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This is an Accepted Manuscript of an article published by Taylor & Francis in Cryptologia on 12 Feb 2018.
Abstract:
In his book ‘Noui et singolari modi di cifrare’, Giovan Battista Bellaso presents to his readers three challenge ciphertexts. Two of them are based on a polyalphabetic cipher with a mixed primary reciprocal alphabet and a long key, whereas the third one uses four independent homophonic substitution alphabets which change after each word. A successful approach to solving these ciphers, to which Bellaso gave the name ‘terzo modo’ and ‘quarto modo’, performs a simulated annealing attack directly on the primary alphabet respectively the four homophonic alphabets at once. This paper focusses on the various applied fitness functions. The solutions for the ciphertexts are given and finally discussed, with a view toward the possibility of a hidden message within the plaintexts.
The project DAAN (Design of Assistive Ambient Notification Systems, funded by the German Ministry for Education and Research) explored ambient notification as a part of an assistive computing system for elderly users. Within the framework of this project we investigated the potential of textiles as ambient notification devices, with a focus on knitted fabric. This is the documentation of the project activities at University of Arts Berlin.
e-Textile Reader
(2020)
In view of growing concerns on climate change and temperature extremes, there is a need to explore novel methods that provide thermal comfort in architecture. Latent heat thermal energy storage with phase change materials (PCM) has been widely researched in last decades in the field of energy technology and proved beneficial for reduction and shifting of the thermal loads and improving the overall thermal storage capacity of building components. Although a variety of PCM containments have been investigated for indoor cooling applications, the examples of exposed, design-oriented macro-encapsulations are rare. This paper presents a study of visible, suspended ceiling encapsulations for passive cooling, made of glass and novel bio-based PCM. The aim is to provide an overview of correlations between basic containment geometries and their thermal behavior that serves as a base for the further design of custom-made PCM macro-encapsulations. An experimental set-up of test boxes is developed for thermal cycling and a comparative analysis of the thermal performance of varied PCM encapsulation geometries. The study concludes that the containments with the large exchange surface and the small thickness offer an optimal material distribution for the temperature reduction in the box. Based on experimental results, suggestions are made on further formal strategies for the design of cooling elements for local thermal regulation.
New methods for designing with phase change materials (PCM) could widen the range of applications of passive systems for indoor cooling in architecture. This paper investigates material and formal strategies for generative architectural design that support the thermal performance of PCM. Dendritic geometry of PCM encapsulation with a large surface area per unit volume is proposed for enhancement of the heat transfer between PCM and surroundings. The prototype of the PCM ceiling component is digitally designed, manufactured in glass and tested in an experimental set-up for thermal cycling. Correlations are made between geometric configurations and cooling performance of dendritic and spherical PCM containments. The presented methodology integrates tools and techniques from digital design and energy technology, with an aim to contribute to novel PCM-based concepts for local thermal regulation in architecture.
When going deep into the area of sustainability and looking at the crosslinks that open up regarding the practice of design, a dark narrative appears whereby sustainable design is a failing practice, either aiming too high by trying to tackle global, inter- and intragenerational challenges, or aiming too low by focusing on, for example, material impacts of new products and services; this narrative appears to have an upper hand over one that is more positive and constructive that sees the strengths and potentials that design can bring to the challenges of sustainability. While the growth-oriented sustainable development discourse still dominates the way sustainable design is practiced, there are other streams with a more holistic view of sustainability. These streams are rooted in a post-growth / no-growth or strong sustainability discourse, which are slowly making their way into design practice through the guise of sufficiency, resilience and activism with a common theme of sharing knowledge, allowing citizens to be an active part of their community.
The dark narrative of sustainability in design as well as the call for designers to transform a practice of “un-sustainability” into one that allows “futuring”, leaves most of them shrugging their shoulders in light of how to implement the theoretical (utopian) requirements into their own practice. I argue for providing a different, more positive narrative, moving past the finger-pointing attitude towards reminding oneself what the practice of design in the context of sustainability can bring to the table.
Why there are new directions in sustainable design is largely because design has broadened beyond its product and service fixation towards a more process-oriented practice and an awareness of the impact designers have on this world. In these processes, designers are often taken outside the boundaries of growth-oriented economic progress towards social progress. They are continuously reminded that they cannot operate outside of a societal context and that their work has an impact on the Earth’s dynamic equilibrium (however small it might be).
