We are very excited and proud to announce that The Institute of Advanced Design Studies (IADS), a new educational platform set to launch this October in Budapest, Hungary, co-founded by Karina Vissonova, PhD and Róbert Héjja, PhD.
Some of you may remember the article on Karina we published a while back. Well, she has been busy again! Her partner in this new venture, Róbert Héjja, is a well-known financial investor with a strong interest in green investments.
The Institute’s vision is to create a new wave of multidisciplinary design thinkers who will bring new sets of skills to their respective fields for radically increased sustainability. Ethics is at the heart of the venture; an idea that it is time for design to solve global challenges and that technology should be harnessed for the benefit of humanity and the environment.
The Institute’s manifesto is a summary of their values and learning objectives: Radically Sustainable, Deeply Ethical, Practically Resourceful, Respectfully Challenging and Openly Interconnected.
The highly integrated and interdisciplinary nature of the programmes is designed to complement well-established academic courses. The programmes are modular and combine the latest co-creative tools and processes used at leading organisations and consultancies with the Philosophy of Design and Ethics. As an independent, not-for-profit educational platform, all profits will be redirected to creating new educational and research opportunities and scholarships aligned with their values.
A One-Year Postgraduate Course for a select group of peers Every year, the Institute will select a complementary group of 25 postgraduate students to work intensively together with some of the world’s leading names in sustainability, design, product and service development and technology. These visiting lecturers replace a traditional faculty, allowing students gain access to an immersive learning experience with experts active in their field. Both the tutors and the students explore subjects in depth, with the shared ambition of shaping more comprehensive solutions that consider the potential impact of design manifestations, whether those outcomes are intentional or not.
Students leave the course armed with the latest knowledge on current developments in design, such as Design Thinking, new approaches such as Circular Economy, and how to organise around the continuous change. At the end of the one year course, the students publish their process and findings and are issued a diploma in Advanced Design Studies for Sustainability acknowledging their attendance and accomplishments.
In parallel to the postgraduate programme, the Institute will host extra-curriculum short courses and lectures in collaboration with the Arts Quarter Budapest. These courses also are open to external students.
Venue and Collaborative Partner: Art Quarter Budapest The Institute’s activities will be based at Art Quarter Budapest, an international contemporary art centre dedicated to the development of art and new media. Located in the vibrant city of Budapest, it consists of several buildings with indoor and outdoor exhibition space, workshop studios, residencies and common rooms.
The Institute began its collaboration with Art Quarter Budapest in 2018 with a common goal of advancing knowledge in the fields of Art and Design. Our extra-curriculum workshops and short interdisciplinary courses are run in collaboration with Art Quarter.
Launching during Design Week Budapest 2018
The two founders, Karina and Róbert will present their vision at a launch party and 3-day seminar and workshop during Design Week Budapest this October. Between the 10th and 12th October, there will be a series of seminars and workshop activities on biomimicry, where artists, designers and participants from other backgrounds such as ecology, technology, or engineering will work with each other to generate ideas applicable in arts and design inspired by nature.
On the South of Delhi in Gurgaon is a technical college that has high ambitions to provide a new type of education within service and hospitality. Unlike others, this college has a strong focus on applied knowledge and circular economy within food, from ‘farm to forks and fingers.’
Food cooked and plated by first year students.
The Institute, called Vedatya, is still young but has already achieved so much. I arrived there on a sunny December day with Sanjoo Malhotra, co-founder of the platform and network Tasting India. It was towards the end of Tasting India’s 2017 symposium on food, where Sanjoo and his co-founder Sourish Bhattacharya, had collected some of India’s leading influencers and change-makers. The missing piece at the symposium, until that day, had been education; how to create a new integrated learning model for organic food businesses that would teach theory in a practical and experiential way.
Sanjoo Malhotra, co-founder of Tasting India on the grounds of Vedatya, December 2017.
From star chefs to culinary entrepreneurs.
I didn’t expect to find an organic farm on campus. Sanjay Sharma, Head Chef at Vedatya explains: “For a chef to be able to work effectively and maximize their creativity, they really need to know how food grows; what local ingredients are available, what is the seasonality, how are they grown, and which parts can be used.”
High tech buildings of the Vedatya Institute.
Vedatya currently has 4 acres of farmland, a herb garden, lots of fruit trees; mango, lychee, lemons, oranges, chiku, and papaya. And to complete the full ecosystem of sustainable practices, the institute is going to keep cows on-campus, for both compost and dairy and develop an 100 percent organic fish farm that can also create natural fertilizer. This integrated approach to applied learning allows current students in training, as well as industry professionals, to really value local, organic produce, and explore more sustainable culinary practices.
