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Dr. Carmela Cucuzzella, is an Associate Professor in the Design and Computation Arts department and is holder of the Concordia University Research Chair in Integrated Design, Ecology, and Sustainability for the Built Environment (www.ideas-be.ca). Her research work is framed within the broad domain of design studies where she investigates questions of sustainable design for urban living. Her varied background and expertise in environmental- and social-life-cycle analysis, in green building rating systems, and in design and architecture allow her to adopt a framework revolving around design’s interrelated dimensions of the cognitive–instrumental, the moral–practical, and the aesthetic–expressive forms of conception and discourse.
Purpose Highly sophisticated digital technologies have distanced architects and designers from intimate and immediate hand-drawing practices. Meanwhile the changes they rapidly bring come with undetected changes in cultural and social norms regarding the built environment. The growing dependence on computers calls for a more holistic, socially inclusive and place-responsive design practice. This paper aims to shed light on what we are losing in the design process as we rapidly transition to communicate architecture using digital media. The authors contemplate the paradigms in which the human body and physical objects still play an important role in today's design environment. Design/methodology/approach The paper looks at current trends in developing and establishing “computer imaging” within architectural education, and the architectural profession through parametric design and the area of sustainability. In order to reveal novel and hybrid ways of architectural image-making, it also looks into art forms that already experiment with bodily practices in design by taking an artisanal animation project as a case study. Findings The renewed longing for craft, haptic environments, tactile experiences and hand-crafted artifacts and artworks that engage the senses can be exemplified with the success of the documentary Last Dance on the Main, an animated film on the endangered layers of human presence in one of Montreal's downtown neighborhoods. The open possibilities for creative hybridizations between the handmade and the digital in architecture practice and education are exposed. Originality/value The influence of film on the perception and consequent design of cities is well documented. There is little literature, however, on how the materiality and process of artisanal film animation can provide alternative, if not additional, insights on how to communicate various aspects of the built environment, particularly those rooted in the human body. Furthermore, handmade film explores a broader understanding of sustainability, which includes considerations for social and cultural contexts.
Aristofanis Soulikias; Carmela Cucuzzella; Firdous Nizar; Morteza Hazbei; Sherif Goubran. We gain a lot…but what are we losing? A critical reflection on the implications of digital design technologies. Open House International 2021, ahead-of-p, 1 .
AMA StyleAristofanis Soulikias, Carmela Cucuzzella, Firdous Nizar, Morteza Hazbei, Sherif Goubran. We gain a lot…but what are we losing? A critical reflection on the implications of digital design technologies. Open House International. 2021; ahead-of-p (ahead-of-p):1.
Chicago/Turabian StyleAristofanis Soulikias; Carmela Cucuzzella; Firdous Nizar; Morteza Hazbei; Sherif Goubran. 2021. "We gain a lot…but what are we losing? A critical reflection on the implications of digital design technologies." Open House International ahead-of-p, no. ahead-of-p: 1.
This paper explores how design in the public realm can integrate city data to help disseminate the information embedded within it and provide urban opportunities for knowledge exchange. The hypothesis is that such art and design practices in public spaces, as places of knowledge exchange, may enable more sustainable communities and cities through the visualization of data. To achieve this, we developed a methodology to compare various design approaches for integrating three main elements in public-space design projects: city data, specific issues of sustainability, and varying methods for activating the data. To test this methodology, we applied it to a pedogeological project where students were required to render city data visible. We analyze the proposals presented by the young designers to understand their approaches to design, data, and education. We study how they “educate” and “dialogue” with the community about sustainable issues. Specifically, the research attempts to answer the following questions: (1) How can we use data in the design of public spaces as a means for sustainability knowledge exchange in the city? (2) How can community-based design contribute to innovative data collection and dissemination for advancing sustainability in the city? (3) What are the overlaps between the projects’ intended impacts and the 17 United Nations Sustainable Development Goals (SDGs)? Our findings suggest that there is a need for such creative practices, as they make information available to the community, using unconventional methods. Furthermore, more research is needed to better understand the short- and long-term outcomes of these works in the public realm.
