Summertime Creative Prototyping Skills Training Course in Belgium

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Rapid prototyping is an exciting aspect of industrial design, but few of us individual designers can afford the machinery to make it happen. If you’re lucky, your school or workplace has invested in the machinery and you get to play with it. Or you can wait for a TechShop to open up in your city.

Another good option, for those in Europe this summer or inclined to travel there, is to take the Creative Prototyping Skills Training course at the Howest University Industrial Design Center in Belgium. For a reasonable 365 Euros, you get a five-day course (including meals and prototyping materials):

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Sra Pou Vocational School by Rudanko + Kankkunen

Sra Pou Vocational School by Rudanko + Kankkunen

This school in Cambodia by Finish architects Rudanko + Kankkunen was built by the local community from hand-dried blocks of the surrounding soil.

Sra Pou Vocational School by Rudanko + Kankkunen

The Sra Pou vocational school serves as a business training centre and public hall.

Sra Pou Vocational School by Rudanko + Kankkunen

Small gaps in brickwork allow soft natural light and breezes to flow through the building, while colourful woven shutters open the indoor teaching areas onto a shaded terrace.

Sra Pou Vocational School by Rudanko + Kankkunen

More stories about educational buildings on Dezeen »
More architecture using rammed earth on Dezeen »

Sra Pou Vocational School by Rudanko + Kankkunen

Photography is by Rudanko + Kankkunen.

Sra Pou Vocational School by Rudanko + Kankkunen

Here is some text from the architects:


Sra Pou Vocational School by Rudanko + Kankkunen

Sra Pou vocational school is a vocational training center and community building in Sra Pou village, Cambodia. The school is designed by architects Rudanko + Kankkunen from Finland and built during spring 2011. The architects took care of both building design and project management.

Sra Pou Vocational School by Rudanko + Kankkunen

The purpose of the vocational training centre is to encourage and teach poor families to earn their own living. The Sra Pou community is one of the unprivileged communities in Cambodia, who have been evicted from their homes in the city to the surrounding countryside. They lack basic infrastructure, decent built environment and secure income. The new vocational school provides professional training and helps the people to start sustainable businesses together. It is also a place for public gathering and democratic decision-making for the whole community. A local NGO organizes the teaching.

Sra Pou Vocational School by Rudanko + Kankkunen

The project was started by young architects Hilla Rudanko and Anssi Kankkunen in an Aalto university design studio in spring 2010. During the studio, they travelled to Cambodia to find a design task with a local NGO. The studio works were imaginary, but Rudanko and Kankkunen decided to organize the construction of Sra Pou vocational school, since there was an urgent need for it and their design inspired both the community and donors. The firm Architects Rudanko + Kankkunen was founded during the design process. Now, it is an adventurous architecture firm specializing in public buildings in various settings.

Sra Pou Vocational School by Rudanko + Kankkunen

The school building is made out of local materials with local workforce. The aim was to teach people how to make the most out of the materials that are easily available, so that they can apply the same construction techniques for their own houses in the future.

Sra Pou Vocational School by Rudanko + Kankkunen

As the materials are scarce, the beautiful red soil was utilized to make sundried soil blocks. The whole school is hand-made: no machines or prefabricated parts were used in the building work. This allowed employing many people from the community, and it kept all techniques simple and transferable.

Sra Pou Vocational School by Rudanko + Kankkunen

Using local materials and techniques, the designers have created a beautiful architectural composition. The soil block walls repeat the warm red shade of the surrounding earth. They are laid out with small holes, so that indirect sunlight and gentle wind come in to cool the spaces – and at night, the school glows like a lantern through these small openings. The whole community space is open, providing comfortable shaded outdoor space. The colorful handicraft doors are visible from far away and welcome visitors coming along the main road.

