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- Gullström, Charlie
(author)
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Presence Design : Mediated Spaces Extending Architecture
- 2010
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Doctoral thesis (other academic/artistic)abstract
- This thesis is a contribution to design-led research and addresses a readership in the fields of architecture as well as in media and communications. In juxtaposing the tools of the designer (e.g. drafting, prototyping, visual/textual/spatial forms of montage) with those of architectural theory, this thesis seeks to extend the disciplinary boundaries of architecture by observing its assimilation of other media practices. Its primary contribution is to architectural design and theory, and its aims are twofold: Firstly, this thesis applies the concepts of virtual and mediated space to architecture, proposing an extended architectural practice that assimilates the concept of remote presence. Through realized design examples as well as through the history and theory of related concepts, the thesis explores what designing mediated spaces and designing for presence entails for the practicing architect. As a fusion of architecture and media technology, video-mediated spaces facilitate collaborative practices across spatial extensions while simultaneously fostering novel and environmentally sustainable modes of communication. The impact of presence design on workplace design is examined. As an extended practice also calls for an extended discourse, a preliminary conceptual toolbox is proposed. Concepts are adapted from related visual practices and tested on design prototypes, which arise from the author’s extensive experience in designing work and learning spaces. Secondly, this thesis outlines presence design as a transdisciplinary aesthetic practice and discusses the potential contribution of architects to a currently heterogeneous research field, which spans media space research, cognitive science, (tele)presence research, interaction design, ubiquitous computing, second-order cybernetics, and computer-supported collaborative work. In spite of such diversity, design and artistic practices are insufficiently represented in the field. This thesis argues that presence research and its discourse is characterised by sharp disciplinary boundaries and thereby identifies a conceptual gap: presence research typically fails to integrate aesthetic concepts that can be drawn from architecture and related visual practices. It is an important purpose of this thesis to synthesize such concepts into a coherent discourse. Finally, the thesis argues that remote presence through the proposed synthesis of architectural and technical design creates a significantly expanded potential for knowledge sharing across time and space, with potential to expand the practice and theory of architecture itself. The author’s design-led research shows that mediated spaces can provide sufficient audiovisual information about the remote space(s) and other person(s), allowing the subtleties of nonverbal communication to inform the interaction. Further, in designing for presence, certain spatial features have an effect on the user’s ability to experience a mediated spatial extension, which in turn, facilitates mediated presence. These spatial features play an important role in the process through which trust is negotiated, and hence has an impact on knowledge sharing. Mediated presence cannot be ensured by design, but by acknowledging the role of spatial design in mediated spaces, the presence designer can monitor and, in effect, seek to reduce the ‘friction’ that otherwise may inhibit the experience of mediated presence. The notion of ‘friction’ is borrowed from a context of knowledge sharing in collaborative work practices. My expanded use of the term ‘design friction’ is used to identify spatial design features which, unaddressed, may be said to impose friction and thus inhibit and impact negatively on the experience of presence. A conceptual tool-box for presence design is proposed, consisting of the following design concepts: mediated gaze, spatial montage, active spectatorship, mutual gaze, shared mediated space, offscreen space, lateral and peripheral awareness, framing and transparency. With their origins in related visual practices these emerge from the evolution of the concept of presence across a range of visual cultures, illuminating the centrality of presence design in design practice, be it in the construction of virtual pictorial space in Renaissance art or the generative design experiments of prototypical presence designers, such as Cedric Price, Gordon Pask and numerous researchers at MIT Media Lab, Stanford Institute and Xerox PARC.
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- Nilsson, Fredrik, 1965, et al.
