Pub Date : 2009-08-29DOI: 10.21606/nordes.2009.004
I. Koskinen
Traditionally, design has been taught to students by masters trough practical exercises, but this model has been changing over the last 15 years. When designers got into designing interactive technologies, they borrowed practices from two other fields of research. The social sciences gave them ethnographic methods aimed at creating an empathic undersatnding of people, while software gave them usability techniques and formal means of representation such as flowcharts and wireframes, merging them into some traditional design techniques such as sketching and storyboarding. Thus, designers are typically taught to do a user study, analyze data, and integrate it into a concept, which is communicated with sketches, artifacts, written presentations, or storyboards. For example, in a study of how intimacy could be mediated to support communities in the city, Battarbee et al. (2002) created a scenario of “satellites” that people could use to interact in the distance in piazzas. This concept built on a user study, and was communicated with a visual scenario. (Picture 1).
{"title":"Hacking a Car: Re-Embodying the Design Classroom","authors":"I. Koskinen","doi":"10.21606/nordes.2009.004","DOIUrl":"https://doi.org/10.21606/nordes.2009.004","url":null,"abstract":"Traditionally, design has been taught to students by masters trough practical exercises, but this model has been changing over the last 15 years. When designers got into designing interactive technologies, they borrowed practices from two other fields of research. The social sciences gave them ethnographic methods aimed at creating an empathic undersatnding of people, while software gave them usability techniques and formal means of representation such as flowcharts and wireframes, merging them into some traditional design techniques such as sketching and storyboarding. Thus, designers are typically taught to do a user study, analyze data, and integrate it into a concept, which is communicated with sketches, artifacts, written presentations, or storyboards. For example, in a study of how intimacy could be mediated to support communities in the city, Battarbee et al. (2002) created a scenario of “satellites” that people could use to interact in the distance in piazzas. This concept built on a user study, and was communicated with a visual scenario. (Picture 1).","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124146944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-08-29DOI: 10.21606/nordes.2009.035
Marie Davidová
My research aims to explore how architecture responds to environmental input. It claims that this to a large degree is done today by “add-on” technology, e.g. sound environment is modified with specialized dampening materials, and climatic issues are addressed with increasingly complex and energy consuming ventilation systems. The conceptual and/or artistic architectural expressions are often not approaching those aspects in direct consideration (except i.e. project "Morpho-Ecologies", Responsive or Performative Architectures). As a critique of this division of environmental criteria from the architectural overall performance the research seeks to demonstrate and systematize an integral approach where the environmental responses are met with material systems that also form new architectural spaces and forms. The synergy of interdisciplinary architectural research and criticism is crucial to this project which hopes to motivate and perhaps inspire practice as well as the public.
{"title":"Exploring Environmental Dimensions: On Sustainability as an Architectural Problem; Why it is Not Enough to Discuss Space and Time Only","authors":"Marie Davidová","doi":"10.21606/nordes.2009.035","DOIUrl":"https://doi.org/10.21606/nordes.2009.035","url":null,"abstract":"My research aims to explore how architecture responds to environmental input. It claims that this to a large degree is done today by “add-on” technology, e.g. sound environment is modified with specialized dampening materials, and climatic issues are addressed with increasingly complex and energy consuming ventilation systems. The conceptual and/or artistic architectural expressions are often not approaching those aspects in direct consideration (except i.e. project \"Morpho-Ecologies\", Responsive or Performative Architectures). As a critique of this division of environmental criteria from the architectural overall performance the research seeks to demonstrate and systematize an integral approach where the environmental responses are met with material systems that also form new architectural spaces and forms. The synergy of interdisciplinary architectural research and criticism is crucial to this project which hopes to motivate and perhaps inspire practice as well as the public.","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132530474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-08-26DOI: 10.21606/nordes.2009.037
Christin Bolewski
‘Shan-Shui-Hua’ is an artistic artefact. Proceeding from Chinese thought and aesthetics the traditional concept of landscape painting ‘Shan-Shui-Hua’ (mountain-water-painting) is recreated within the new genre of the video-painting; the main features of ‘Shan-Shui-Hua’ merges with Western moving image practice creating a crossover of Western and Asian aesthetics to explore form, and questions digital visualisation practice that aims to represent realistic space.