Carmela Cucuzzella; Morteza Hazbei; Sherif Goubran. Activating Data through Eco-Didactic Design in the Public Realm: Enabling Sustainable Development in Cities. Sustainability 2021, 13, 4577 .
AMA StyleCarmela Cucuzzella, Morteza Hazbei, Sherif Goubran. Activating Data through Eco-Didactic Design in the Public Realm: Enabling Sustainable Development in Cities. Sustainability. 2021; 13 (8):4577.
Chicago/Turabian StyleCarmela Cucuzzella; Morteza Hazbei; Sherif Goubran. 2021. "Activating Data through Eco-Didactic Design in the Public Realm: Enabling Sustainable Development in Cities." Sustainability 13, no. 8: 4577.
This paper examines a series of art and design installations in the public realm that aim to raise awareness or activate change regarding pressing ecological issues. Such works tend to place environmental responsibility on the shoulders of the individual citizen, aiming to educate but also to implicate them in the age of the Anthropocene. How and what these works aim to accomplish, are key to a better understanding the means of knowledge transfer and potential agents of change in the Anthropocene. We study three cases in this paper. These are examined through: (1) their potential to raise awareness or activate behavior change; (2) how well they are capable of making the catastrophic situations, which are invisible to most people, visible; and (3) how well they enable systemic change in the catastrophic situations. In the three cases studied, we find that they are successful in helping to raise awareness and even change individual behavior, they are successful in rendering the invisible visible, but they are incapable of engendering any systemic change of the catastrophic situations depicted.
Carmela Cucuzzella. Making the Invisible Visible: Eco-Art and Design against the Anthropocene. Sustainability 2021, 13, 3747 .
AMA StyleCarmela Cucuzzella. Making the Invisible Visible: Eco-Art and Design against the Anthropocene. Sustainability. 2021; 13 (7):3747.
Chicago/Turabian StyleCarmela Cucuzzella. 2021. "Making the Invisible Visible: Eco-Art and Design against the Anthropocene." Sustainability 13, no. 7: 3747.
Current research is focused on sensing and modeling occupant behavior to predict it and automate building controls. Another line of research recommends influencing the behavior of occupants through feedback mechanisms and engagement. Yet, most of the work has focused on pushing occupants to reduce energy consumption over a long time and does not explore the potential to guide users to take specific actions promptly. The study examines a new interface mechanism that aims to solicit immediate and predefined actions from occupants. Building on seminal research in the field, the study uses art visualization to reinterpret social feedback. We test this approach in an immersive interaction space where participants react to artistic visuals to attain predefined settings for three indoor devices. In the 197 interactions recorded, participants’ overall actions conformed with the predefined goals. The participants were able to reach all or some of the targets in more than 80%, within an average of less than 30 seconds. We also see that complementing the visuals with textual hints improved the interaction in terms of engagement and accuracy. We conclude that ambient, abstract, and artistic real-time goal-driven feedback is effective in influencing immediate actions. We recommend that guiding occupants didactically has a strong potential for advancing building controls.
Sherif Goubran; Carmela Cucuzzella; Mohamed Ouf. Eyes on the Goal! Exploring Interactive Artistic Real-Time Energy Interfaces for Target-Specific Actions in the Built Environment. Sustainability 2021, 13, 1996 .
AMA StyleSherif Goubran, Carmela Cucuzzella, Mohamed Ouf. Eyes on the Goal! Exploring Interactive Artistic Real-Time Energy Interfaces for Target-Specific Actions in the Built Environment. Sustainability. 2021; 13 (4):1996.
Chicago/Turabian StyleSherif Goubran; Carmela Cucuzzella; Mohamed Ouf. 2021. "Eyes on the Goal! Exploring Interactive Artistic Real-Time Energy Interfaces for Target-Specific Actions in the Built Environment." Sustainability 13, no. 4: 1996.