Sra Pou Vocational School by Rudanko + Kankkunen

Click above for larger image

Location : Sra Pou, Oudong, Cambodia
Function : Vocational training and small business centre
Client : Sra Pou community, represented by Blue Tent NGO
Floor area : 200 m2
Construction cost: USD 15 000
Main material: Hand-made sundried soil block
Completed: 04/2011

Sra Pou Vocational School by Rudanko + Kankkunen

Click above for larger image

Architect: Architects Rudanko + Kankkunen
Structural advisor: Advancing Engineering Consultants
Construction management: Architects Rudanko + Kankkunen
Project and financial management: Architects Rudanko + Kankkunen
Donors: M.A.D., ISS Finland, Wienerberger, Ecophon / Saint-Gobain, Uulatuote, and Puuinfo.


See also:

.

Earth House
by BCHO Architects
Desert City House by
Marwan Al-Sayed Architects
Wadi Resort by Oppenheim
Architecture + Design

It’s Not Easy Being Green: Buenos Aires, Santiago de Chile and In-between

IMG_3264 andes.JPGAndes Mountains

On our way to Santiago de Chile, our travel guide informed us that Chile is considered to be one of the least sustainable countries in the world, indiscriminately using its natural resources to improve economic growth and often allowing foreign companies to do all the exploiting. Ironically, our very first request by email to give a lecture and workshop came from Santiago de Chile where Duoc University just started a new course for designers focused on sustainability.

Besides thinking about the pros and cons of Chile’s environmental policies, today’s thoughts are captured by the deep valley we see from our bus window. Is our bus driver’s penchant for speeding into the hillside curves with reckless abandon due to his poorly developed sense of fear or a demonstration of his driving skills? We hope it’s the latter.

Notes during an exciting bus trip through the Andes
South America Experience Continued

After our experience in Brazil, we (Aart and Paula) continued our travels to Argentina. Known internationally as the birthplace the tango and described as the “most European” city in South America (among other designations), Buenos Aires piqued our curiosity. With the help of the Metropolitan Design Center, we have been preparing for a week of interviews focused on sustainability in materials and design to be broadcast to Germany. Meanwhile, a private university in Chile contacted us to prepare a lecture and demonstrate our first do-it-yourself bioplastics workshop in South America. It seems like a lot of interaction is coming up.

BUENOS AIRES, ARGENTINA

Metropolitan Design Center

Our stay in Buenos Aires was anchored by a one-week schedule of interviews with local designers at the Metropolitan Design Center, or (in local parlance) the CMD (Centro Metropolitano de Diseño).

The CMD was founded in 2001 to develop creative programs and projects in order to get the necessary financial support from the government. Instead of being a purely aesthetic pursuit, design is taken seriously and considered a tool for economic, ecologic and social change. One of the best examples is demonstrated by the Metropolitan Design Center itself, which is situated in the Barracas district. Barracas is the kind of district where locals warn: “Don’t go there at night…” The city of Buenos Aires strategically located the design center here in a beautifully renovated fish market to improve the local welfare and establish design-related enterprises in the southern area of Buenos Aires.

IMG_1570 cmd.JPGThe CMD is based in a historical fish market with lots of space (14.000 m2)

IMG_2376 cmd.JPGPaula discussing the interview schedule at the CMD with project manager Gloria Ayerza

Live From Buenos Aires

Most of the designers we interviewed are participating in an incubator program that offers free housing and business support for young designers during their first year(s) while they start up their business. It was interesting to discover how the designers we talked with work with sustainability in different ways. For instance, some focused on materials (i.e. reusing industrial waste) while others tried to improve local manufacturing or addressed sustainability in the education of children. Also, many design studios were inspired by earlier workshops focused on materials such as bamboo or silk which were organized by the CMD. A live-connection broadcasted our interviews directly at the Materials Cafe, a special event during this year’s Hanover Fair in Germany.

