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- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2016
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- For the third year, the AHA festival investigates the meeting between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture and the Department of Physics. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about exploring the world through art and science. We invite scientists (physicists, historians, astronomers, engineers), artists (dancers, musicians, painters, poets, acrobats) who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.The first year’s theme ’Embodiment’ (2014) explored the body as our anchor in the world, followed by the 2015 theme on ’Numbers’, a delightful net we cast over the world. This year's theme is ’Uni-verse,’ again a natural consequence of our interest in the relation between art and science. The elemental force that drives science as well as art is curiosity. Come be curious with us! During the festival we have chosen to divide the word universe into three: uni and "-" and verse. Uni means that something is combined into a whole. Verse means that we are turned in a direction, the origin of the word tells us that it is the plow that turns at the end of the field. And the dash "-" is all the spaces and cracks where new discoveries can grow. Art and science unfolds in the gap between what we know and what we want to know.
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| 2. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2014
- 2014
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- ”Science and art” is the typical motto of a polytechnic, with the Royal Institute of Technology in Stockholm as a Swedish example. Only too seldom do we have occasion to ask ourselves what the words are meant to imply.The Royal Institute of Technology received its emblem in 1827. At that time, ”science” referred to theoretical knowledge, and ”art” to practical ability. Our understanding of the world around us on the one hand, our capacity to change it on the other – in both cases in a systematic or methodical fashion, and in both cases in broad generality. Today, we would rather speak of theory and practice, but the question is essentially the same: how do we go from thought to action, and how do we get back again?But the meaning of the two words was soon to change. Today, ”science” no longer refers to systematic knowledge, but rather to a highly professionalised, specialised and often technically advanced activity intended for the production of empirically secure facts. Similarly, ”art” is no longer a methodical ability, but rather a complex and autonomous activity comparable to science: the creation of images, sounds, and other forms of sensuous experience with a most immediate effect. Forms that grab hold, shake up, leave us at a loss. Experiences that make us question ourselves and the world around us.The relation between science and art has become more complex, but is just as important to attend to. Their meeting is still that of theory and practice, but also something more: a meeting of causal connections and meaningful coherences, of given conditions and unsuspected possibilities, of the order of things and our own place within it.By bringing together science and art, architecture provides an ideal playing field for such a confrontation. This is why the Department of Architecture at the Chalmers University of Technology has initiated the AHA! Festival, October 21–23, 2014 that, during three days of lectures, workshops, conversations, exhibitions, concerts, performances, and mingles, will offer thought-provoking experiences, hands-on surprises, itinerant perspectives, and savoury ideas. In this way the festival welcomes students and researches at Chalmers and the University of Gothenburg to turn the searchlight onto the relation between two different– but equally important – human activities.
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| 3. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2015
- 2015
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The AHA festival investigates the borders between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about the space between art and science. We invite scientists (physicists, historians, mathematicians, medical students), artists (dancers, musicians, painters, poets, chefs) and not least architects, who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.
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| 4. |
- Nilsson, Fredrik, 1965, et al.
(författare)
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Expertgruppens kommentarer till projektrapporterna inom konstnärlig forskning
- 2010
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Ingår i: Forskning och kritik - granskning och recension av konstnärlig forskning. Årsbok Vetenskapsrådet Konstnärlig FoU 2010. - 9789173071536 ; , s. 159-166
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The Swedish Research Council has supported artistic research since the Council was set up in 2001. Project Research Grants have been awarded in the field since 2003.Five reports on projects that have received financial support from the Research Council are commented and reflected upon in the Yearbook, for the first time, by the Expert Panel for Artistic Research and Development.
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| 5. |
- Nilsson, Fredrik, 1965, et al.
(författare)
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Perspectives on Research Assessment in Architecture, Music and the Arts. Discussing Doctorateness
- 2017
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Bok (övrigt vetenskapligt/konstnärligt)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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| 6. |
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| 7. |
- Dunin-Woyseth von Turow, Halina, 1945, et al.
