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Adrien Ravon
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5 records found
1
The Other Tourist
Designing for Coexistence
Every year, millions of people travel around the world in search of relaxation and pleasure. It has been said that humans have an inherent urge to wander, that exploring unfamiliar places can enrich our lives through mental and spiritual discovery. Whether for leisure, visiting others, faith, or simply creating lasting memories, the reasons to travel are as diverse as the destinations visited.
In recent decades, tourism has become one of the most powerful forces shaping the planet. After the slowdown caused by the Covid-19 pandemic, international arrivals surged again, reaching 1.46 billion in 2024 . Today, tourism represents 11.6% of global GDP and continues to expand.
This exhibition explores the threshold where tourism slides into overtourism—where the pleasure of travel collides with it planetary and social limits. Mass tourism generates new forms of extraction and exhaustion. Sites such as Rome’s Trevi Fountain or Mount Everest have become symbols of this saturation: destinations drowning in their own appeal. Beyond questions of overcrowding, overtourism places additional strain on already fragile systems. Responsible for nearly eight percent of global carbon emissions, the tourism industry disrupts ecologies and communities, often displacing residents and sparking protest. Tourism, once celebrated as a bridge between cultures, now exposes a contradiction: it consumes what it seeks to admire.
Design plays a key role in breaking this cycle of commodification, commercialisation, exhaustion, and degradation. Rather than rejecting tourism altogether, The other tourist: designing for coexistence asks how design can help us travel differently. Through design interventions, acts of care and gestures of recalibration, design can reveal other ways hosting, moving and sharing space. The exhibition highlights projects and policies—selected and interpreted by students— that shift tourism from exploitation toward coexistence, showing how architecture and urbanism can become tools for a slower, fairer, and more responsible relationship with our planet.
The other tourist: designing for coexistence invites us to look at tourism from both sides: as travellers and as designers. The exhibition is divided in five interconnected chapters, rather than a fixed route, encouraging the viewer to wander through them intuitively. Hanging from the ceiling, the installation Measuring overtourism exposes the data behind global tourism’s expansion, translating numbers into tangible spatial realities, and is complemented by Tourism dystopia, a collage depicting overtourism’s practices and consequences in the built environment. Beneath the tribune, Histories of Hospitality revisits designs that once shaped the culture of travel. At the centre, Designing for Coexistence gathers real-life design initiatives proposing another kind of tourism, one grounded in care, slowness and shared responsibility. Finally, the postcards covering the wall in Addressing the audience turn outward, transforming awareness into action through public imagination.
This exhibition stands on the fine line between awareness and hope. It asks how to communicate the urgency, and how design can turn awareness into agency. The other Tourist: designing for coexistence displays emergency while proposing design as a practice of hope—a reminder that understanding crisis is the first step toward imagining alternatives. This is where design stands: between the world as it is, and the one still possible. ...
In recent decades, tourism has become one of the most powerful forces shaping the planet. After the slowdown caused by the Covid-19 pandemic, international arrivals surged again, reaching 1.46 billion in 2024 . Today, tourism represents 11.6% of global GDP and continues to expand.
This exhibition explores the threshold where tourism slides into overtourism—where the pleasure of travel collides with it planetary and social limits. Mass tourism generates new forms of extraction and exhaustion. Sites such as Rome’s Trevi Fountain or Mount Everest have become symbols of this saturation: destinations drowning in their own appeal. Beyond questions of overcrowding, overtourism places additional strain on already fragile systems. Responsible for nearly eight percent of global carbon emissions, the tourism industry disrupts ecologies and communities, often displacing residents and sparking protest. Tourism, once celebrated as a bridge between cultures, now exposes a contradiction: it consumes what it seeks to admire.
Design plays a key role in breaking this cycle of commodification, commercialisation, exhaustion, and degradation. Rather than rejecting tourism altogether, The other tourist: designing for coexistence asks how design can help us travel differently. Through design interventions, acts of care and gestures of recalibration, design can reveal other ways hosting, moving and sharing space. The exhibition highlights projects and policies—selected and interpreted by students— that shift tourism from exploitation toward coexistence, showing how architecture and urbanism can become tools for a slower, fairer, and more responsible relationship with our planet.