Mannerism was the bridge between late Renaissance and the Baroque between 1520 and the 1600s. This movement was characterized by the destabilization of compositional elements through repetition and expressiveness, regardless of their function. This phase in history echoes a trend in contemporary architecture based on the repetition of functionless elements that constitute a ‘green aesthetic’ in detriment of sustainable systems. Ecomannerism is a conceptual vehicle to identify and evaluate iconic contemporary projects that are positioned between ecologies of practice and ecologies of symbols, which are directly related to the sustainable performance of the built environment.
Gabriel Peña; Carmela Cucuzzella. Ecomannerism. Sustainability 2021, 13, 1307 .
AMA StyleGabriel Peña, Carmela Cucuzzella. Ecomannerism. Sustainability. 2021; 13 (3):1307.
Chicago/Turabian StyleGabriel Peña; Carmela Cucuzzella. 2021. "Ecomannerism." Sustainability 13, no. 3: 1307.
This chapter aims to respond to the question of: How can developers navigate the regulations so as to maximize the financial viability of a real estate project? There are many new regulations being implemented in Montreal, such as the 20-20-20 by-law and the REM Tax, explained in subsequent paragraphs in this chapter; however, this chapter will focus solely on the impacts of the social housing component of the 20-20-20 by-law. This key focus has become increasingly important for cities since the aim of such by-laws are to make cities more inclusive and accessible. However, the by-laws are developing in different ways in cities around the world. This chapter focuses only on the introduction of the social housing by-law for Montreal. We will address this in three steps. First, we briefly describe the growth experienced in the real estate market to date in Montreal. Second, we outline the new policy changes for affordable housing and transit. And finally, we explore the financial impact of three potential ways in which the social housing by-laws can be enforced. We conclude with a summary of our findings.
Carmela Cucuzzella; Jordan Owen. Economic Risks from Policy Pressures in Montreal’s Real Estate Market. Ecologically Conscious Organizations 2020, 203 -224.
AMA StyleCarmela Cucuzzella, Jordan Owen. Economic Risks from Policy Pressures in Montreal’s Real Estate Market. Ecologically Conscious Organizations. 2020; ():203-224.
Chicago/Turabian StyleCarmela Cucuzzella; Jordan Owen. 2020. "Economic Risks from Policy Pressures in Montreal’s Real Estate Market." Ecologically Conscious Organizations , no. : 203-224.
The aim of this paper is to assess a distinctive form of environmentally-driven architecture and public art practice that has emerged in urban contexts over the last two decades. It appears that these environmental practices have been developing a distinctive, didactic discourse in recent decades. We formulate the hypothesis that this form of creative intervention, which we provisionally name the “eco-art installation,” is part of an “eco-didactic turn” that crosses disciplines, specifically art, sustainable design, and architecture. This type of intervention further mobilizes different publics within various urban landscapes, and engages new forms of collaboration with municipal authorities. In this sense, the urban eco-art installation does not simply demonstrate its alignment with pressing ecological issues; rather, it is driven by an urgent need to explain. This new form of explanatory discourse places the “eco-message” squarely in the public realm. After differentiating between didacticism and dialecticism, we present specific approaches to assess the installations' communicative properties. Preliminary results show that these eco-art installations exist for the sake of communicating their message. The adoption of the public realm is key, since it may foster human encounters and engagement with the issues collectively, contributing to the potential of ‘public space as political forum’.
Carmela Cucuzzella; Jean-Pierre Chupin; Cynthia Hammond. Eco-didacticism in art and architecture: Design as means for raising awareness. Cities 2020, 102, 102728 .
AMA StyleCarmela Cucuzzella, Jean-Pierre Chupin, Cynthia Hammond. Eco-didacticism in art and architecture: Design as means for raising awareness. Cities. 2020; 102 ():102728.