IMG_4046 cafe.jpgVisitors at the Materials Cafe in Germany, photo by Daniel George

IMG_2125 gruba.JPGInterview with Constanza and Gabriel from design/architecture studio Gruba

Silent Green

During our week of interviews, we experienced how easy it can be to share sustainable ideas overseas while learning how hard it can be to transport your thoughts to a workshop next door. For instance, Pomada told us that manufacturing items from reused materials is more expensive than having items made from new materials because the local workshops don’t see the economic benefits of reuse. One of the most inspiring interviews took place with Diseñaveral, an industrial design studio that does not use sustainability quotes and labels. By choosing not to use branding that says “green” or “eco” they hope to reach a bigger audience (instead of only the fanatic LOHAS audience) with their products. Even though their design process includes a lot of sustainable thinking, the focus of their communication is about a quality product. We appreciate this kind of “silent green” approach, which is more likely to surprise customers about the product’s sustainable qualities after its purchase (not in advance such as many green/eco labels).

IMG_2369 disenaveral.JPGInterview with Leandro and Maximiliano from studio Diseñaveral

IMG_1562 pomada.JPGInterview with Bruno and Antonela from Pomada

Learning to Love the Mate

Even though we enjoy the typical European culture of coffeehouses, in Argentina we started loving the mate. Mate is probably the most sustainable practice we spotted in Buenos Aires. Unlike green-labeled foods, drinking mate is a phenomenon that doesn’t wear the label of “being green” but demonstrates how sustainability can be rooted in culture (probably without even realizing it). The coffee-to-go service we know in Europe is frustrating for us due to the wasted cups we spot in many streets and parks. The art of drinking mate is a common social practice among people of all ages. Mate is about bringing your own dry leaves, a hollow gourd with metal straw, thermos with hot water and sharing a single cup with your friends. We experienced this bring-it-yourself approach of sharing mate as simply great and we are sure nature loves its zero waste.

IMG_2508 mate.JPGMate is enjoyed among people of all age

IMG_1588 mate.JPGPaula enjoying mate served in its typical gourd and metal straw

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What We Need to See: Design Awareness Spreading to Small Towns

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It’s one thing to have places like the MoMA, the Cooper-Hewitt and the Design Museum in cities like New York and London, filled with thousands if not millions of design cognoscenti. But what will really start to make the difference is an awareness of design spreading to rural areas.

So it’s heartening to see the places like the recently-opened Madsonian Museum of Industrial Design popping up in Waitsfield, Vermont, population 1,659. The Madsonian was founded by architect David Sellers, “the result of his lifelong dream to honor the world’s best in industrial design” and featuring works from Frank Lloyd Wright, Frank Gehry, Ludwig Mies Van der Rohe, Aalvar Alto, Raymond Loewy, Norman Bel Geddes, Eero Saarinen, Marcel Breuer and others.

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Also heartening is the local press it’s been receiving. A blurb in the Burlington Free Press presumably not aimed at the sophisticated-German-eyewear set is headlined “If you make things beautiful, we’ll eventually start respecting ourselves” while a feature on Sellers takes a look at the Yale-educated architect’s back story and why he started the museum.

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MIT’s Hacked Mugs, Part 2: Documentation & Manufacturing

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The documentation for MIT’s Hacked mugs project is better than most student design projects we see coming out of art schools. The design students have laid out the intended user experience, the design development, and a business feasibility evaluation in addition to showing how the objects are actually made.

I especially appreciate that the language is straightforward, more engineer-geeky than designer-flowery; it’s “Just the facts, ma’am” as opposed to “We’re trying to recontextualize the visceral experience of so-and-so.”

For those curious about the process of printing on mugs, here are two processes—screen printing and sublimation—that that students looked at.

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Sign Up to Start Up at Entrepreneurial Boot Camp

Ready to get your media startup off the ground? Prepare to fall out for mediabistro.com’s Startup Boot Camp, an online conference-cum-workshop that kicks off on July 12. Tomorrow, which also happens to be Flag Day, is the last day to take advantage of the early bird discount and save on an eight-week program that includes keynote speeches, live interviews, and practical how-to sessions led by online entrepreneurs including Alexa Andrzejewski (Foodspotting), Eric Ries (The Lean Startup), and mediabistro.com’s own Laurel Touby. Participants will get feedback from pros and find out if their business plan is good enough to make a grown man (specifically, Larry Kramer of Polaris Ventures) cry. Learn more and register here.