Thus, the aim of my work is to re-frame sustainable design as a default configuration, stripping it from the unwieldy term of sustainability and extracting its core features of transformation, participation and future-focused thinking. Considering this core configuration, design is bound to be situated between anthropo- and eco-centricity, putting into question current user- and human-centric design approaches that tend to marginalize the everyday context and wider implications of the designed product or service.
Through an investigation that spanned the last five years, I have come to realize that sustainable design has nothing to do with a specific practice, but rather with a mindset which is, at its basis, tied to ethical considerations rooted in everyday life. It is moreover tied to broad, interdisciplinary knowledge that is needed to grasp the interconnected and global challenges that lie ahead. To make this point, in my work I am retracing the steps from the early roots of sustainable design within the sustainability movement towards its radical opening in different directions such as design activism, transformation design, design for social innovation and participatory design.
Furthermore, I propose a re-framing of the practice of sustainable design, (tentatively) linking it with a research-through-design approach and subsequently, through the design case, constructing a dynamic, interdisciplinary action repertoire for designers.
When framing this renewed idea of sustainable design, not only do the two dimensions of transformation and participation almost automatically appear in the current discourse, but also the notion of opening up contexts through design in a way that is directed towards possible (sustainable) futures becomes apparent. Several overarching perspectives resurface in the course of this work:
1 Opening – How can designers open access to contexts, tools, knowledge and technology through collaborative, interdisciplinary action?
2 Making – How can designers provide processes to involve stakeholders in critically assessing and making possible futures?
3 Transforming – How can designers transform contexts and situations from one state to a preferred one (and how can they facilitate the negotiation-processes tied to them with regards to social equity and intra-generational justice)?
The topic of transformation and future-focused thinking is currently engaging most of design, not exclusively sustainable design, and this thinking seems to provide an underlying idea that design may be able to provide at least part of the skill-set required to cater to this transformation. It is, however, not only the context and situations design claims to transform, but also user behavior and market incentives. In this research, transformation is viewed as a careful byline to a project which spans almost six years and is now coming to a close.
The design case for this research is the project Neighborhood Labs which has been run by an interdisciplinary group of design researchers, citizens and other stakeholders in a central, but isolated area in Berlin’s Mitte district. It incorporated the development of a research concept and experimentation process which builds on a participatory design methodology as well as a living lab approach. It was planned open-ended with the potential of stakeholders taking over after the official end of the research project.
In terms of sustainability, the subject and guiding theme of sharing and collaboration was the baseline of the design phases and iterations. While focusing at first on the sharing of concrete objects in a specific community of practice, there was a shift to sharing knowledge, as well as to the empowerment of citizens to impact local decision-making processes, a much fuzzier subject than the sharing of objects or services. The project was run in three intertwined phases:
– Sharing phase / Neighborhood lab: Setting up and running a living lab. Investigating the context and building the infrastructure. Approaching the neighborhood and designing tools for gathering insights about needs and issues within it while drawing active citizens towards the project. After this step, insights inform the research process and help focus the research question further. This phase produced several concepts and sketch prototypes in collaboration with the stakeholders of the Fischerinsel, Berlin.
– Infrastructure phase / Designing infrastructures & fostering change: Designing and testing participatory tools such as the Hybrid Letterbox, an analog-digital bridge device, in order to discuss and evaluate questions of social cohesion and communication within the neighborhood and to activate citizens for involvement in these issues.
– Transfer phase / Design transfer: opening up the context and pushing the methods and tools outside of its initial project and creating new instances thereof.
As I am reflecting on the process of a long-term project now behind me, such as working through trial-and-error phases, prototypical research-through-design attempts and the immersion in the Fischerinsel-context that the research group grew a part of, several key directions in the dealing with and conveying of sustainability challenges appear.
On a practical level, these directions materialize in the categories of investigative action, participatory tools and workshop formats, which are distilled from a broad range of interdisciplinary actions conducted over the course of the research, leading to an action repertoire for transformation which I propose as one of the outcomes of my work.
On a theoretical level, I argue for sustainable design by default, meaning sustainability as an inherent, embedded goal of any design process, integrating a research-through-design mindset in sustainable design or vice versa. In further steps, this entails restructuring the way we teach design and how design practice is informed throughout its process.