Chicago/Turabian StyleCarmela Cucuzzella; Jean-Pierre Chupin; Cynthia Hammond. 2020. "Eco-didacticism in art and architecture: Design as means for raising awareness." Cities 102, no. : 102728.
Carmela Cucuzzella. The normative turn in environmental architecture. Journal of Cleaner Production 2019, 219, 552 -565.
AMA StyleCarmela Cucuzzella. The normative turn in environmental architecture. Journal of Cleaner Production. 2019; 219 ():552-565.
Chicago/Turabian StyleCarmela Cucuzzella. 2019. "The normative turn in environmental architecture." Journal of Cleaner Production 219, no. : 552-565.
Carmela Cucuzzella; Sherif Goubran. Infrastructure as a Deeply Integrated Sustainable Urban Project. Journal of Sustainability Research 2019, 1, 1 .
AMA StyleCarmela Cucuzzella, Sherif Goubran. Infrastructure as a Deeply Integrated Sustainable Urban Project. Journal of Sustainability Research. 2019; 1 (3):1.
Chicago/Turabian StyleCarmela Cucuzzella; Sherif Goubran. 2019. "Infrastructure as a Deeply Integrated Sustainable Urban Project." Journal of Sustainability Research 1, no. 3: 1.
La clarté et plus encore le caractère « réalisable » de la question de recherche constituent, à l’évidence, des éléments importants de tout projet de doctorat. Il en est de même pour toute recherche doctorale. Les étudiants qui amorcent leur doctorat ne sont pourtant pas toujours bien préparés à faire face à cet impératif et il n’est pas surprenant que la formulation d’une question qui devra guider l’ensemble de la démarche doctorale se révèle une source de tracas dans le vaste domaine des sciences humaines. Si une bonne question ne garantit pas l’achèvement de la thèse, une question mal formulée en retarde assurément la concrétisation. Sans prétention normative, on trouvera ici une série de repères simples afin d’aider les étudiants à anticiper le potentiel d’une question, car il ne s’agit pas tant de construire « la » question que d’accepter de la reformuler à plusieurs reprises au cours de la recherche. Le candidat au doctorat en vient dès lors à comprendre que la question est à ...
Carmela Cucuzzella. Chapitre 10. Formuler – et reformuler – la question de recherche. La thèse 2017, 129 -143.
AMA StyleCarmela Cucuzzella. Chapitre 10. Formuler – et reformuler – la question de recherche. La thèse. 2017; ():129-143.
Chicago/Turabian StyleCarmela Cucuzzella. 2017. "Chapitre 10. Formuler – et reformuler – la question de recherche." La thèse , no. : 129-143.
Paul Shrivastava; ポール・シュリヴァストラヴァ; Carmela Cucuzzella. The Art of Regenerative Regional Development: The Case of Echigo-Tsumari (地域再生開発の術(すべ)としてのアート——越後妻有の場合). Culture and Dialogue 2017, 5, 62 -97.
AMA StylePaul Shrivastava, ポール・シュリヴァストラヴァ, Carmela Cucuzzella. The Art of Regenerative Regional Development: The Case of Echigo-Tsumari (地域再生開発の術(すべ)としてのアート——越後妻有の場合). Culture and Dialogue. 2017; 5 (1):62-97.
Chicago/Turabian StylePaul Shrivastava; ポール・シュリヴァストラヴァ; Carmela Cucuzzella. 2017. "The Art of Regenerative Regional Development: The Case of Echigo-Tsumari (地域再生開発の術(すべ)としてのアート——越後妻有の場合)." Culture and Dialogue 5, no. 1: 62-97.
Carmela Cucuzzella. Creativity, sustainable design and risk management. Journal of Cleaner Production 2016, 135, 1548 -1558.
AMA StyleCarmela Cucuzzella. Creativity, sustainable design and risk management. Journal of Cleaner Production. 2016; 135 ():1548-1558.