New Career Opportunities Daily: The best jobs in media.

MIT’s Hacked Mugs, Part 1: Overview

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MIT students are known to be problem-solvers, which gets interesting when the problem they set for themselves is “How can we get a campus police car on top of the Great Dome?” They pulled that one off in 1994, as one of the famous MIT student pranks that are referred to at MIT as “hacks.” Other hacks have included turning the Dome into R2D2 for the release of The Phantom Menace and stealing Caltech’s Fleming Cannon from its California campus, transporting it to Boston and bolting a giant MIT class ring onto it.

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Allan Chochinov on Upcoming MFA Products of Design Program: "You are in the Consequence Business"

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As many of you know, Core77’s own Allan Chochinov currently has his sleeves rolled up over at NYC’s School of Visual Arts, where he’s launching their new Products of Design MFA program in fall 2012. Check out the faculty and speaker list they’ve amassed thus far and you’ll have your socks knocked off.

Allan recently sat down with Metropolis Executive Editor Martin C. Pedersen to discuss the inception and development of the program, the reframing of artifacts and experiences and the opportunities for the future. An excerpt:

Pedersen: What, or how, are you going to teach that’s different from object-based industrial design?

Chochinov: The program won’t start from the beginning. It will be making-based, but we’re looking for students who are experienced and skilled. I want to be open to people who have been practicing for a couple of years and might be disillusioned by what they’re making every day but haven’t given up on the power of design. We want to introduce them to notions of scale and systems and consequence so they can do more with their superpowers. And when you’re talking about design—even if it’s a brochure or an ad campaign—as soon as you make more than one of a thing, you’re no longer in the artifact business. You are in the consequence business. And that’s how we want students to begin looking at their work.

Read the full interview here.

The program will be open for applications this September, so check out productsofdesign.sva.edu to get on the email list for updates!

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Dear 2011 Design Graduates: With a Little Persistence Opportunities Abound, a note from Ravi Sawhney

US_Navy_110527-N-UH963-164_Newly_commissioned_Navy_ensigns_and_Marine_Corps_2nd_lieutenants_from_the_U.S._Naval_Academy_Class_of_2011_celebrate_the.jpgBy U.S. Navy photo by Mass Communication Specialist 2nd Class Kevin S. O’Brien [Public domain], via Wikimedia Commons

Last week I had the privilege of speaking at my alma mater before the graduating seniors at commencement and my mind has been filled for days with thoughts about the journey on which they now embark, full of both challenges and tremendous opportunity. News media report a modestly improved domestic environment for the 2011 crop amid headlines of Spain’s ‘Young & the Restless,’ Les Miserables and GDP growth rather anemic here at home. While I’m not sure all grads are well-prepared for the market realities, I have tremendous excitement for today’s young crop of designers. It seems to me that for young minds trained well in the design field, the prospects for meaningful contributions and careers could hardly be more promising.

A veteran of the industrial design profession, I’ve been witness to amazing changes over the past 30 years. The days of being brought in at the tail end of enterprise initiatives for aesthetic treatments have become the exception rather than the rule. There has been an increased desire for designers to collaborate earlier and at a more strategic level for development of products and services, in large part for purposes of risk mitigation, marketability and adoptability. This has also developed into a powerful integration of engineering and traditional design skills/professionals with the human insights and knowledge of social science (psychology, sociology, ethnography) and market knowledge from business professionals. This integration now has researchers and strategists working in tandem with product and service developers, and the relationship with clients is now being better managed and informed by MBAs. It is an exciting time where the skills of a designer, and more specifically the perspective they bring to the table, are more valued by everyone—business, non-profits and government agencies alike—especially for the ability to address many challenges proactively and strategically.