The other tourist: designing for coexistence invites us to look at tourism from both sides: as travellers and as designers. The exhibition is divided in five interconnected chapters, rather than a fixed route, encouraging the viewer to wander through them intuitively. Hanging from the ceiling, the installation Measuring overtourism exposes the data behind global tourism’s expansion, translating numbers into tangible spatial realities, and is complemented by Tourism dystopia, a collage depicting overtourism’s practices and consequences in the built environment. Beneath the tribune, Histories of Hospitality revisits designs that once shaped the culture of travel. At the centre, Designing for Coexistence gathers real-life design initiatives proposing another kind of tourism, one grounded in care, slowness and shared responsibility. Finally, the postcards covering the wall in Addressing the audience turn outward, transforming awareness into action through public imagination.
This exhibition stands on the fine line between awareness and hope. It asks how to communicate the urgency, and how design can turn awareness into agency. The other Tourist: designing for coexistence displays emergency while proposing design as a practice of hope—a reminder that understanding crisis is the first step toward imagining alternatives. This is where design stands: between the world as it is, and the one still possible. ...
Every year, millions of people travel around the world in search of relaxation and pleasure. It has been said that humans have an inherent urge to wander, that exploring unfamiliar places can enrich our lives through mental and spiritual discovery. Whether for leisure, visiting others, faith, or simply creating lasting memories, the reasons to travel are as diverse as the destinations visited.
In recent decades, tourism has become one of the most powerful forces shaping the planet. After the slowdown caused by the Covid-19 pandemic, international arrivals surged again, reaching 1.46 billion in 2024 . Today, tourism represents 11.6% of global GDP and continues to expand.
This exhibition explores the threshold where tourism slides into overtourism—where the pleasure of travel collides with it planetary and social limits. Mass tourism generates new forms of extraction and exhaustion. Sites such as Rome’s Trevi Fountain or Mount Everest have become symbols of this saturation: destinations drowning in their own appeal. Beyond questions of overcrowding, overtourism places additional strain on already fragile systems. Responsible for nearly eight percent of global carbon emissions, the tourism industry disrupts ecologies and communities, often displacing residents and sparking protest. Tourism, once celebrated as a bridge between cultures, now exposes a contradiction: it consumes what it seeks to admire.
Design plays a key role in breaking this cycle of commodification, commercialisation, exhaustion, and degradation. Rather than rejecting tourism altogether, The other tourist: designing for coexistence asks how design can help us travel differently. Through design interventions, acts of care and gestures of recalibration, design can reveal other ways hosting, moving and sharing space. The exhibition highlights projects and policies—selected and interpreted by students— that shift tourism from exploitation toward coexistence, showing how architecture and urbanism can become tools for a slower, fairer, and more responsible relationship with our planet.
The other tourist: designing for coexistence invites us to look at tourism from both sides: as travellers and as designers. The exhibition is divided in five interconnected chapters, rather than a fixed route, encouraging the viewer to wander through them intuitively. Hanging from the ceiling, the installation Measuring overtourism exposes the data behind global tourism’s expansion, translating numbers into tangible spatial realities, and is complemented by Tourism dystopia, a collage depicting overtourism’s practices and consequences in the built environment. Beneath the tribune, Histories of Hospitality revisits designs that once shaped the culture of travel. At the centre, Designing for Coexistence gathers real-life design initiatives proposing another kind of tourism, one grounded in care, slowness and shared responsibility. Finally, the postcards covering the wall in Addressing the audience turn outward, transforming awareness into action through public imagination.
This exhibition stands on the fine line between awareness and hope. It asks how to communicate the urgency, and how design can turn awareness into agency. The other Tourist: designing for coexistence displays emergency while proposing design as a practice of hope—a reminder that understanding crisis is the first step toward imagining alternatives. This is where design stands: between the world as it is, and the one still possible.
In recent decades, tourism has become one of the most powerful forces shaping the planet. After the slowdown caused by the Covid-19 pandemic, international arrivals surged again, reaching 1.46 billion in 2024 . Today, tourism represents 11.6% of global GDP and continues to expand.
This exhibition explores the threshold where tourism slides into overtourism—where the pleasure of travel collides with it planetary and social limits. Mass tourism generates new forms of extraction and exhaustion. Sites such as Rome’s Trevi Fountain or Mount Everest have become symbols of this saturation: destinations drowning in their own appeal. Beyond questions of overcrowding, overtourism places additional strain on already fragile systems. Responsible for nearly eight percent of global carbon emissions, the tourism industry disrupts ecologies and communities, often displacing residents and sparking protest. Tourism, once celebrated as a bridge between cultures, now exposes a contradiction: it consumes what it seeks to admire.