Chicago/Turabian StyleCarmela Cucuzzella. 2016. "Creativity, sustainable design and risk management." Journal of Cleaner Production 135, no. : 1548-1558.
Résumé | Extrait Entrevue Research-creation as a curatorial challenge: an interview with John Zeppetelli Carmela Cucuzzella Contemporary Art museums are directly faced with the growing challenge of exhibiting research as a result of a creative process, or what is often referred to as in Quebec as research-creation. One of the many challenges is establishing a dialogue and informing viewers of the underlying reflections involved in a research project. Given this, what are the options available to curators? In the context of a creative practice led research, are new modes of dissemination and cultural mediation needed to accommodate the often complex theoretical undertaking? How would you define research-creation and how would you compare this work with contemporary artwork? John Zeppetelli – I would like to hear how you define research-creation for the purposes of this interview and for the purposes of your journal? From a research perspective, we often define research-creation as practice-based research. More specifically, I would say that it is an activity where the creative process, whether it is in art, design, performance, literature, etc. is situated within a core of research activity. The outcome of a research-creation activity is creative work that is critically informed. However, not all art or design practice is based in research, and I would say that work that is limited to a self-analysis or interpretation of one's own work cannot be considered as research-creation. In Quebec there is a strong culture of research-creation projects coming out of university, either from disciplines of fine art, design or cultural studies. How is this phenomenon impacting the museum space today? J.Z. It’s a very relevant question and is now a prominent category in funding agencies, for example Canada Council for the Arts. For example, there is a practice-based PhD in art making at UQAM, and of course as a museum (The Musée d'art contemporain de Montréal) we’re invested in the production of knowledge through artworks and through material objects. So this is a central question. One could think of art as an absurd activity or even as a luxury. But for me it is essential, it's not a luxury at all, but rather, something fundamental—one of the great spheres of activity that we have, and a compelling belief system. It’s what will endure over generations, and not coincidentally, every major city in the world has a museum at its centre. We’re totally invested in this art production as a basis for the production of knowledge, where artists are considered incredibly important thinkers who contribute to the wider cultural or social conversation, in ways similar to philosophers, journalists or researchers. The contribution of artists to the conversation and to the discourse, is in material objects and their aesthetic explorations. Artists offer objectifications of experiences of the world in the form of material objects, of installations or whatever we may define as contemporary art at the moment. That objectification takes the form of an artwork, which is endlessly redefined. When Duchamp famously took a urinal into a gallery flipped it over and signed it as an art object, an object without prior aesthetic value or interest: essentially a mass-produced object, completely un-invested with an aesthetic experience and yet the artist designates it as, declares it, art. That gesture, in conjunction with the museum director who allows that object to be defined as artwork, signifies a very important moment. The object was invested with a declarative idea and opened up a fundamental conversation. This object must then be read as an artwork, because the director, in cahoots with the artist and the surrounding intellectual climate, has placed it in a museum: a precinct devoted to the experience of art. The fact that the director is telling a visitor that this is an art object simply by placing it in a museum forces them to read it in a particular way.
Carmela Cucuzzella. Research-creation as a curatorial challenge: An interview with John Zeppetelli. Muséologies: Les cahiers d'études supérieures 2015, 8, 131 .
AMA StyleCarmela Cucuzzella. Research-creation as a curatorial challenge: An interview with John Zeppetelli. Muséologies: Les cahiers d'études supérieures. 2015; 8 (1):131.
Chicago/Turabian StyleCarmela Cucuzzella. 2015. "Research-creation as a curatorial challenge: An interview with John Zeppetelli." Muséologies: Les cahiers d'études supérieures 8, no. 1: 131.