(författare)
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Developments towards Field-specific Research in Architecture and Design: On Doctoral Studies in Scandinavia since the 1970s
- 2018
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Ingår i: The Production of Knowledge in Architecture by PhD Research in the Nordic Countries. - 2535-4523. - 9789198379723 ; , s. 25-48
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Konferensbidrag (refereegranskat)abstract
- Architectural and design research, especially in the context of doctoral studies, has been pursued in Scandinavia for over forty years. This article sketches how the field of architecture and design has developed over several decades with regard to its three constituent components: professional practice, teaching, and research. The components of practice, teaching, and research acted first as separate, then even as opposite, but later on moved closer together in order to, most recently, synergistically permeate each other. In the decades prior to the mid-1970s, design scholarship relied mostly on mature practitioners who reflected on their life’s work. Teachers were practitioners. The period between the mid-1970s and 1990 brought about an uncritical dialogue with academia, while looking for theoretical and methodological frameworks in established academic disciplines. A polarization between practitioners and researchers emerged. In the 1990s and in the beginning of the new century, a stronger intellectual self-confidence developed among design scholars. Practice, teaching, and research came closer to each other. Most recent years have shown an even stronger movement towards field-specific research. It coincides with a growing awareness of a continuum from creative practice to scientific research, of the potential of research by art and by design, and of inter- and transdisciplinarity which recognize designerly ways of thinking. A kind of “permeability” between various kinds of practices of architecture and design has been observed.
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| 8. |
- Hensel, Michael U., 1965, et al.
(författare)
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Current changes in conditions and contexts for architectural research and practice: A brief introduction
- 2019
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Ingår i: The Changing Shape of Architecture: Further Cases of Integrating Research and Design in Practice. - New York : Routledge, 2019. : Routledge. ; , s. 1-13
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The discipline of architecture is currently undergoing a significant change as professional practice and academia seem to be transforming one another specifically through succinct research undertakings. This book continues the discussion started in The Changing Shape of Practice – Integrating Research and Design in Architecture on architectural offices’ modes of research and lines of inquiry in architecture and how it reshapes practice. The book aims to contribute to the mapping and discussion on research in architectural practice and its transformational impact and gives input to the discussions on where the architectural profession is heading. In this second volume, various research initiatives and modes in architectural practices are portrayed. The book also includes contributions that broaden the scope and put the developments into larger contexts, and present an overview of developments from different regional perspectives and of various social aspects of architecture. It also relates the developments in practice to educational efforts and to initiatives where the more traditional role of architects is challenged. The contributions include chapters by Walter Unterrainer, Anthony Burke, Renée Cheng and Andrea J. Johnson, and Michael U. Hensel, and on the practices atelier d’architecture autogérée, Helen & Hard, MVRDV and The Why Factory, NADAAA & Nader Tehrani, Nordic – Office of Architecture, Schmidt Hammer Lassen, Skidmore, Owings & Merrill, Void, Sarah Wigglesworth Architects, and Älvstranden Utveckling.
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| 9. |
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| 10. |
- Nilsson, Fredrik, 1965, et al.
(författare)
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Design Education, Practice, and Research: On Building a Field of Inquiry
- 2014
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Ingår i: Studies in Material Thinking. - 1177-6234. ; 11
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Tidskriftsartikel (refereegranskat)abstract
- This article reviews how the fields of architecture and design have developed during recent decades and discusses the relations and synergistic interplay between three constituent components: practice, education, and research. Design education has matured both as a field of practice and of inquiry since becoming a fully recognized component of the triadic interplay between these three parts. However, to date, these developments have mainly been discussed in terms of research and creative practice, and have not been discussed in terms of educationalpractice as an important, mediating factor. We argue that the three components, noted above, have become more equal with one another and more recognized in practice and academia and, further, that a phenomenon of “permeability” of various practices within the “continuum from creative practice to scientific research” has emerged. We further note that a new group of professionals combine theroles of professional practitioners, educators, and field-specific researchers, and argue that these “new practitioners” can contribute to a more robust, self-confident,
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