Design plays a key role in breaking this cycle of commodification, commercialisation, exhaustion, and degradation. Rather than rejecting tourism altogether, The other tourist: designing for coexistence asks how design can help us travel differently. Through design interventions, acts of care and gestures of recalibration, design can reveal other ways hosting, moving and sharing space. The exhibition highlights projects and policies—selected and interpreted by students— that shift tourism from exploitation toward coexistence, showing how architecture and urbanism can become tools for a slower, fairer, and more responsible relationship with our planet.
The other tourist: designing for coexistence invites us to look at tourism from both sides: as travellers and as designers. The exhibition is divided in five interconnected chapters, rather than a fixed route, encouraging the viewer to wander through them intuitively. Hanging from the ceiling, the installation Measuring overtourism exposes the data behind global tourism’s expansion, translating numbers into tangible spatial realities, and is complemented by Tourism dystopia, a collage depicting overtourism’s practices and consequences in the built environment. Beneath the tribune, Histories of Hospitality revisits designs that once shaped the culture of travel. At the centre, Designing for Coexistence gathers real-life design initiatives proposing another kind of tourism, one grounded in care, slowness and shared responsibility. Finally, the postcards covering the wall in Addressing the audience turn outward, transforming awareness into action through public imagination.
This exhibition stands on the fine line between awareness and hope. It asks how to communicate the urgency, and how design can turn awareness into agency. The other Tourist: designing for coexistence displays emergency while proposing design as a practice of hope—a reminder that understanding crisis is the first step toward imagining alternatives. This is where design stands: between the world as it is, and the one still possible.
The Green Dip
Covering the City with a Forest
The Green Dip offers ways to reintroduce nature into our cities, by critically examining architectural strategies and green solutions.
The research group The Why Factory (Delft University of Technology) has produced a series of visualizations of various greened cities (Hong Kong, São Paulo, Dubai and many more). These visualizations respond to the analysis and calculations made for each of the biomes in which the cities are located. The visualizations are accompanied by sets of objective data, from the amount of oxygen that can be produced, via the gallons of water than can be stored, to the number of birds that can be provided with a habitat.
Ultimately, The Green Dip provides an innovative method to calculate the environmental benefits and estimate the costs of greening our cities. The research offers ways to reintroduce nature into our homes and claims that agriculture, forestry and organic production can be the catalyst for other ways of making the metropolis. ...
The research group The Why Factory (Delft University of Technology) has produced a series of visualizations of various greened cities (Hong Kong, São Paulo, Dubai and many more). These visualizations respond to the analysis and calculations made for each of the biomes in which the cities are located. The visualizations are accompanied by sets of objective data, from the amount of oxygen that can be produced, via the gallons of water than can be stored, to the number of birds that can be provided with a habitat.
Ultimately, The Green Dip provides an innovative method to calculate the environmental benefits and estimate the costs of greening our cities. The research offers ways to reintroduce nature into our homes and claims that agriculture, forestry and organic production can be the catalyst for other ways of making the metropolis. ...
The Green Dip offers ways to reintroduce nature into our cities, by critically examining architectural strategies and green solutions.
The research group The Why Factory (Delft University of Technology) has produced a series of visualizations of various greened cities (Hong Kong, São Paulo, Dubai and many more). These visualizations respond to the analysis and calculations made for each of the biomes in which the cities are located. The visualizations are accompanied by sets of objective data, from the amount of oxygen that can be produced, via the gallons of water than can be stored, to the number of birds that can be provided with a habitat.
Ultimately, The Green Dip provides an innovative method to calculate the environmental benefits and estimate the costs of greening our cities. The research offers ways to reintroduce nature into our homes and claims that agriculture, forestry and organic production can be the catalyst for other ways of making the metropolis.
The research group The Why Factory (Delft University of Technology) has produced a series of visualizations of various greened cities (Hong Kong, São Paulo, Dubai and many more). These visualizations respond to the analysis and calculations made for each of the biomes in which the cities are located. The visualizations are accompanied by sets of objective data, from the amount of oxygen that can be produced, via the gallons of water than can be stored, to the number of birds that can be provided with a habitat.
Ultimately, The Green Dip provides an innovative method to calculate the environmental benefits and estimate the costs of greening our cities. The research offers ways to reintroduce nature into our homes and claims that agriculture, forestry and organic production can be the catalyst for other ways of making the metropolis.