Vedatya chefs in the farm.
Amit Kapur, Managing Promoter of Vedatya explains: “India’s population is over 1,2 billion, almost 18 percent of the world, and yet we are a nation of mostly male engineers. 90 percent of those engineers are unemployed. We need to change our education system quickly and develop new types of skills. India’s education system is still in silos, and very gendered, and class divided.”
Amit Kapur, Managing Promoter of Vedatya.
Kapur continues: “We really wanted to create something that will last beyond our lifetimes.” Ved means knowledge in Sanskrit, and Aditya means Sun. Vedatya, therefore, is a coined name that sounds like ‘Source of Knowledge.’ Its goal is to become a model for higher education and a hub of interdisciplinary knowledge with industry – where scientists and philosophers can work alongside farmers, gardeners, artists, chefs – and even engineers.
Chef Megha Kohli, Head Chef at the restaurant Lavaash Delhi, holding a class on how cuisines are reborn.
At Vedatya, a chef isn’t just a chef anymore. A culinary student could work anywhere in India’s food business – from being a hotelier or restaurateur, to re-branding and distributing local products to support small scale farmers and communities. Students need to know about locality, seasonality, and heritage – as well as all the soft skills of service design. One of the Vedatya’s alumni, Preet Singh, went back home and became an organic honey producer, selling his brand across India and overseas in Singapore.
Alumni’s organic honey brand is sold across India and overseas.
Another way that Vedatya is promoting applied education is by partnering with different industry players through an industry-academic partnership model that is quite unique in India. Industry partners are potential employers of Vedatya’s graduates, and so they can be an integral part of student’s curriculum that is reviewed every two years. This initiative has led to partnerships with InterContinental Hotels Group (IHG), one of the world’s largest hotel companies, and with Columbia Asia Hospitals, one of Asia’s leading hospital chains, in the healthcare industry, to name but two.
Most of India cooks over traditional wood fire ovens.
Class inequity – a major challenge. “The Institute is in a rural setting, so every year we give 2-3 scholarship to young people from the neighboring local village,” adds Kapur. “Slowly we are getting young people interested in coming here to get an education but it isn’t easy.”
Vedatya has great plans for maximizing its land with organic farming.
India has huge inequalities and a very complex caste system. The villagers come from backgrounds where they have absolutely no exposure at all to rapidly changing urban life. It’s a huge sacrifice for a youngster get an education when they are expected to help their families survive.
“One of our scholarship students wanted to quit after only a few months,” Kapur explained. Eventually he told the director that the reason he wanted to quit was because he is being bullied by his friends about the formal way he is required to be dressed at Vedatya. Even his family teased him for looking like a ‘plucked chicken’ because he was following Vedatya’s dress code to be well-groomed and wear a uniform.
“It sounds funny to us, but he was deeply ashamed. There is a conflict and context that even we don’t understand. We are talking a difference of 20 kilometers. We need to support rural communities and give them a longer perspective. We also need to help these communities survive,” concludes Kapur.
Fresh organic produce grown on site.
When Vedatya and the Tasting India platform talk about food, they mean everything from the production of food, to food on the plate. Vedatya believes that organic food is second nature for India and it has the potential to be the new economic driver for a sustainable future, to getting people into the workplace and tapping into new industries such health tourism. Organic farming has the ability to feed India through new distribution channels, and offer solutions to major challenges, such as how to deal with food surplus, nurture cultural diversity within the vast continent, and create major export crops and produce that can take more than India’s current 1 percent of the growing global organic market.
Imaginary Life recently was invited up to the Artic circle by artist Laila Kolostyak to help organise a seminar and workshop for over 20 selected snow and ice professionals from Russia, Finland, Sweden and Norway. The seminar was funded by Kulturkontakt Nord and the Norwegian Barents Secretariat and aimed to explore how Snow and Ice professionals can raise the profile of their work, as well as collaborate and share knowledge across borders on how to drive successful projects of all scales; from installations in nature parks, to interior and architectural design, to urban planning and urban reclamation and festival planning.
Keynote speakers included leading professionals such as Timo Jokela from the University of Lapland, Rovaniemi, known decades of spectacular land art, Jens Toms Ivarsson, Design Director at the world-famous ICEHOTEL in Jukkasjärvi, Sweden and Ole Morten Rokvam, an artist and craftsman who has curated leading events with snow and ice in Norway for over a decade. In addition, the artists from Kirovsk and Murmansk were exceptionally inspiring, sharing their festival and community work and bringing a lot of love and live music.
