The paper summarizes two models for engineering education, as discussed in earlier papers. The first model (Corporate Curriculum) aims to bring Industry into the school, while the second model (I3) intends to bring the school into Industry. The contribution of the presented models to the Bologna Declaration and to the Renaissance Engineer idea are discussed.
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Two models for engineering education that may answer the needs for "Renaissance Engineers" are described in this paper. They were the outcome of an educational renewal project, funded by the Dutch Ministry of Education and industrial companies. The first model (Corporate Curriculum) aims to bring Industry into the school, while the second model (I3) intends to bring the school into Industry. Both models have in common the ambition to educate students in an innovative, interdisciplinary and international oriented way (the 3 I s). This paper focuses on the two models, the different ways of implementation in the Fontys technology Institutes, the changes and improvements that have been made to the models, as well as the results of the educational experiments. The final results of the educational renewal project and the experiences with both models are presented here. Those experiences are very useful for developing new educational means for the future engineers in order to meet the fast developments of modern society.
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Described are a number of national and local initiatives that are taken to motivate young people to choose for technical education. From the local initiatives we focus on the area where Fontys and Actemium are located; the southeast of the Netherlands. Not only governmental organizations and foundations are active in this field but also (industrial) companies become more aware of the fact that creating interest for professions in technology should start at the earliest possible age. History shows that initiatives become more effective when not only directed to promotion, but accompanied by appropriate projects. We conclude with an example of a technology event and a discussion of the effectiveness of the initiatives.
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Does our knowledge about city and urban planning have solid ground? Can historical research promote creative thinking? How can we theorise about urban design and architecture in our age of the media? These questions have guided the creation of this multi-layered, richly documented and illustrated triptych, in which the Dutch architectural theorist Wim Nijenhuis pursues a creative goal: to stimulate new ways of thinking in architectural culture.Each part of the triptych treats distinctive issues with a particular style of writing:I – a treatise on urban history. Using the archaeological-genealogical toolkit Nijenhuis reveals the difference between urbanistic discourse in the modern and the classical age; the first staging the street and public space, the latter adhering to representation and mathematical order. In great detail he shows how modern urbanism did not emerge from idealistic motives and technical urgencies, but from an accidental mix of medical, engineering and aesthetical parlances, and how classical thinking on the city dissociated from Renaissance by an intertwining of military science, political science, anthropology and ethics.II – a bundle of essays about the condition of the city in our media age. In strikingly composed texts the author prophesies how rapid traffic and transmission speed of media will distort the perception of our real cities. This gradual event will profoundly influence the cultural role of architecture.III – a set of meditations about epistemological problems. Questioning the practice of critical writing, Nijenhuis proposes change of subjectivity (and thereby worldview), ethical indifference, parody, curative mythomania and hypermodern dilettantism.The book is composed as a cloud essay that serves to enrich the reader’s theoretical understanding of urban interventions. Dialoguing with philosophers like Bataille, Deleuze, Foucault, Klossowski, Sloterdijk and Virilio, Nijenhuis covers multiple disciplines such as urbanism, architecture, history, media science, philosophy and art. Stretching urbanistic thinking beyond its limits he carries the reader along into the miraculous world of the street, the engineer, the norm, the form, order, fortresses, discipline, army camps, city frontiers, the Temple of Salomon, the quest for beauty, the ‘impressiveness’ of images, speed, the tragedy of the omnipolis, solidification of time, and the liquidising potency of apocalypticism and Taoist non-action.The Riddle of the Real City testifies to four experimental exercises: transitory subjectivism to reveal hidden dimensions of the person, transhistorical verticality to communicate with singular events from the past, theory as toolkit and pursuing a personal path in reading and investigation.
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This historical review uncovers the institutionalisation and diffusion of the SWOTanalysis by assessing academic literature, seminar materials, proprietary research reports and interviews with experts from the virus theory perspective. We suggest that reviews of the SWOT analysis using the management fashion theory perspective are inadequate in explaining the diffusion and rejection of ideas born in practice. The virus theory perspective starts at an organizational level and reveals that predominantly practitioners were instrumental in spreading the ideas like participatory planning and distinguishing between short term and long range planning in order to resolve the planning paradox in provisional planning. Due to mutations in practice by consulting firms, the 2x2 matrix of SWOT became a cognitive artefact on its own. Theoretical roots of the original SWOT analysis stem from psychology and behavioural sciences.It is questionable if current strategy textbooks reflect these theoretical backgrounds.
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Bij zijn inauguratie presenteerde Luewton Agostinho een globale visie op watertechnologie, de fysische principes die hierbij betrokken zijn en de uitdagingen, behoeften en conflicten bij het wetenschappelijk en toegepast onderzoek
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Inleiding Het College van Bestuur heeft mij benoemd tot lector in het vakgebied Integraal Ontwerpen. De voorzitter van de Faculteit Natuur en Techniek, de heer Udink ten Cate, heeft u verteld over de aanleiding van het instellen van dit lectoraat met de daaraan verbonden leerstoel. Voor het hbo zijn dit nieuwe onderwerpen en u begrijpt dat het voor mij een spannende uitdaging is de leerstoel Integraal Ontwerpen vorm en inhoud te geven. Bij de voorbereiding van de rede kwam ik het werk van kunstenaar Oskar de Kiefte tegen, waar ik in de loop van mijn verhandeling nog op terugkom. De wijze waarop hij speelt met vorm, structuur en functie van verschillende voorwerpen heeft mij erg geïnspireerd. Zijn werk is uitermate geschikt om bepaalde aspecten van Integraal Ontwerpen toe te lichten. Ik moest bij de voorbereiding ook denken aan een bekende kernzin uit de systeemleer van In t Veld: het geheel is meer dan de som der delen. Het onderwerp van mijn openbare les is Integraal Ontwerpen, een nieuwe verleiding voor techniek. Integraal Ontwerpen is voor velen van u een nieuw begrip. Ik ga dit toelichten en inhoudelijk uitwerken. Vervolgens wil ik u duidelijk maken wat Integraal Ontwerpen betekent voor het bedrijfsleven en vooral wat de consequenties zijn voor de ingenieur van de toekomst. Ik durf hier de volgende aannames te doen: dat Integraal Ontwerpen het beroep van (werktuigbouwkundig) ingenieur breder en daardoor aantrekkelijker maakt; dat Integraal Ontwerpen de keuze voor techniek verleidelijker maakt. Ik eindig met een overzicht van activiteiten waarmee ik me de komende tijd ga bezighouden.
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