Design graduates have been taught for decades how to integrate beauty with functionality, complimenting the skills of today’s product and brand managers. Increasingly graduates are better trained to integrate social sciences and bring wonderful consumer-centered and ethnographically-centered solutions to the table, while more fully understanding the realities of manufacturability, implementation and commercialization. This wonderful marriage of skill and perspective with experience tackling both global problems and commercial applications seems to me a foundation that destines most for tremendous success; provided they approach it like any other design project—with a little creativity and persistence.

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Les Cabanyes by Arqtel Barcelona

Les Cabanyes by Arqtel Barcelona

This Barcelona school by architects Arqtel Barcelona has an exposed concrete structure with painted vertical bands of citrus colours.

Les Cabanyes by Arqtel Barcelona

Containing both a preschool and primary school, the Les Cabanyes school is arranged along an axis that extends from north to south.

Les Cabanyes by Arqtel Barcelona

Classrooms face enclosed courtyards, containing playgrounds and outdoor learning areas.

Les Cabanyes by Arqtel Barcelona

More education buildings on Dezeen »

Les Cabanyes by Arqtel Barcelona

Photography is by Eugeni Pons.

The following information is from Arqtel Barcelona:


Les Cabanyes Preschool and Primary School, Barcelona

A project is defined by the people who will use it and by how it is situated on the site. When it comes to children, it is important to take special care to address all of their needs by providing warm, pleasant and comfortable surroundings. This project prioritizes attention to detail and is designed within a clear and simple functional framework.

Les Cabanyes by Arqtel Barcelona

The building’s location reflects a particular understanding of an urban fragment and its unique qualities. The building’s arrangement on the site takes advantage of its specific characteristics. This building generates a dialogue with its surroundings not only through its spatial composition and architectural tectonics but also through its volumetric orientation. As a result, the building optimizes functional program at the same time as it focuses on aspects of light, orientation and the quality of the spaces generated. Retaining a telluric presence, the building brings a sense of order to the site and acts as a landmark among surrounding buildings and fields. Its presence as a building volume makes legible a reading of the building through its organization. Its north-south longitudinal axis opens up in a circulation pattern resembling a comb, alternating playfully between filled and empty spaces that characterize the whole.

Les Cabanyes by Arqtel Barcelona

The north-south axis, which connects the entire building, opens up to an outdoor, public sphere of access. From here, circulation flows into the preschool and primary school areas are separated, avoiding undue disruption as the children walk to their classrooms. This linear axis, a two-story high space, is marked as intensely as the secondary interior courtyards that organize and link spaces and their associated cross axes, varying according to different programmatic needs. These secondary courtyards function as a preschool playground, the primary school playground, the sports field, and a garden area or courtyards for basking in natural light and relaxing. To react to these varying functions, the façade reflects stratified layers of the building volume.

Les Cabanyes by Arqtel Barcelona

The building’s orthogonality allows for construction elements that are linear and of limited depths. This purposefully minimizes the extension of building elements into the courtyards to maximize exterior space. This also minimizes the area of the site occupied by building. The entire area is meant to be used with equal intensity; this strategy dictates the location of different programmatic pieces within the building. This same linking mechanism sponsors rhythm from the repetition of the pieces; it unifies them by serving as a datum for the interior spaces.

Les Cabanyes by Arqtel Barcelona

The northernmost linear piece of the school houses the spaces for the youngest children, with classrooms open to the south. These spaces serve as a refuge from which the children can observe the real world and happenings outside through a transparent and ever-changing wall. At the same time, they are warmed by the heat and light of the sun while they play.

Les Cabanyes by Arqtel Barcelona

In a similar spatial organization, the central longitudinal volumes are linked by the layout of the classroom spaces that face north to prevent overexposure to the sun. The opening of the corridors to the secondary courtyards allows these circulatory spaces to act as warm and welcoming environments.

