch prototypes in collaboration with the stakeholders of the Fischerinsel, Berlin.
– Infrastructure phase / Designing infrastructures & fostering change: Designing and testing participatory tools such as the Hybrid Letterbox, an analog-digital bridge device, in order to discuss and evaluate questions of social cohesion and communication within the neighborhood and to activate citizens for involvement in these issues.
– Transfer phase / Design transfer: opening up the context and pushing the methods and tools outside of its initial project and creating new instances thereof.
As I am reflecting on the process of a long-term project now behind me, such as working through trial-and-error phases, prototypical research-through-design attempts and the immersion in the Fischerinsel-context that the research group grew a part of, several key directions in the dealing with and conveying of sustainability challenges appear.
On a practical level, these directions materialize in the categories of investigative action, participatory tools and workshop formats, which are distilled from a broad range of interdisciplinary actions conducted over the course of the research, leading to an action repertoire for transformation which I propose as one of the outcomes of my work.
On a theoretical level, I argue for sustainable design by default, meaning sustainability as an inherent, embedded goal of any design process, integrating a research-through-design mindset in sustainable design or vice versa. In further steps, this entails restructuring the way we teach design and how design practice is informed throughout its process.
Elastic gridshells are celebrated for their striking biomimetic curves, long spans and efficient material usage. Constructed from a grid mechanism of slender beams, an elastic gridshell is assembled on a flat surface then repositioned into its final curved shape after which stabilising elements are added and the structure becomes a stiff load-bearing shell.
While elastic gridshells are efficient in their built-state, the established methods with which to erect them (‘lift up’, ‘push up’ and ‘ease down’) are associated with substantial complexity, cost and time which inhibit their adoption. The central research question of this thesis asks whether elastic gridshells can be erected by means of pneumatic falsework (i.e. ‘inflate’), if so how and what would be the implications of doing so.
The work presented in this thesis proves that the pneumatic erection of elastic gridshells is not only feasible but can offer many advantages (such as speed of erection, structural robustness and architectural qualities) over existing shelters for humanitarian, event and architectural applications. A literature review is presented on the historical precedent for this novel method. The computational challenges of simulating the complex erection process are investigated in depth leading to the development of bespoke simulation methods based on the novel application of a projection-based dynamic relaxation solver.
Case studies and a benchmark compare state-of-the-art finite element solvers based on both global and local stiffness revealing their quantitative and qualitative differences giving some indication as to the future of finite element modelling for the built environment in engineering, research and education. Innovative prototypes of augmented and virtual reality engineering tools for education are presented as wider reaching applications of the novel simulation method developed for this thesis.
The simulation methods developed to answer the central research question deliver valuable findings relating to the scope of feasibility and the practical execution of the novel method including: suitable shapes and sizes of shells, ‘trigger’ pressures required, the function and importance of tethering cables during erection, development and detailed analysis of erection sequences and identification of material suitability and performance criteria. One small and two full-scale physical prototypes were built which validate the novel computational methods to a high level of precision, offer practical detailing solutions and demonstrate the architectural and humanitarian potential within the pneumatic erection of elastic gridshells.
Die vorliegende Arbeit beschäftigt sich mit kommunikationswissenschaftlichem Framing auf theoretischer wie praktischer Ebene.
Innerhalb der Medien- und Kommunikationswissenschaften galt Framing lange Zeit als vielversprechendes "Brückenkonzept" zur Vereinigung verschiedener Teildisziplinen wie Medieninhalts- und Medienwirkungsforschung. Durch die Breite des Ansatzes zerfaserte das Konzept in der Folgezeit allerdings zusehends.
Die vorliegende Arbeit hat es sich deshalb zur Aufgabe gemacht, innerhalb eines ausführliches Theorieteils die Ursprünge des Konzepts zu untersuchen und mittels historischer Betrachtung auf eine Vereinheitlichung des Ansatzes hinzuwirken. Hierzu werden phänomenologische, sozial- und kognitionswissenschaftliche Überlegungen verknüpft und anschließend mit den bestehenden, medienwissenschaftlichen Ansätzen zur Framing-Forschung verglichen.
Aus einem daraus amalgamierten Gesamtkonzept wird sodann auf der Grundlage der induktiven Framing-Kategorien Robert Entmans ein Analyseinstrument entwickelt und beispielhaft angewendet, um die Berichterstattung der Banken- und Staatsfinanzkrise in deutschen Onlinemedien zwischen 2010 – 2011 zu untersuchen.