efnMOBILE 2.0 / Efficient Envelopes

Based on the experiences of efnMOBILE 1.0 the hands-on student workshop activities and exhibitions took place in different evironments and locations encouraging new technologies and methodologies. Like efnMOBILE 1.0 the new workshop series efnMOBILE 2.0 provides the European Facade Network (efn), its conferences and the connected professional community with a local platform for communication, exhibition, innovative development and interaction. efnMOBILE 2.0 is reaching out to be developed from a European communication and technology exchange instrument into an international tool to exchange with the global facade community. All events of efnMOBILE 2.0 follow an overall theme: ‘Efficient Envelopes’. Focusing towards adaptive and transdisciplinary approaches to improve the building envelope’s thus the building’s performance through human-centered solutions in facade technology. The task is to inspire the upcoming generation of architects, designers and engineers to allow themselves to follow uncharted paths of development, think outside the box, to build showcase examples, and to come up with ground-breaking solutions – for a better design as it relates to climate, health and an overall building design approach. The concept is supposed to foster the dialogue around sustainable design and development and to increase awareness and actionable solutions for sustainable design. In 2016 and 2017 efnMOBILE 2.0 has been present at three annual conferences of efn: Lucerne 2016, Delft 2017 and Detmold 2017 and additionally at the glasstec fair 2016 in Dusseldorf (Germany), and in 2017 at the University of Antwerp and the ICBEST conference in Istanbul (Turkey). Each event includes a three-to-five-days-workshop on location – to inspire and innovate - followed by a period designated to design development and engineering, and concludes with a final presentation to the professional public at fairs, conferences or in the educational context. During each event, the participants build mock-ups of different scales, do field research or intercultural exploration. To reach this goal the project contributes to the following outcomes: increased knowledge sharing between the various European research and education centres and between those centres and industry and further international actors. development of novel concepts and technologies and/or the new combinations of existing technologies. development of new knowledge such as effective evaluation tools/methods for adaptive facades. start of new collaborations and research projects in the area of facades technologies. This time efnMOBILE 2.0 also included an international online survey on facade education with responses from more than 200 participants. The survey addressed practitioners and scholars and was focussing on the needs and expectations of facade industry and consultancy. The results of the survey will help to further improve the existing programs and to develop new programs overseas. efnMOBILE 2.0 has been made possible through the funding of the ALCOA Foundation. The editors and the efn-members like to thank ALCOA Foundation for supporting this initiative to make building envelope design and connected educational programmes more efficient and successful by creating a platform for organized sustainable creative thinking

Yhteisöllinen tiedonrakentelu ja verkottunut asiantuntijuus Twitter-palvelussa : Case #okfest

Aims. This qualitative study explored a phenomenon of epistemic communality around a Twitter hashtag. The primary aim of the study was to explore communal epistemic production on the Twitter platform, especially in the context of a mutually shared hashtag. The study explored the peer-production of knowledge and epistemic structures in the context of a specialist domain collaborating in the open Web. The secondary aim was to explore how Twitter functions as a platform for networked expertise and as a public agora for practitioners' expert discourse. This nascent mode of cultural production leads to the development of expert cultures on Twitter and in the open Web. This creates new contexts for informal collaborative learning and cultral production potentially answering some of the competence challenges presented by the 21st century. Methods. The hashtag #okfest was launched for the 'Open Knowledge Festival' conference held in Helsinki, Finland (17–22.9.2012). The participants of the study were open knowledge practitioners who participated in the hashtag discourse of #okfest on Twitter. All public tweets containing the string '#okfest' were collected as data. Tweets were analyzed with qualitative thematic analysis exploring the epistemic contributions either included in the tweets or as hyperlinked attachments. Results and conclusions. The analysis indicated how the hashtag was appropriated to serve as a node of communal knowledge sharing beyond mere reporting from the conference. The analysis observed six themes of communal knowledge building in the hashtag space. The communal epistemic activities in #okfest were likened to the properties of a community of practice (Wenger, 1998). A network of practitioners engaging in a mutual domain creates a dynamic 'social learning system' combining social interaction with the production and dissemination of knowledge. The study yielded a novel theoretical concept of 'expert microblogging', recognized as a significant genre of cultural production in a specialist domain on Twitter and in the open Web. Finally the Twitter platform was ascertained as a site for the manifestation of cultures of networked expertise.Tavoitteet. Tämä laadullinen tutkielma tutki episteemistä yhteisöllisyyttä Twitter-palvelussa hashtag-aihetunnisteen ympärillä. Hashtag #okfest lanseerattiin Helsingissä pidetyn 'Open Knowledge Festival' –konferenssin taustakanavaksi 17–22.9.2012. Tutkielman pääasiallinen tavoite oli tutkia yhteisöllistä tiedonrakentelua Twitter-palvelussa erityisesti hashtagien ympärillä. Tutkimus kohdistui tietyn toimialan tiedolliseen vertaistuotantoon Twitterissä ja avoimessa Internetissä. Laajempi tavoite oli tutkia miten Twitter toimii alustana verkottuneelle asiantuntijuudelle ja julkisten asiantuntijayhteisöjen vuorovaikutukselle. Tämä uusi kulttuurisen tuotannon konteksti mahdollistaa verkottuneiden asiantuntijakulttuurien kehittymisen Twitterissä ja avoimessa Internetissä. Tämä luo uusia tilaisuuksia informaalille yhteisölliselle oppimiselle ja kulttuuriselle tuotannolle mahdollisesti vastaten nykyajan vaativiin osaamishaasteisiin. Menetelmät. Tutkimuksen osallistujat olivat avoimen datan ammattilaisia, jotka osallistuivat Twitterissä #okfest keskusteluun konferenssin aikana. Kaikki julkiset Twitter-viestit #okfest aihetunnisteella kerättiin aineistoksi. Viestejä analysoitiin laadullisella temaattisella analyysillä koskien niiden tiedollisia kontribuutioita joko viestiin sisältyen tai linkitettynä. Tulokset ja johtopäätökset. Tutkimustulokset osoittavat että hashtag-aihetunnisteen ympärille syntyi yhteisöllisen tiedonrakentelun ilmiö, joka oli enemmän kuin pelkkää raportointia tapahtumapaikalta. Analyysissä löytyi kuusi yhteisöllisen tiedonrakentelun teemaa jotka ilmenivät hashtag-tilassa. Yhteisöllinen tiedonrakentelu muistutti käytäntöyhteisöjen teoriaperinteen (Wenger, 1998) vuorovaikutuksen piirteitä. Asiantuntijoiden yhteisöllinen vuorovaikutus synnytti "sosiaalisen oppimisen systeemin" jossa tiedonrakentelu yhdistyi vuorovaikutukseen. Tutkimustuloksista nousi uusi käsitteellistys, asiantuntijoiden alakohtainen tiedollinen tuotanto (eng. expert microblogging). Twitter-alustalle paikantui verkottuneiden asiantuntijakulttuurien kehittyminen avoimessa verkossa