We spoke with Jens Thoms Ivarsson:
We were discussing the ‘eternal ephemerality’ or ice. Is that something Design can learn from?
Absolutely. Imagine: the earth was created at some point, some billions of years ago. The water we are working with could have come from a comet- its ancient and essential stuff. Two different materials met and collided, basically stone and water. They became a frozen moment. Hot lava froze into stone, and water turned into ice. It’s this moment of change that artists and designers often explore in the materials and contexts they work with. Moments of change. Tipping points. How materials age next together. How they behave. It’s fundamental stuff, but ice also teaches us about the nature of continuous change. The seasons, nature’s needs, human needs in winter climates, and of course, climate change. These are new frontiers for design in general. We always think about the negative aspects of snow and ice, how to get rid of it, how to avoid it. We’ve hardly scratched the surface of how to use it as a material.
How long is something ephemeral?
It’s a good question. It all depends on the point of view, the objectives of a project. We follow the melting process of the ICEHOTEL too- it is so beautiful. We spend so long making details, crafting interiors and design elements –always knowing it will melt and return to the river again. And during the process, the sound changes in the building, the atmosphere is fantastic. It’s not sad- its liberating. The ice hotel doesn’t collapse, it opens up in the centre to reveal the sky and the surroundings of the place where it started. There is so much new knowledge to be gained about snow and ice.
But there is a high risk of making mistakes working with such a volatile material?
Yes – but the volatility also opens possibilities. Designers always ask “How do I avoid mistakes?” Ernst Billgren’s book ‘Vad är Konst 2′ (What is art 2) says that the short answer is to sit very still! As soon as humans do something there are mistakes, but mistakes also lead to discoveries. All our genetic development and success is built on learning from mistakes. When I work in stone or concrete and it is placed in city, there is a lot of pressure as the object will lasts for a lifetime. Working in snow and ice is very freeing in a way. You can be more brave and experimental. Less self conscious and more playful.
How do you work with seasons of water and light at the ice hotel in Jukkasjärvi?
You’d think it all happens in the winter as the focus is on ice art but we are moving to all year round. In the summer there is rafting, fishing and other nature activities and the phenomenon of the sun never setting at night- that is a very special experience to have. Also we are preparing for the water to freeze long before it does. It’s the pivotal moment for us, as we invite artists from all over the world. And those artists are not all traditional ice sculptors. We work with people from all background to explore what they can create with ice as a material.
We can also funnel water from the river, and blow it through snow canons to create a material we call “snice” –manufactured snow. We can throw snow onto moulds. Sometimes we use reinforcement to create very large structures. We are also learning more ever year about how to use ice reinforcement. The old way is to create giant moulds for architectural structures where the walls are built with plywood moulds and filled with snice, much like the process for creating concrete buildings. By exploring ice reinforcement we open new doors to resourceful innovation in architecture.
How many people are involved in constructing the ICEHOTEL in Jukkasjärvi every year?
At the ICEHOTEL we have a team of over 50 people who work on the structure alone. Then there is all the finishing work on interior design, lighting and so on. Tools and methods are developing all the time and its important to share this knowledge.
Focus on working together is important – the joy comes when it is finished! One of the hardest jobs is being on roof in minus 35 connecting wires without gloves. It’s the engineers, technicians and ice workers we really have to thank! They make these ideas possible.
What other type of work do you do there?
One example is that we send ice and snice all over world- and send our engineers to make large events possible. For examples we created a catwalk for Chanel at the Grand Palais in Paris. We needed to install a cooling system for the 40 m long 8 m high catwalk. Karl Lagerfeld ordered it. We had to tell him not to wear boots not to get wet. He was great fun to work for. We asked him to lick the ice and he obliged!
One of my favourite projects that you showed at the seminar was the roundabout you made in a lake.
Yes, we cut out a huge disc in the river and added a boat engine. It was a simple intervention to see if the disc would rotate – and it did! It rotated at a perfectly even speed. It worked out better than we anticipated it would. Nature is like that.
Every design process is multi-disciplinary, with a process that aims to take into account multiple perspectives. But how much do our design decisions create negative impacts and outcomes that we would, normally, horrify us – if we consciously designed them?
This is the challenge Design Thinking faces. To go deeper to create zero negative impact on the world around us. Visualizing complexity is a design approach that has always been used to handle multi-layered facts and perspectives. But how can we challenge the assumptions and preconcieved ideas we don’t even know we have?
By using creative methods to visualize dry data, diverse people in an organization can be engaged in critical decision-making, from the outset of a project, but most importantly, when our design is out there in the world. We need to design continuous improvement out on the marketplace into our products, services and systems.