Résumé | Extrait Avant-propos Carmela Cucuzzella Au cours des deux dernières décennies, le processus de recherche-création a gagné en reconnaissance dans le monde universitaire, tout en faisant l’objet de vifs débats en ce qui concerne sa définition, sa formulation et la diffusion de ses résultats. Le terme est né des exigences de recherche universitaire formulées à l’endroit de professeurs dont le travail se trouvait fondé dans des pratiques créatives. Une réflexion sur la recherche-création par l’entremise d’une perspective muséologique – lieu familier des artistes, plus rarement des chercheurs – permet de mieux comprendre ce phénomène émergent du monde universitaire. L’expérience muséologique en art contemporain se trouve-t-elle modifiée par l’exposition des produits de la recherche-création ? Le caractère transformateur de ce type de recherche, fondé sur le processus créatif et entrepris par des chercheurs-artistes, appelle-t-il à un nouveau mode de diffusion et de médiation culturelle prenant en compte l’engagement théorique souvent complexe de ces projets ? Ceux-ci, qui peuvent être constitués de formes abstraites, d’espaces interactifs, d’expériences sonores, d’expériences de calcul, de réseaux distribués, de performances artistiques en direct et même d’engagements sociaux, sont plus axés sur le processus et la théorie que sur l’objet1. L’instauration d’un dialogue et l’introduction des visiteurs aux fondements théoriques et aux processus sous-jacents de ces oeuvres constituent aujourd’hui un grand enjeu pour les musées d’art contemporain. Ce faisant, quels sont les défis auxquels font face les artistes, les chercheurs, les conservateurs, voire les concepteurs de l’espace dans ce nouveau contexte ? Dans ce numéro spécial de Muséologies, intitulé « Réflexions sur la pratique curatoriale et la recherche-création », nous avons cherché à interroger les modes de documentation, les stratégies de diffusion et les méthodes de présentation en tant que situations à explorer. Le Conseil de recherches en sciences humaines du Canada (CRSH) propose la définition suivante de la recherche-création, en cherchant à légitimer cette pratique à travers un transfert significatif : Approche de recherche combinant des pratiques de création et de recherche universitaires et favorisant la production de connaissances et l’innovation grâce à l’expression artistique, à l’analyse scientifique et à l’expérimentation. Le processus de création, qui fait partie intégrante de l’activité de recherche, permet de réaliser des oeuvres bien étoffées sous diverses formes d’art. La recherche-création ne peut pas se limiter à l’interprétation ou à l’analyse du travail d’un créateur, de travaux traditionnels de développement technologique ou de travaux qui portent sur la conception d’un curriculum2. Natalie S. Loveless remarque par ailleurs que cette définition est déjà contestée par certains chercheurs-créateurs, du fait qu’elle les oblige à développer des discours étrangers à leurs pratiques3. Toutefois, elle affirme également que, bien que la « connaissance créatrice de l’art » (knowledge to create) soit déjà une pratique établie dans les ateliers depuis longtemps, lorsque le produit final d’une telle pratique est destiné uniquement aux galeries, aux musées ou aux revues d’art, il s’agit alors d’oeuvres d’art et non de recherche-création. Cette remarque ainsi qu’une série de réflexions plus approfondies sur la recherche-création ont fait l’objet d’une publication en 2015, dans la rubrique « Polémique » de la Revue d’art canadienne / Canadian Art Review (RACAR), sous la direction justement de Loveless, où l’accent est mis sur les multiples définitions du phénomène. Glen Lowry y souligne, par exemple, que l’union de la recherche et de la création repose sur l’acceptation des normes de la société4. Caitlin Fisher affirme quant à elle que, de façon ironique, la définition de ce qu’est la recherche-création en vue d’établir des lignes directrices pour les thèses de doctorat diminue le champ des possibilités pour les étudiants aux cycles supérieurs5. Owen Chapman et Kim Sawchuk désignent cette pratique par l’expression critical making, empruntée à l’ouvrage de Tim Ingold, « Critical making in complex environments6 ».
Carmela Cucuzzella. Avant-propos Foreword. Muséologies: Les cahiers d'études supérieures 2015, 8, 11 .