Higher education stimulating creative enterprise

This report summarises the research undertaken by the Business & Community School at the University for the Creative Arts (UCA), analysing ways that higher ediucation (HEIs) can support, and indeed stimulate, the creative economy. The research, in collaboration with the Arts University College Bournemouth (AUCB) and the University of Winchester, serves as a mere snapshot of the numerous ways that Universities engage with the diverse industries under the 'creative' nomenclature and of the very real and poistive ways that the higher education sector contributes to the growth of the creative economy in thhe UK

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

UPDATE OF THE CRAWL, WALK, RUN METHODOLOGY FRAMEWORK

This study updated the Crawl, Walk, Run methodology framework (CWRM) for the current digital marketing circumstances, observed in the context of the artistic community in virtual space. Four main premises of CRWM have been considered in order to address the effectiveness of online campaigns based on the  laddering support through tiers of engagement (personal, social, advocating); empowering super users; providing source materials for user-generated content; and using tools people are familiar with. The analysis was performed on the data collected from the online community which has operated for 43 days. Data on the number of registered users, their interactions with web site content and showcased artworks were gathered. The specific online platform was created for the purpose of this research and the campaign for its promotion was conducted both in Serbia and globally. The materials for direct communications (email, instant messaging), social media promotion (social networks, blogs) and public relations (articles in online and traditional media) were created. CRWM was proved to be efficient framework for the establishment of online presence of the artistic community. However, we propose that social networks should be introduced in the stage three instead of in the stage four, due to the increase of their applications compared to the time when the CRWM was formulated. All activities once they start should be maintained and performed throughout the campaign lifetime. This study represents one of the first efforts aimed at updating of the CRWM theoretical framework and provides business community with hands-on solutions in modern digital marketing

Changeable Context of the New Technology Artefact and the Changeable Research Outcomes

Computer Aided Drawing (vector based) and painting (raster based) packages, allow the mock-up of designs in virtual space. Whilst this is beneficial for visualising the end product, both methods of drawing have been applied to new and existing machining technologies so that some aspect of the product is derived from a computer file. Today, the applied artist now has an abundance of CAD/CAM (Computer Aided Drawing / Computer Aided Manufacturing) technologies awaiting them. So much so, that in the past fifteen years, many makers have embarked upon practice-led research to find out what a particular technology can do with regard to their design interests. Within such research, the object is the manifestation of what has been discovered through the research activity. This paper considers the relationship between the content of the research object and the context for the object’s reception. This is examined with regard to the author’s research with new technologies for the applied arts. Examples will highlight how the characteristics of artefacts that arise from the research can help determine who the audience for the work is, and how the technology might be used by different kinds of craft practitioners. References will also be made to the work of other designer-makers working with and researching similar technologies. Evidence from practical examples will also be supported by a more theoretical discussion. The implications of supplying, or not supplying, background information for an audience within a variety of settings on the perceived content/context of the object, and the communication of the research, will also be discussed. It is concluded that when developing new processes, keeping the work open to a number of audiences can maximise the outcomes and increase the chances of the process being integrated within practice. The discussion also highlights a trend of positioning the consumer/viewer at the forefront of the research, and a need to evaluate their experiences