(w)EGO
Dream Homes in Density
With (w)EGO: Dream Homes in Density, The Why Factory investigates participatory processes applied to housing design. These processes establish a negotiation among the desires of each of the residents of a housing slab and help determine the design of their apartments. To achieve this, Wegocity manifests a particular interest in the development of a gaming process. This game leverages the specificities of each resident and transforms them into spatial needs. This way, unexpected housing typologies emerge within a truly human-driven residential building.
...
With (w)EGO: Dream Homes in Density, The Why Factory investigates participatory processes applied to housing design. These processes establish a negotiation among the desires of each of the residents of a housing slab and help determine the design of their apartments. To achieve this, Wegocity manifests a particular interest in the development of a gaming process. This game leverages the specificities of each resident and transforms them into spatial needs. This way, unexpected housing typologies emerge within a truly human-driven residential building.
Porocity
Opening up Solidity
Our current cities are comprised of enclosed, distant and introverted architecture equally isolated from urban life and ecological context.
How might we open these spaces? How might we introduce pockets of space capable of triggering social encounters, multiplying circulation and facilitating the introduction of flora and fauna?
This book gathers the research conducted by The Why Factory into what we term ‘urban porosity’. Using both analogue and digital approaches, our researchers and students explored modes to open up our cities. What might be imagined to open our towers and city blocks? Stepped floors? Public stairways? Grottos in which city dwellers might meet? Could we manipulate building envelopes in order to increase façade area? Might we perforate built volumes and thus create pocket parks?
Each of our hypotheses led to a series of step-by-step interventions that materialized in the form of a vast collection of towers built by our students using LEGO blocks. When gathered together, the resulting army of LEGO towers shows how far we can—and cannot—go. How much can a tower bend before it collapses? At what point does a porous tower become financially impossible to build or maintain?
...
How might we open these spaces? How might we introduce pockets of space capable of triggering social encounters, multiplying circulation and facilitating the introduction of flora and fauna?
This book gathers the research conducted by The Why Factory into what we term ‘urban porosity’. Using both analogue and digital approaches, our researchers and students explored modes to open up our cities. What might be imagined to open our towers and city blocks? Stepped floors? Public stairways? Grottos in which city dwellers might meet? Could we manipulate building envelopes in order to increase façade area? Might we perforate built volumes and thus create pocket parks?
Each of our hypotheses led to a series of step-by-step interventions that materialized in the form of a vast collection of towers built by our students using LEGO blocks. When gathered together, the resulting army of LEGO towers shows how far we can—and cannot—go. How much can a tower bend before it collapses? At what point does a porous tower become financially impossible to build or maintain?
...
Our current cities are comprised of enclosed, distant and introverted architecture equally isolated from urban life and ecological context.
How might we open these spaces? How might we introduce pockets of space capable of triggering social encounters, multiplying circulation and facilitating the introduction of flora and fauna?
This book gathers the research conducted by The Why Factory into what we term ‘urban porosity’. Using both analogue and digital approaches, our researchers and students explored modes to open up our cities. What might be imagined to open our towers and city blocks? Stepped floors? Public stairways? Grottos in which city dwellers might meet? Could we manipulate building envelopes in order to increase façade area? Might we perforate built volumes and thus create pocket parks?
Each of our hypotheses led to a series of step-by-step interventions that materialized in the form of a vast collection of towers built by our students using LEGO blocks. When gathered together, the resulting army of LEGO towers shows how far we can—and cannot—go. How much can a tower bend before it collapses? At what point does a porous tower become financially impossible to build or maintain?
How might we open these spaces? How might we introduce pockets of space capable of triggering social encounters, multiplying circulation and facilitating the introduction of flora and fauna?
This book gathers the research conducted by The Why Factory into what we term ‘urban porosity’. Using both analogue and digital approaches, our researchers and students explored modes to open up our cities. What might be imagined to open our towers and city blocks? Stepped floors? Public stairways? Grottos in which city dwellers might meet? Could we manipulate building envelopes in order to increase façade area? Might we perforate built volumes and thus create pocket parks?
Each of our hypotheses led to a series of step-by-step interventions that materialized in the form of a vast collection of towers built by our students using LEGO blocks. When gathered together, the resulting army of LEGO towers shows how far we can—and cannot—go. How much can a tower bend before it collapses? At what point does a porous tower become financially impossible to build or maintain?