AMA StyleCarmela Cucuzzella. Avant-propos Foreword. Muséologies: Les cahiers d'études supérieures. 2015; 8 (1):11.
Chicago/Turabian StyleCarmela Cucuzzella. 2015. "Avant-propos Foreword." Muséologies: Les cahiers d'études supérieures 8, no. 1: 11.
Bien que la durabilité soit aujourd’hui devenue un impératif et un concept clef motivant les réorientations que connaissent les pratiques et théories de la conception, peu de recherches se consacrent à la compréhension de son impact sur le « design thinking » et sur la culture. Cet article enquête sur le design durable entendu comme culture visuelle émergente en architecture. Nous explorons la façon dont les concepteurs vont au-delà des normes environnementales afin de conserver dans leurs projets un équilibre créatif entre forme et contenu, entre éthique et esthétique. Nous analysons un corpus de concours organisés récemment dans les champs de l’architecture, du paysage et de l’urbanisme et avançons que les concours sont à la fois des « laboratoires » pour les concepteurs et des dispositifs épistémologiques pour les chercheurs, à même de révéler les transformations majeures des pratiques et valeurs de design.
Carmela Cucuzzella. Is Sustainability Reorienting the Visual Expression of Architecture? RACAR : Revue d'art canadienne 2015, 40, 86 -100.
AMA StyleCarmela Cucuzzella. Is Sustainability Reorienting the Visual Expression of Architecture? RACAR : Revue d'art canadienne. 2015; 40 (2):86-100.
Chicago/Turabian StyleCarmela Cucuzzella. 2015. "Is Sustainability Reorienting the Visual Expression of Architecture?" RACAR : Revue d'art canadienne 40, no. 2: 86-100.
Afin de répondre au défi du développement durable, l’Université de Montréal prend part au projet de « Verdir le diplôme d’architecture au Canada ». Ce projet se veut à la fois un lieu d’échange d’idées, de ressources et d’expertise sur l’intégration du développement durable dans les cursus des dix institutions canadiennes d’architecture. Dans ce forum virtuel, chaque université a l’opportunité de poser des questions sur des enjeux majeurs, d’en débattre et d’y répondre. Ce processus permet des échanges riches et réflexifs autour d’idées souvent divergentes sur les modèles, les outils et les structures de la formation en architecture. L’objectif de cet article est de présenter cette expérience unique qui se déroule depuis 2002.
Céline-Coralie Mertenat; Daniel Pearl; Carmela Cucuzzella. Verdir le diplôme d’architecture au Canada : un forum académique national, une question de transdisciplinarité. VertigO 2013, 1 .
AMA StyleCéline-Coralie Mertenat, Daniel Pearl, Carmela Cucuzzella. Verdir le diplôme d’architecture au Canada : un forum académique national, une question de transdisciplinarité. VertigO. 2013; (Hors-série):1.
Chicago/Turabian StyleCéline-Coralie Mertenat; Daniel Pearl; Carmela Cucuzzella. 2013. "Verdir le diplôme d’architecture au Canada : un forum académique national, une question de transdisciplinarité." VertigO , no. Hors-série: 1.
Carmela Cucuzzella. A Theoretical Model for Design for Sustainability: The Impact of Data-Intensive Evaluation Approaches to Design Thinking. The International Journal of Sustainability Policy and Practice 2013, 8, 95 -108.
AMA StyleCarmela Cucuzzella. A Theoretical Model for Design for Sustainability: The Impact of Data-Intensive Evaluation Approaches to Design Thinking. The International Journal of Sustainability Policy and Practice. 2013; 8 (1):95-108.
Chicago/Turabian StyleCarmela Cucuzzella. 2013. "A Theoretical Model for Design for Sustainability: The Impact of Data-Intensive Evaluation Approaches to Design Thinking." The International Journal of Sustainability Policy and Practice 8, no. 1: 95-108.
