Public Play Space (PPS) is a project co-funded by the Creative Europe Programme of the European Union and developed by IAAC, BUas, and CLAC. It promotes innovative and creative practices for the co-design of inclusive, cohesive, and sustainable public spaces, through the use of games and digital technologies, in a transnational and European perspective, fostering the process of placemaking.The objective of this PPS Wiki Community Platform is to create a knowledge community on the use of digital technologies and games to enhance participatory processes for urban design and placemaking, allowing a wider dissemination of the best practices in this field and to facilitate knowledge sharing and the interaction among key stakeholders.
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The present social and environmental challenges, the impact of climate change andthe pandemic, revealed the urgency and the opportunity to rethink urban designthrough its renewed spaces and temporalities. The pandemic offered a ‘natural exper-iment’ to explore and develop new perspectives, making public spaces more resilient.Contributing towards a rethink of these spaces, the present paper explores adaptivearchitecture with responsive technologies and their capability of shaping public spacesto constitute a conversation piece with the surrounding environment. This approachcombines and reflects different disciplinary fields: architecture, civic interaction and ur-ban design. The exploration works around a speculative design case – produced aspart of broader research at the Amsterdam University of Applied Science in collabora-tion with the Master in Digital Design.
More and more municipalities are, fortunately, working on play-friendly public spaces. However, many policy visions and investments are still based on assumptions made by municipal officials or suppliers of play equipment.
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Hoe kan de verblijfskwaliteit en veiligheidsperceptie van de publieke ruimte versterkt worden door de toepassing van “interactieve objecten”? (objecten die met beeld, licht, geluid en sensoren real time reageren op de gebruikers en de ruimte daarop afstemmen). De ontwikkeling van deze zogenaamde responsieve ruimte staat nog in de kinderschoenen maar is beloftevol vanwege de meerwaarde voor de leefbaarheid en het onderscheidend vermogen van de plek en de bedrijven. In Co-ReUs worden drie verschillende mkb groepen samengebracht: stedenbouwbureaus, creatieve conceptontwikkelaars en lokale ondernemers. We gebruiken de ArenA-Boulevard als proeftuin: een als ongezellig ervaren ruimte (lage verblijfskwaliteit en slechte veiligheidsperceptie). De mkb-ers lossen hiermee hun eigen praktijkproblemen op: Stedenbouwbureaus houden zich bezig met het ontwerp van de publieke ruimte. Zij merken dat hun instrumentarium (herontwerp, herbestrating etc.) te kapitaalintensief en te weinig flexibel is om de verblijfskwaliteit en veiligheidsperceptie op dit soort plekken op te lossen. De bureaus hebben behoefte aan een lichter, gerichter en responsiever instrumentarium. Ze hebben echter beperkte (technologische) kennis hoe interactieve objecten precies een bijdrage kunnen leveren. Creatieve conceptontwikkelaars hebben een ander probleem: zij hebben wél de beschikking over interactieve objecten (geluid, beeld, licht, sensoren) maar die zijn vooral kunstzinnig en evenementiëel. De objecten zijn stuk voor stuk niet ontwikkeld vanuit een stedenbouwkundige opgave waardoor ze hiervoor geen panklare oplossing vormen. Lokale mkb-ers hebben ook een probleem: zij weten niet goed hoe zij op een gecoördineerde manier invloed kunnen uitoefenen op de activering van de publieke ruimte. Project Co-ReUs: 1) analyseert hoe de ruimte wordt gebruikt (nulmeting en Programma van Eisen voor de inzet van interactieve objecten; 2) ontwikkelt ruimtelijk-interactieve interventies in co-creatie met de drie mkb groepen. 3) deze worden op het plein geplaatst en nametingen brengen de effecten in beeld. Het resultaat is een actiegerichte Handleiding met Roadmap voor de ontwikkeling van responsieve publieke ruimtes.
Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
The reclaiming of street spaces for pedestrians during the COVID-19 pandemic, such as on Witte de Withstraat in Rotterdam, appears to have multiple benefits: It allows people to escape the potentially infected indoor air, limits accessibility for cars and reduces emissions. Before ordering their coffee or food, people may want to check one of the many wind and weather apps, such as windy.com: These apps display the air quality at any given time, including, for example, the amount of nitrogen dioxide (NO2), a gas responsible for an increasing number of health issues, particularly respiratory and cardiovascular diseases. Ships and heavy industry in the nearby Port of Rotterdam, Europe’s largest seaport, exacerbate air pollution in the region. Not surprisingly, in 2020 Rotterdam was ranked as one of the unhealthiest cities in the Netherlands, according to research on the health of cities conducted by Arcadis. Reducing air pollution is a key target for the Port Authority and the City of Rotterdam. Missing, however, is widespread awareness among citizens about how air pollution links to socio-spatial development, and thus to the future of the port city cluster of Rotterdam. To encourage awareness and counter the problem of "out of sight - out of mind," filmmaker Entrop&DeZwartFIlms together with ONSTV/NostalgieNet, and Rotterdam Veldakademie, are collaborating with historians of the built environment and computer science and public health from TU Delft and Erasmus University working on a spatial data platform to visualize air pollution dynamics and socio-economic datasets in the Rotterdam region. Following discussion of findings with key stakeholders, we will make a pilot TV-documentary. The documentary, discussed first with Rotterdam citizens, will set the stage for more documentaries on European and international cities, focusing on the health effects—positive and negative—of living and working near ports in the past, present, and future.