Das "Haus der Transformation" versteht sich als Plattform innerhalb der HTW Berlin, die Studierende, Lehrende, Forschende und Akteur_innen aus Wirtschaft, Politik und Zivilgesellschaft vernetzt und die vielfältigen Engagements in den Bereichen Zukunftsfähigkeit und Nachhaltigkeitstransformation bündelt. Gemeinsam sollen interdisziplinäre Transformationsprojekte geplant und ihre Sichtbarkeit erhöht werden. Im Fokus stehen zukunftsfähige Projekte und Transformationsgedanken mit regionalem Bezug. Zu den Projekten gehören
Making the invisible, visible
Imagining a better future for the repair & reuse economy in Kenya
But inside the square-mile slum, made famous in the movie "Slumdog Millionaire," is a bustling micro-economy filled with industry and commerce that generates some $665 million per year, according to Reality Gives, a non-profit that runs tours of Dharavi and uses the money to run community centers and classes for its 1 million residents. The workers and residents of Dharavi export leather goods, suitcases, baked goods, textiles, stoves, and an array of other products into the broader Indian economy.
The 13th Compound is at the heart of Dharavi’s recycling industry. An estimated 80% of Mumbai’s plastic waste is recycled in the slum, in some 15,000 single-room factories.
Inside the beehive of Mumbai’s central slum, skilled teams of small-scale manufacturers – from leather workers to garment stitchers – form a shadow world that the government refuses to recognise
Over the years, Dharavi dwellers have created an industrial economy in Mumbai, creating employment opportunities for the recycling of Mumbai’s waste, an undertaking that arguably should be addressed by local councils.
RREUSE is an international network representing social enterprises active in re-use, repair and recycling.
The linear ‘take, make, use, and dispose’ economy is driving the climate emergency. Extraction and processing of natural resources make up half of the total global greenhouse gas emissions and over 90% of water stress and biodiversity loss impact, according to the International Resource Panel. Product re-use and repair are the building blocks of circular economy, which can contribute to climate change mitigation by preventing resource depletion, diverting products and materials from landfills and incineration (therefore preventing associated emissions), and reducing energy demand.
MARR’s mission is to challenge the perception of waste culture by providing a unique platform for artists at the intersection of art, community, and waste systems. The Moab area is highly impacted by the tourism industry and, as a result, waste management. By facilitating artists’ direct engagement with the waste stream, MARR encourages resident artists to consider their studio practice through the lens of sustainability and to thoughtfully re-assess their processes of material sourcing and waste disposal.
Through a 4-week residency, the program offers artists studio space, project and community facilitation, a stipend, access to materials at local waste disposal sites, and the time and space to focus solely on their art. As a component of each residency, artists spend time providing opportunities for learning, dialog and enrichment within the community.
THIS IS DISTRIBUTED DESIGN - DOCUMENTARY
We are building a community of fibre and dye growers, processors, makers and manufacturers across the South West to start a conversation about how we can produce more home-grown textiles and garments in a more healthy, resilient and regenerative textile ecosystem.
Collaborating with lead partner, MaticHub in Cebu, Philippines, we have been researching indigenous materials native to the Tay and wider region. Our researcher, Steph Liddle, shares what she discovered.
Fixperts is a learning programme that challenges young people to use their imagination and skills to create ingenious solutions to everyday problems for a real person. In the process they develop a host of valuable transferable skills from prototyping to collaboration.
Fixperts offers a range of teaching formats to suit schools and universities, from hour-long workshops, to a term-long project, relevant to any creative design, engineering and STEM/STEAM studies.
Salvage – a term that, in English, was originally associated with the payment received ‘for saving a ship from wreck or capture’ – only came to describe the act of saving itself in the late 19th century with the dawn of the salvage corps. As cities grew, and the risk of large-scale property loss became more central, insurance underwriters found it profitable to establish fire salvage services to reduce losses. A later meaning, evolving during WWI, refers to the ‘recycling of waste material’: put explicitly, the combing of battlefields by the British Army’s Salvage Corps (a ghoulish double entendre), which re-purposed the parts and property of fallen machines and soldiers for continuing use in the war effort.
Of all the mysteries and injustices of the McDonald’s ice cream machine, the one that Jeremy O’Sullivan insists you understand first is its secret passcode.
Press the cone icon on the screen of the Taylor C602 digital ice cream machine, he explains, then tap the buttons that show a snowflake and a milkshake to set the digits on the screen to 5, then 2, then 3, then 1. After that precise series of no fewer than 16 button presses, a menu magically unlocks. Only with this cheat code can you access the machine’s vital signs: everything from the viscosity setting for its milk and sugar ingredients to the temperature of the glycol flowing through its heating element to the meanings of its many sphinxlike error messages.
“No one at McDonald’s or Taylor will explain why there’s a secret, undisclosed menu," O’Sullivan wrote in one of the first, cryptic text messages I received from him earlier this year.
As O’Sullivan says, this menu isn’t documented in any owner’s manual for the Taylor digital ice cream machines that are standard equipment in more than 13,000 McDonald’s restaurants across the US and tens of thousands more worldwide. And this opaque user-unfriendliness is far from the only problem with the machines, which have gained a reputation for being absurdly fickle and fragile. Thanks to a multitude of questionable engineering decisions, they’re so often out of order in McDonald’s restaurants around the world that they’ve become a full-blown social media meme. (Take a moment now to search Twitter for “broken McDonald’s ice cream machine” and witness thousands of voices crying out in despair.)
The Institute of Making was founded by Zoe Laughlin, Mark Miodownik and Martin Conreen in 2010* in order to celebrate and explore the relationship between materials and processes. It became part of University College London (UCL) in 2012, and opened the current space on Malet Place (London, WC1E 7JE) in March 2013.
At the heart of the Institute of Making is the Materials Library – a growing repository of some of the most extraordinary materials on earth, gathered together for their ability to fire the imagination and advance conceptualisation. A place in which makers from all disciplines can see, touch, research and discuss, so that they can apply this knowledge and experience to their own practice.
Designer, maker and materials engineer Zoe Laughlin dismantles and dissects three classic items to understand the wonders of form, function and material that go into making them, before building her own truly bespoke versions, step by step.
I felt a bit embarrassed putting this site together as it seemed a bit like vanity publishing. At times it was also an odd feeling, 'editing' my past. But then, I had all the images and it seemed a waste to let them rot, and I wanted to try doing a website. Practically, it will also be useful for anyone interested in commissioning work to look at my past stuff.