Turning dry facts into deep insights enables rapid and relevant decision-making. And it is only the people within a company who can know what relevant steps are needed for innovation. Doing the right things based on the wrong assumptions is not innovation.
An easy to understand example we can all understand are maps. Maps have to be ‘designed’ correctly for the specific task at hand. Take the world map as we know it today. The Gerardus Mercator’s projection was first published in 1569, and became widespread because it depicts a line of constant bearing as a straight line, which was relevant at the time for marine navigation. But the drawback of using that map today, to visualize new and existing business markets, is that it distorts the shapes and relative sizes of all the countries. The map distorts our perception of the world and how we view people from various parts of the world.
The map of True Africa created by Kai Krause, shows that Africa is far larger than we think. Then see the maps on land area to population, or amount of money per head spent on healthcare, and we instantly gain a more informed picture on which to base our innovation strategies.
The True Africa map by Kai Krause shows the size of the continent in relation to European counties.
The Gerardus Mercator’s projection was made for marine navigation.
Map from worldmapper.org shows public health spending to population
Innovation is not so much of an outcome, as a process of asking the right questions at the right time, and asking them again and again, reiteratively. Since a company’s offering exists in real-time, across connected or digitally enabled networks, so too do the insights and information that continuous questioning and decision making are based on need to be in real-time. Innovation means never being satisfied with the obvious assumptions. And to break preconceived ideas we now have big data and data visualization.
Although a company cannot map all the potential outcomes of its activities, visual mapping can play a large part in nurturing breakthrough thinking so that a company can focus on what it does best – and partner for the rest to bring in more critical thinking. Critical thinking is what is lacking in Design Thinking.
Data visualization has yet to find its role in delivering real-time information for communications within a company, for critical decision making, or for real time communications between a company and its network, who, in a connected world, should be more deeply engaged in the ongoing strategies, activities and outcomes that bring to life a brand’s vision of innovation without negative impact on environment, communities, nature…existing economies and cultures, and of course, health.
Maps don’t always make good online interfaces, but they do help us understand data in an intuitive way. Moving into a service-driven world, a company’s offering is continuously evolving and data visualization can be used to engage different types of stakeholders in the ongoing process of value generation.
Imagine, for example, a call to action to developers to test and hack a beta digital service “pre-launch”. Or real time, localized invitations for users to swarm around an open innovation event, on and offline. Or adding services by using data collected from the public realm, such as traffic or weather reports, or national averages on life expectancy in relation to lifestyle choices. Innovation as continuous improvement should be continuous rather than be an occasional manned mission to Mars.
Visual maps in themselves do not tell us what to do, but they can help us harness knowledge and creativity to solve critical issues and problems. No market research report or marketing message can compete with factual, real time information. We need to use technology and its designs to help us question all the assumptions that we take for granted- and make sure our good intentions result in meaningful and even destructive activities.
Back from London and the Photon Symposium, and seeing the prototype of an all glass living pod that will be one of 9 pods in a proposed Photon Village at Oxford University. The concept was conceived by Brent Richards of Transpolis Europe and executed by Cantifix, an advanced glass engineering company based in the UK.
Brent Richards describes the project: The Photon Pod has been designed to maximise daylight for the inhabitants in order to carry out scientific research into “the effects of daylight on human biology”. The 4 year research period will involve 8 Photon Pods and allow 300 participants to be tested in a Photon Village. As a control two of the pods will be “dark” with only 12% of the surface transparent, which equates to the average amount of glazing in a typical home.
The shape of the Photon Pod has been designed to minimise the reflection of light waves by keeping the surface of the glass perpendicular to the sun when the building is orientated north/south. The make-up of the double glazed units uses the latest technology to increase the insulation properties, whilst reducing solar gain to maintain a comfortable living environment in most climates.
The interior facilities were considered in relation to the length of stay for each participant and the fact we didn’t want the research data to be influenced. In the majority of cases a participant will only have to stay for 3 weeks and therefore basic facilities of a kitchen; shower and WC; bed; desk; and seating area were considered sufficient.
Philips were invited by Imaginary Life to design the lighting in the Pod to show how a combination of natural and design light should be combined to enhance the wellbeing and to harmonise the practical need for artificial light with the biological need for natural light. For the purposes of this launch, Hue, Philips connected lighting was programmed to create a compelling and dynamic experience, as well as enhancing the architecture of the innovative structure.