Elastic gridshells are celebrated for their striking biomimetic curves, long spans and efficient material usage. Constructed from a grid mechanism of slender beams, an elastic gridshell is assembled on a flat surface then repositioned into its final curved shape after which stabilising elements are added and the structure becomes a stiff load-bearing shell.
While elastic gridshells are efficient in their built-state, the established methods with which to erect them (‘lift up’, ‘push up’ and ‘ease down’) are associated with substantial complexity, cost and time which inhibit their adoption. The central research question of this thesis asks whether elastic gridshells can be erected by means of pneumatic falsework (i.e. ‘inflate’), if so how and what would be the implications of doing so.
The work presented in this thesis proves that the pneumatic erection of elastic gridshells is not only feasible but can offer many advantages (such as speed of erection, structural robustness and architectural qualities) over existing shelters for humanitarian, event and architectural applications. A literature review is presented on the historical precedent for this novel method. The computational challenges of simulating the complex erection process are investigated in depth leading to the development of bespoke simulation methods based on the novel application of a projection-based dynamic relaxation solver.
Case studies and a benchmark compare state-of-the-art finite element solvers based on both global and local stiffness revealing their quantitative and qualitative differences giving some indication as to the future of finite element modelling for the built environment in engineering, research and education. Innovative prototypes of augmented and virtual reality engineering tools for education are presented as wider reaching applications of the novel simulation method developed for this thesis.
The simulation methods developed to answer the central research question deliver valuable findings relating to the scope of feasibility and the practical execution of the novel method including: suitable shapes and sizes of shells, ‘trigger’ pressures required, the function and importance of tethering cables during erection, development and detailed analysis of erection sequences and identification of material suitability and performance criteria. One small and two full-scale physical prototypes were built which validate the novel computational methods to a high level of precision, offer practical detailing solutions and demonstrate the architectural and humanitarian potential within the pneumatic erection of elastic gridshells.
This dissertation offers a critical engagement with design’s implication in the ontological constitution of gendered, racialized, subjugated bodies. To do so, it starts from a broad understanding of design as an activity that articulates modes of being in the world — and that, in so doing, also shapes itself. This approach is grounded on an interrogation of the political motives that permeate and inform design processes; I take particular interest in how these have been manifested throughout the history of birth control technology.
Starting from this background, I outline and propose the concept of technoecologies of birth control — that is, spaces that emerge through the performances of co-constitutive material-semiotic actors, for the purposes of birth control. Throughout this dissertation, I identify two fundamental sets of actors operating within the technoecological space: bodies and things. The co-constitution of these actors is realized across historically, geopolitically, socioculturally, technoscientifically located performances; as such, technoecological actors are approached as relational, contextual and mutually structuring entities.
This conceptualization of technoecologies of birth control is informed by feminist and decolonial theories, and posits that these spaces are crucial for the establishment and sedimentation of biopolitical regimes of domination. Design is thoroughly implicated in the emergence of technoecologies of birth control, as it holds a crucial role in the management and regulation of bodies characteristic of biopolitical regimes of domination. In other words, design inscribes ontological meaning onto some bodies in detriment of others; it is with the sedimentation of these conditions that bodies become coded as ‘naturally’ or ‘fundamentally’ different. The constitution of difference amongst material-semiotic actors in technoecologies of birth control is thus articulated by design; in other words, it is the result of a planned, deliberate inscription of ontological meaning.
My interrogation of design’s role in the constitution of subjugated bodies occurs within the scope of these technoecologies. Starting from this framework, I discuss the insights offered by a series of experiments (‘Yarn Sessions’ and 'Oniria') conceived as both explorations of the technoecological space, and speculations on the instability of the social constitution of bodies by design. My theorization of technoecologies of birth control happens, thus, through a process of research through design — that is, a process in which theory and practice are deployed as mutually informing forces in design research. Through the analysis of these design experiments, I propose three fundamental aspects of the performances of material-semiotic actors within technoecologies of birth control: relativity, opacity, and duplicity.
The Central Library of the universities TU Berlin and the UdK Berlin turned ten years old in 2014 and its wayfinding system hasn’t been updated or redesigned since. Actually, it wasn’t planned as a system. This orientation system has been developed spontaneously in different methods since the beginning. The staff that works in the library developed it based on their daily necessities. There was no main objective, so it grew in an organic form. Because of this, the current system presents problems that decrease its performance and effectiveness.
