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Oslo, Norway

The Oslo School of Architecture and Design, AHO, is one of Norway's three architectural schools.AHO is an autonomous institution within the Norwegian university system. The School offers a unique research-based education with international standing. AHO offers a five or five and-a-half-year Master’s degree programme designed to equip students, to the greatest extent possible, to directly enter professional practice or academia. AHO awards three Master’s degrees: Master of Architecture, Master of Landscape Architecture, and Master of Design. Within these degree programmes, students may specialize in the fields of Architecture, Landscape Architecture and Urbanism, Industrial Design, Interaction Design, or Service and Systems Oriented Design. The school also offers post-professional Master’s courses in Urbanism and Architectural Conservation. AHO offers a single type of doctoral degree, the Doctor of Philosophy.HistoryThe school was established directly after World War II as a «crisis course» for students of architecture who were unable to finish their degree due to the outbreak of the war. Prior to this, the only Norwegian option for obtaining an architectural degree was at Norwegian Institute of Technology in Trondheim.All through the first half of the twentieth century, a group of architects had worked hard towards the establishment of an architectural school that was more aesthetically and academically oriented than a polytechnic education. The school was finally located in Oslo, since it was generally felt that the capital had access to many of the nation’s best practicing architects.In the beginning, the architectural course was part of the Norwegian National Academy of Craft and Art Industry. In 1961 The Oslo School of Architecture was established as an independent school, and, from 1968, located in St. Olavs gate.In 1979, the first formal education in industrial design in Norway was offered as a two-year postgraduate study. A full degree program was established in 1983, and in 1989 this was placed under the direction of The Norwegian Arts and Crafts School. Then, in 1996, the Institute of Industrial Design became part of the Oslo School of Architecture.In 2001 the school moved into a new building in central Oslo, and in 2005 the school changed its name to The Oslo School of Architecture and design. Wikipedia.

Hansen L.A.,Oslo School of Architecture and Design
Digital Creativity | Year: 2011

This article focuses on the design potential of digital interactions where the body is seen as the interface. With computational technology and sensors infiltrating many aspects of our lives and urban surroundings, interaction designers' ability to visualise and generate designs are important in order to understand and explore such design spaces. I propose three concepts-accessibility, immediacy and generation-as means for analysing movement as a design material for interaction design. Drawing on a social semiotics approach, contemporary choreographic research is studied where digital tools are used to generate, explicate and communicate interactive movement. I argue that by drawing on the particularities and potentials of the moving body as interface such as those explored through choreographic practice, we may avoid imitating existing exchanges with technology and create novel interactions. © 2011 Copyright Taylor and Francis Group, LLC. Source

Luras S.,Oslo School of Architecture and Design
CoDesign | Year: 2015

Making use of insights gained through field research in design can be challenging. Some issues that design teams may face are making sense of fragmented data collected, sharing insight among the design team and presenting the data in ways that support the situated design work. This paper introduces layered scenario mapping, a technique aimed at meeting such issues when designing a ship’s bridge. The technique builds on and expands traditional techniques for representing user data in design and results in a map describing a typical scenario along several dimensions and at different levels of abstraction. It highlights the spatial and temporal aspects of the situation, and emphasises the use of visual presentations. This paper describes why and how the layered scenario mapping technique was created, it critically assesses the technique and discusses experiences with using it. The technique proved to be valuable in making sense of fragmented data, and supported the design team’s collaborative work when designing a ship’s bridge. It is expected that the technique can also prove valuable when designing for other contexts where the spatial and/or temporal dimensions are of importance. © 2015 Taylor & Francis Source

Keitsch M.M.,Oslo School of Architecture and Design
Problemy Ekorozwoju | Year: 2011

Industrial ecology (IE) intends to improve industrial processes in a way that the society benefits with as less damage of the environment as possible. As a concept it gives responses to environmental problems in the field of industry and technology and aims to enable management of human activity on a sustainable basis by minimizing energy and materials usage, ensuring acceptable quality of life for people, minimizing negative ecological im-pacts of human activity to levels natural systems can sustain, and maintaining economic viability of systems for industry, trade and commerce. Industrial ecology offers a systems methodology for the analysis of material and energy flows. Thereby an investigation of the connection between humans and nature, placing human activity in the larger context of the biophysical environment from which we obtain resources and into which we put our wastes is of essential importance. Since industrial ecology has been developed by engineers and natural scientists an ethical reflection of the con-cept is often neglected. Ubiquitarily manifests however in anthropocentric assertions such as harmonizing the contradiction between nature and culture with scientific expertise, appropriate technology and socio-economic management. This paper interprets industrial ecology ethically by relating values to specific characteristics of the systems me-thodology. This interpretation should provide a starting point for a debate within the field out from the concepts' own epistemological premises. The presumption for the value of this endeavour is that industrial ecology is not morally "neutral" but possesses an implicit normative potential for the design of a possible sustainable world. Following the introduction, which presents the systems methodology as a core concept in industrial ecology, the second section gives an overview over main environmental ethics positions to prepare the ground for the argu-ment that industrial ecology might benefit from considering a moderate biocentrism. Section three examines three epistemological characteristics of the systems methodology: interdependence, diversity and complexity and explores their relationship to values in ethics: responsibility, openness and correspondence. Conclusively, the fourth section gives some reasons why a moderate biocentrism supplementing anthropocentric positions is ad-vantageous for IE and what benefits can be gained for research and practice in the field. Source

Blomkvist J.,Oslo School of Architecture and Design
Design Journal | Year: 2016

This paper discusses the impact of service design by zooming in on the case of service prototyping. It is suggested that prototyping services is different from prototyping in other disciplines and shows how by discussing prototyping on different levels. On the service level of prototyping, a technique called ‘service walkthrough’ can be a way to understand whole service experiences. The service walkthrough was used in three cases. On an abstract level, what the service walkthrough adds is a technique for service design that allows exploration of the relationship between touchpoints such as composition, continuity, and consistency. In the cases studied, the walkthroughs increased empathy for different roles in the services while generating insights about e.g. technical requirements, transitions between touchpoints, and expectations at various moments of the service. The paper ends with a discussion about the relationship between touchpoints and the potential scope of the service walkthrough technique. © 2016 Informa UK Limited, trading as Taylor & Francis Group. Source

Michll J.,Oslo School of Architecture and Design
Design Journal | Year: 2014

This paper explains how design history can become a tool for better design practice. Design historians are inclined to perceive the aesthetic idioms pertaining to past artefacts as expressions of particular periods, and their aesthetic validity as limited to the periods in question. This tends to turn design history before the Bauhaus into an overview of extinct aesthetic species. However, the ‘objects of the past’ in fact exist right now, in the present, both physically and as multiple images. What is needed to turn the aesthetic captives of design history into a treasure trove for present-day designers is to develop an ability, lost in teachers and students alike, to see the pre-Bauhaus world of aesthetic idioms as part of our present. In order to achieve this, we design historians should cease to subscribe to the self-serving modernist claim that there is just one genuinely modern aesthetic idiom. © 2014, BLOOMSBURY PUBLISHING PLC. Source

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