Russell Foster, Professor of Circadian Neuroscience at the University of Oxford University states: “The recent advances in our understanding of the brain mechanisms that generate and regulate sleep and circadian rhythms, and a growing appreciation of the broad health problems associated with their disruption, represents a truly remarkable opportunity to develop novel evidence-based treatments and interventions that will transform the health and quality of life of millions of individuals across a broad spectrum of illnesses.”
The Photon Pod is a means for collecting data on how light effects the mind, body & soul. Photos by George Sharman.
The Photon Pod Installation at The Building Cente, London.
Light is a resource for health & wellbeing – in all built environments
Polya’s lovely book is not just about mathematics but about problem solving in a wider sense.
xvi Guidelines are not literal
p1 A teacher should help the students, share knowledge, and swap places
p15 — A problem is never exhausted // Drop the idea that problems have little or no relation to each other
p72 Try to prove formally what is seen intuitively and to see intuitively what has been proved formally
p75-6 decomposing and recombining problems… variations on the problem…
p77 more and more remote details… (Two questions may be better than one // breaking the question down into a simpler form and working on this first // assuming part of the tricky question is already answered and then working on the other part)
p105 diagram ‘as done’…
p132 You must guess, but also examine your guess // (p181 plausible reasoning)
p134 A good notation should be unambiguous, pregnant, easy to remember, it should avoid harmful second meanings and take advantage of useful second meanings; the order and connection of signs should suggest the order and connection of things.
p197 Present abstract ideas concretely.
p198 (On subconscious work:) There is a limit beyond which we should not force the conscious reflection, when it is better to leave this problem alone for a while. But it is desirable not to set aside a problem to which we wish to come back later without the impression of some achievement; at least some little point should be settled, some aspect of the question somewhat elucidated when we quit working. Only such problems come back improved whose solution we passionately desire, or for which we have worked with great tension. Conscious effort and tension seem to be necessary to set the unconscious work going
p205 The importance of looking back over the solution (seeing what other information is hidden in the answer; seeing other ways one could have proved the solution, seeing new areas of possible application of the solution, etc)
p206 The need for models for the student to aspire to, for proper teachers, for good quality texts, and for competition with capable friends
p207 The open secret of real success is to throw your whole personality into your problem
p210 When stuck, set a new question // a new question unfolds untried possibilities of contact with our store of previous knowledge
p227 Working backwards from the answer one is trying to prove.
— Teaching to solve problems is education of the will. Solving problems which are not too easy for him, the student learns to persevere through unsuccess, to appreciate small advances, to wait for the essential idea, to concentrate with all his might when it appears. If the student had no opportunities in school to familiarise himself with the varying emotions of the struggle for the solution then his mathematical education failed in the most vital point.
“What we do or don’t do in the next years will decide whether we survive as a species,” said David Suzuki to a sold-out crowd of 1,600 student and staff at John Abbott College in Ste-Anne-de-Bellevue, U.S.
The lecture was streamed live on the Internet to almost 14,000 students watching at schools in the Lester B. Pearson School Board.
Here is his powerful message from his address to the Occupy movement at Vancouver Oct, 22/11: The Party of the baby-boomers is over. Development needs to be based on needs, not wants. We need to live within the boundaries and borders of nature, not politics: Capitalism, economy, politics are not a forces of nature, we invented them. If they don’t work, we need to change them. What is our home and how do we live in it sustainably? Ecology is study of home, and economics, its management.
He goes on to use Sweden as an example of a growing economy cutting its carbon emissions.
Urbanflow envisions a new interface and operating system for cities. Urbanflow creates a more efficient, transparent relationship between city administrators and citizens – via real time data. Urban screens show locally-oriented and general purpose data in easy to use interfaces that help with all sorts of everyday activities from finding your way to getting info on energy, weather, traffic, public transport, and more. Citizens can also report anything from an event to a pothole in the city. The same urban screen shows contextual, hyperlocal information as well as broader, citywide content, allowing users to peek around walls and across the city. For officials and administrators this means making the city more transparent and efficient to manage through immediate feedback from the city’s residents. Watch the Urbanflow Helsinki Intro.
From the American Museum of Natural History, The Known Universe takes viewers from the Himalayas through our atmosphere and the inky black of space to the afterglow of the Big Bang.
Every star, planet, and quasar seen in the film is possible because of the world’s most complete four-dimensional map of the universe, the Digital Universe Atlas that is maintained and updated by astrophysicists at the American Museum of Natural History.
The new film, created by the Museum, is part of an exhibition, Visions of the Cosmos: From the Milky Ocean to an Evolving Universe, at the Rubin Museum of Art in Manhattan through May 2010.