The design and realization of a healthy indoor environment is a challenge that is investigated from different perspectives at the unit Building Physics and Systems (BPS; Faculty of Architecture, Building and Planning) of Eindhoven University of Technology. Performance requirements (for instance, with respect to air quality, thermal comfort and lighting) and performance based assessment methods are the point-of-departure, focusing at computational techniques supporting the design process. Different specific application fields such as dwellings, offices, schools, but also, operating theatres, churches, musea and multifunctional stadiums, underline the applied approach that is part of the research within the unit. In the design of healthy environments, the performance based design assessment is crucial in arriving at innovative design solutions and optimized indoor and outdoor environments. In this assessment computational support tools and experimental verification play an important role. However, assessing the right indicators in an objective way, applying the correct tools and correct application of these tools is not yet well established. Alongside, developments are still ongoing. The work performed in the unit by the different researchers relates to the research questions that can be derived from this notice. The paper gives an introduction to the Unit BPS and presents a brief overview of recent and ongoing research. An extensive list of references is provided for further reading and supports the conclusion that healthy environments can and should be addressed from a wide angle.
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The Nature Spectacle: On Images, Money, and Conservation Capitalism by Jim Igoe is, as its Preface states, an ambitious book that seeks to make connections between diverse times and places. The preface also, in many ways, tells more about the background and intention of the book than its chapters do, tying together the author’s origins and motivation. Igoe recalls his childhood in St. Louis, Missouri, much of which he spent “in front of a television and at a neighborhood movie theatre” (p. XII), once watching a musical, which was “essentially an extended Chevrolet commercial set among the geysers of Yellowstone” (P. 109). It is the mix of such absurd and comical observations of commercialism merging with Nature, and much heavier criticism of the capitalist cult of economic growth, development, and also conservation that characterizes The Nature of Spectacle. Much of Igoe’s outdoor experiences were shaped by green spaces, created in St. Louis as part of commodity exhibits at the 1904 World’s Fair. The author admits to feeling both critical and nostalgic of those places that have merged (sub)urban aesthetics with that of industrially developed commercial “spaces” (p. XII) – important concepts that form a leitmotif throughout the book. https://doi.org/10.1080/03066150.2018.1488355 https://www.linkedin.com/in/helenkopnina/
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Over the past decade, a growing number of artists and critical practitioners have become engaged with algorithms. This artistic engagement has resulted in algorithmic theatre, bot art, and algorithmic media and performance art of various kinds that thematise the dissemination and deployment of algorithms in everyday life. Especially striking is the high volume of artistic engagements with facial recognition algorithms, trading algorithms and search engine algorithms over the past few years.The fact that these three types of algorithms have garnered more responses than other types of algorithms suggests that they form a popular subject of artistic critique. This critique addresses several significant, supra-individual anxieties of our decade: socio- political uncertainty and polarisation, the global economic crisis and cycles of recession, and the centralisation and corporatisation of access to online information. However, the constituents of these anxieties — which seem to be central to our experience of algorithmic culture — are rarely interrogated. They, therefore, merit closer attention.This book uses prominent artistic representations of facial recognition algorithms, trading algorithms, and search algorithms as the entry point into an exploration of the constituents of the anxieties braided around these algorithms. It proposes that the work of Søren Kierkegaard—one of the first theorists of anxiety—helps us to investigate and critically analyse the constituents of ‘algorithmic anxiety’.
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