(author)
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Building (Trans)Disciplinary Architectural Research - Introducing Mode 1 and Mode 2 to Design Practitioners
- 2011
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In: Transdisciplinary Knowledge Production in Architecture and Urbanism. Towards Hybrid Modes of Inquiry. - Dordrecht : Springer Netherlands. - 9789400701038 ; , s. 79-96
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Book chapter (other academic/artistic)abstract
- The chapter discusses Mode 1 and Mode 2 forms of knowledge production from the perspective of the authors’ practice as educators at a doctoral level for PhD students based in the practice of architecture, design and the arts. It builds on a series of lectures and seminars which have explored the potential of transdisciplinarity and Mode 2 knowledge production for practitioners in various design professions, and focused on various existing “knowledge landscapes” as well as on the more recent developments with regard to emerging new modes of knowledge production. The article attempts to grasp the meta-level issues of a new mode of knowledge production and the opportunities it brings with regard to design research. It discusses the development of architectural research during the last four decades together with the essential features of Mode 1 and Mode 2, and tries to relate these features to contemporary architectural and design theory, and various practices in architecture and urban design.As the “scaffold” for constructing this chapter, the authors propose to discuss, firstly, the Scandinavian development of the doctoral scholarship in architecture, and secondly, the international debates that have constituted the backcloth of this development with regard to the three major modes of knowledge production: monodisciplinarity, interdisciplinarity, and transdisciplinarity. Knowledge production in the area of transdisciplinarity and creative practice was previously seen as outside of research and scholarship, while developments of the last decade have made it possible to conceptualise the knowledge field of design and architecture in new ways. An inclusive model of research is emerging where more practice-based approaches are possible, and it is beginning to achieve academic recognition as well as vital interest from practitioners.
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| 6. |
- Nilsson, Fredrik, 1965, et al.
(author)
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Emerging Epistemic Communities and Cultures of Evidence. On the Practice of Assessment of Research in the Creative Fields
- 2017
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In: Perspectives on Research Assessment in Architecture, Music and the Arts. Discussing Doctorateness. - New York : Routledge, 2017. : Routledge. ; , s. 15-32
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Book chapter (other academic/artistic)abstract
- This chapter discusses the theoretical frameworks around the concept of doctorateness and how this could be considered in the field of architecture, design and arts. The authors use a study of the assessment of PhD theses at one institution as the base for reflections on how the assessment practice and its frameworks have changed and also can be elaborated further. The chapter also summarises some aspects of the authors’ previous writings based on their experience of research training and research assessment in several European environments, sometimes in joint studies together with doctoral students from various backgrounds and contexts. The assessment of doctorateness in the field of architecture, design and the arts has developed to include more of the field-specific character of the discipline and professional practice, and has in new ways engaged the emerging communities of ‘practitioner-researcher’ with their multiple competences and backgrounds.
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| 9. |
- Nilsson, Fredrik, 1965, et al.
(author)
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Perspectives on Research Assessment in Architecture, Music and the Arts. Discussing Doctorateness
- 2017
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Book (other academic/artistic)abstract
- Research in the creative fields of architecture, design, music and the arts has experienced dynamic development for over two decades. The research in these practice and arts based fields has become increasingly mature, but has also led to various discussions on what constitutes doctoral proficiency in these fields. The term ‘doctorateness’ is often used when referring to the assessment of the production of doctoral research and the research competence of research students, but in architecture and the arts the concept of doctorateness has not yet attained a clearly articulated definition. The assessment of quality has been practiced by way of supervising, mentoring and the evaluation of dissertations, but much less discussed. This book offers perspectives on how to qualify and assess research in architecture, music and the arts. It creates a broader arena for discussion on doctorateness by establishing a framework for its application to creative fields. The book is grouped into three sections and includes contributions from international experts in the various fields, working in Australia, Belgium, Brazil, Canada, Norway, Sweden, Switzerland, Spain, the Netherlands and the UK. The first section offers general frameworks for further conceptualising doctorateness in the fields in question. It is followed by a section that describes and discusses various experiences, concerns and visions on the production and assessment of doctoral research reporting from doctoral programmes in different stages of development. The third section includes future-oriented perspectives on knowledge-building processes, and asks how the ongoing, profound changes in academia could influence the concept of quality in both doctoral process and product. The book presents different perspectives on research assessment practices and developments of relevant criteria in the practice-based and creative fields of architecture and the arts. The contributions propose ways of framing this issue conceptually, show the need for awareness of the specific context and tradition programmes develop and give proposals for various potential trajectories for the future.
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