For this project I would like to focus of the current wayfinding system of this library and its users in addition to a posterior redesign proposal.
Decolonizing the Earview of Design: Listening Anxieties and the Apparatus of Auditory Governance
(2018)
This dissertation attends to the intersection of sound, material culture, racism, and police violence in Brazil from a decolonizing perspective. With a focus on theories informed by cultural and sound studies, it unravels the contingent arrangements through which certain designed objects and practices function as material-discursive nodes for the normalization and perpetuation of racialized violences. To explore these ideas, it reads design—a field of knowledge and a set of practices—as a material-discursive apparatus, accountable for not only the results but also the conditions of possibility for any research endeavor.
The main driving force of this work is the identification and evincing of ‘listening anxieties.’ These emerge through enactments of political consensus, policing, and compliance; the articulation of these three in institutional, designerly, as well as everyday practices is what this research identifies as the Apparatus of Auditory Governance (or AAG). More specifically, I look at three manifestations of these auditory governances in contemporary Brazil—from the early 2000s to the judiciary Coup d’Etat of late 2016. These range from the criminalization of jukeboxes by a Military Police acting outside the scope of written law in so-called ‘pacified’ neighborhoods in Rio de Janeiro, to the construction of a seven kilometer-long acoustic barrier in the city as a device for urban segregation, to the deployment of sound bombs as devices for the enforcement of silence by the same police force in São Paulo.
The articulation of auditory governances, however, is not fixed; rather, it shifts and mutates to account for distinct and diverse experiences of listening. These shifts are what this work calls earviews: a conceptual orientation which determines the “listening point” where narratives and perceptions of auditory reality unfold from. The AAG, articulated and deconstructed at the intersection of distinct and conflicting earviews, forms the main method of this dissertation, and is of particular interest for sound and design studies. By understanding the earview as an asset of and for designing, it is possible to interrogate the role of design in the enforcement, reproduction, and normalization of sonic violences, and the erasure of other(ed) narratives of listening. Rather than simply evincing the hegemony of normative—qua racialized—earviews, I intervene by reading them through first-person accounts and storytelling stemming from fieldwork with artists and activists in Brazil, as well as from two movies by Brazilian directors—O Som ao Redor (2012) and Branco Sai, Preto Fica (2014). These intersections are further complemented by a semi-fictional narrative created throughout five collective pedagogical sessions fusing designing and fabulation. This format, named “Yarn Sessions,” is my methodological proposition for design research in this work.
This research started out by posing three broad questions relating to the connection between auditory practices—i.e. sounds and their social, cultural, and political engagements—and the design of listening devices. It asked: what is the contribution of design to the politics of mediated listening and its devices? What might be the possible, probable and/or preferable enactments of the political agency of designed listening devices? These initial questions are all addressed by this work, and have shifted from their initial form as a general investigation on the entanglement of design and listening, to offer an inquiry and an intervention on violences enacted with and through sound.
This work thus participates in a re-historicization of the colonial underpinnings of design, while at the same time offering a decolonizing methodological proposition for design research and design studies with a sound and listening-oriented locus. It demonstrates that the material conditions of sonic violence—from architectural planning to transitional/illegalized sound objects to the development of weaponry—are a form of ontological design (cf. Anne-Marie Willis) which succeeds by making its own colonial and racialized ethos discursively and materially invisible. This ontological enunciation demands the accountability of the designer as both producer and reproducer of racialized/colonial phenomena in the making of their own practices.
Yet this research does not align itself completely with discourses from the “ontological turn” or “new materialisms” in philosophy (cf. Karen Barad), insofar as these often undermine and erase the role played by coloniality and “racialized assemblages” (cf. Alexander Weheliye) to the constitution of its own ontologies and epistemologies. My proposition for design understands the field to constitute in itself an ontoepistemology (cf. Willis, Gloria Anzaldúa), albeit reading such ontological alignments through decolonial and critical race studies. In so doing, it opens up a new field of inquiry in which sound studies and decolonial thought inform designerly inquiries into material culture not only for the evincing of specific material-discursive phenomena (e.g. sonic violences), but also for intervening on them with intersectional and decolonizing frameworks.