The longitudinal piece is designed as an element of closure and transition. In other words, the gymnasium and multipurpose room at the southern-most end serves as a terminus to the north-south grain but also acts as an independent element, accessible with or without engagement from the rest of the building.

The stratification of the facades realizes an intention to create a modern and dynamic presence. The result reflects a kind of animated architectural and material character with exposed concrete walls on the facades of the longitudinal axes. While the facades give shape to the secondary courtyards, they also provide a counterpoint to the materiality of the aforementioned facades. Here, the facades are painted in lively colours, evoking a sense of warmth and joy. They alternate with the transparent sections which are resolved very differently in relation to the interior spaces.

The building section is characterized by its adaptation to the topography and orientation allowing different spaces to receive abundant natural light. When this light is combined with the colours of the corridors and the classrooms, it creates a play of light and shadow within warm and pleasant spaces.

Concerns about the environment and sustainable development have become increasingly important for construction methodologies at large. In accordance with the triple dimension of sustainability – environmental, social and economic – the building is inspired by and adheres to these criteria of environmental excellence. The school is presented as an example of sustainable architecture from its conception and design, ranging from passive climate control systems to the construction. To satisfy the building’s energy demands, it utilizes renewable energy systems such as photovoltaic or solar panels.

With the intention of employing innovative thinking in construction methods, prefabricated systems have been used for the structure, facade and partitions. These systems have enabled the architect to reduce construction time considerably, provide construction elements of outstanding quality, reduce noise and dust emissions and lower the time and waste generated by the construction process itself.

To ensure significant energy savings, both in terms of heating as well as electricity consumption, we have used double walls with thermal inertia complemented by exterior doors and windows with thermal breaks. Other energy-saving tools include the placement of mechanisms to control the interior solar light level, water-saving mechanisms and presence detectors in the rest rooms and changing rooms to control the use of artificial light.

The prefabricated structure is based on the Deltamix system, composed of reinforced concrete pillars sized for one or several floors, pre-stressed hollow-core slabs and DELTABEAM concrete-steel beams. These beams feature a metallic core, which creates a concrete-steel beam when joined to the hollow-core slabs. This beam is highly resistant to flexion, torsion and shear stress and also has excellent fire-resistant properties.

One of the notable advantages of this system is the total absence of suspended beams below the frame of the hollow-core slabs, allowing for thin flat slabs with bases of minimum thickness. Other advantages offered by this system include the reduction in overall construction time and the ability to capture light up to 12 meters with large open spaces. Additionally, the system offers fire resistance up to 180 minutes, elimination of the need for bracing, better acoustic insulation and minimization of the period of environmental impact. It increases the building’s durability with the use of better materials and high-quality products as well as making waterproofing easier. The system also optimizes the building’s life cycle, facilitates the making of spaces of diverse sizes and makes the assembly process safer. Efforts to partition spaces and construct holes for electrical systems as well as other installations are minimized and slabs are reduced to its optimal thickness.

The facades are made of 15 cm or 20 cm-thick prefabricated exposed concrete panels that are painted in one of six different colors or left with an exposed concrete finish. The prefabricated panels are reinforced with an interior double drywall sheet that is 13 mm thick. The 46 mm frame with insulation and the air chamber allows for adequate thermal and acoustic insulation.

The anchoring systems of the upper and lower parts of the panels are exceptional. On the upper portion, anchoring is embedded into the slab when the wall runs parallel to the hollow-core slabs. When the wall is oriented perpendicular to the slabs, the vertical panels use embedded “L” profiles at the top to fasten the beams or the slabs. The bottoms feature U-shaped buttresses so that the base of the facade can be connected to the pavement. This Catalonian school marries playful space with efficient and sustainable construction with charming results.

Client: Catalunya Department of Education


See also:

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Kindergarten Kekec
by Arhitektura Jure Kotnik
Kindergarten Terenten
by Feld72
Het 4e Gymnasium
by HVDN Architecten