Carmela Cucuzzella; Jean-Pierre Chupin. The “Global Warming” of the Judgment Process in Competitions for Public Buildings in Canada. The International Journal of Sustainability Policy and Practice 2013, 8, 53 -67.
AMA StyleCarmela Cucuzzella, Jean-Pierre Chupin. The “Global Warming” of the Judgment Process in Competitions for Public Buildings in Canada. The International Journal of Sustainability Policy and Practice. 2013; 8 (2):53-67.
Chicago/Turabian StyleCarmela Cucuzzella; Jean-Pierre Chupin. 2013. "The “Global Warming” of the Judgment Process in Competitions for Public Buildings in Canada." The International Journal of Sustainability Policy and Practice 8, no. 2: 53-67.
Life Cycle Analysis (LCA) and Social Life Cycle Analysis (SLCA) are tools acknowledged to have a role to play in the transition towards Sustainable Production and Consumption patterns (SPC). However, the role they play in this transition is seldom discussed, especially for SLCA. In addition, although the importance of taking a life cycle thinking (LCT) in the progression towards SPC seems indisputable, its added value is seldom made explicit. This article wishes to highlight the role of SLCA in the transition towards more sustainable production and consumption patterns and questions the relevance of LCT in this role. To answer this question, we first identify the applications of SLCA that correspond to actions that have to be taken in the transition towards SPC based on the SPC and SLCA literature. Then, the relevance of LCT in the context of the different applications identified previously is questioned through a qualitative discursive analysis approach. The social goal of SPC is poorly discussed, and the SLCA literature can be one source of inspiration to define what this goal could be. On the basis of the UNEP-SETAC (2009) Guidelines’ SLCA ultimate goal, SPC could be a means to improve stakeholders’ social conditions through the improvement of enterprises’ behaviours. The intended applications of SLCA for potentially supporting the improvement of enterprises’ behaviours are found to be the identification of hotspots in order to highlight areas of improvement inside the sphere of influence of the SLCA user and the guidance of purchasing and substitution choices on the basis of enterprises’ behaviours. In this article, it is suggested that, for SLCA to deserve the “LCT label”, it has to capture impact transfers along the products’ life cycle. Otherwise, an “ability-to-act-on” perspective is the proper angle to adopt in the identification of areas of improvement inside the sphere of influence and a “cradle-to-retailer”, the one to adopt when SLCA is used to guide buy/boycott. Aside from revisiting the role of LCA and SLCA in SPC and the raison d’être of LCT, we discuss some considerations which we believe should be taken into account when developing SLCA in the context of SPC. In conclusion, this article points to the importance of framing the use of Life Cycle Sustainability Assessment tools in their context of use.
Julie Parent; Carmela Cucuzzella; Jean-Pierre Revéret. Revisiting the role of LCA and SLCA in the transition towards sustainable production and consumption. The International Journal of Life Cycle Assessment 2012, 18, 1642 -1652.
AMA StyleJulie Parent, Carmela Cucuzzella, Jean-Pierre Revéret. Revisiting the role of LCA and SLCA in the transition towards sustainable production and consumption. The International Journal of Life Cycle Assessment. 2012; 18 (9):1642-1652.
Chicago/Turabian StyleJulie Parent; Carmela Cucuzzella; Jean-Pierre Revéret. 2012. "Revisiting the role of LCA and SLCA in the transition towards sustainable production and consumption." The International Journal of Life Cycle Assessment 18, no. 9: 1642-1652.
J.-P. Chupin; C. Cucuzzella. Environmental standards and judgment processes in competitions for public buildings. Geographica Helvetica 2011, 66, 13 -23.
AMA StyleJ.-P. Chupin, C. Cucuzzella. Environmental standards and judgment processes in competitions for public buildings. Geographica Helvetica. 2011; 66 (1):13-23.
Chicago/Turabian StyleJ.-P. Chupin; C. Cucuzzella. 2011. "Environmental standards and judgment processes in competitions for public buildings." Geographica Helvetica 66, no. 1: 13-23.