{"title":"‘Shan-Shui-Hua’: Traditional Chinese Landscape Painting Reinterpreted as Video Painting: a Hybrid Between the Still and Moving Image, Between Eastern and Western Tradition","authors":"Christin Bolewski","doi":"10.21606/nordes.2009.037","DOIUrl":"https://doi.org/10.21606/nordes.2009.037","url":null,"abstract":"‘Shan-Shui-Hua’ is an artistic artefact. Proceeding from Chinese thought and aesthetics the traditional concept of landscape painting ‘Shan-Shui-Hua’ (mountain-water-painting) is recreated within the new genre of the video-painting; the main features of ‘Shan-Shui-Hua’ merges with Western moving image practice creating a crossover of Western and Asian aesthetics to explore form, and questions digital visualisation practice that aims to represent realistic space.","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127102758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-08-11DOI: 10.21606/nordes.2009.036
Angela Burns
This project aims to educate the new generation of Turkish fashion designer on the importance of their unique culture and its value as a potential source of design inspiration in a world preoccupied with the western ideal. By working in collaboration with students and craftspeople, this jacket offers an alternative perspective on Turkish design, raising awareness of traditional skills, developing crafts, and reviving and reinventing lost textile heritage such as Sumerbank designs. Moreover, it underlines the necessity of the Turkish fashion industry to develop its own identity, competitive yet compatible with the global market. This intricate jacket highlights the problems impacting on garment producing countries, such as Turkey, due to the escalation of the “Fast Fashion System." It not only emphasises how huge conglomerates are consuming cultures, and imposing the western ideal, but it is a critique of their exploitation of local populations, and abuse of natural resources, to create sub-standard products, unnecessary consumption and vast amounts of preventable waste. TWO CRITICAL QUESTIONS WHICH MY WORK AIMS TO RAISE: This garment seeks to express the paradoxes inherent in the globalization of the fashion industry. While it seems impossible to resist the spread of manufacturing, advertising and consumption models within which this garment, and indeed this conference have been conceived, how is it possible for a local or national fashion industry to still retain a meaningful visual or conceptual connection with the pre-existing local visual cultures? Also, how can young designers and consumers in developing countries move beyond their fascination with bland western mass produced garments, and relish the challenge of new looks that, while remaining resolutely of the present, also reflect their commitment and connection to their own historical culture?
{"title":"Turk-Couture: The Culture Jacket","authors":"Angela Burns","doi":"10.21606/nordes.2009.036","DOIUrl":"https://doi.org/10.21606/nordes.2009.036","url":null,"abstract":"This project aims to educate the new generation of Turkish fashion designer on the importance of their unique culture and its value as a potential source of design inspiration in a world preoccupied with the western ideal. By working in collaboration with students and craftspeople, this jacket offers an alternative perspective on Turkish design, raising awareness of traditional skills, developing crafts, and reviving and reinventing lost textile heritage such as Sumerbank designs. Moreover, it underlines the necessity of the Turkish fashion industry to develop its own identity, competitive yet compatible with the global market. This intricate jacket highlights the problems impacting on garment producing countries, such as Turkey, due to the escalation of the “Fast Fashion System.\" It not only emphasises how huge conglomerates are consuming cultures, and imposing the western ideal, but it is a critique of their exploitation of local populations, and abuse of natural resources, to create sub-standard products, unnecessary consumption and vast amounts of preventable waste. TWO CRITICAL QUESTIONS WHICH MY WORK AIMS TO RAISE: This garment seeks to express the paradoxes inherent in the globalization of the fashion industry. While it seems impossible to resist the spread of manufacturing, advertising and consumption models within which this garment, and indeed this conference have been conceived, how is it possible for a local or national fashion industry to still retain a meaningful visual or conceptual connection with the pre-existing local visual cultures? Also, how can young designers and consumers in developing countries move beyond their fascination with bland western mass produced garments, and relish the challenge of new looks that, while remaining resolutely of the present, also reflect their commitment and connection to their own historical culture?","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122989030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-07-28DOI: 10.21606/nordes.2009.038
L. Grocott
This poster is an attempt to visually communicate the findings of a practice-led research study — a study that came to recognize the value of critical discussion provoked by the ambiguous readings of artifacts. Interested in considering how practitioners’ share the outcomes of research, the study was motivated to see the sharing of design research as less about wrapping up and more an invitation for ongoing critical reflection between the designer and audience. Within this context the poster works as a dissemination artifact that asks carefully crafted questions as opposed to presenting closed, definitive findings. This move seeks to engage the design community to speculate on the potential of the research beyond the situation investigated. The experiential space of the poster plays out the purchase of the ambiguous artifact — conceptually manipulating the clarity and interpretation of the poster’s statement dependent on one’s distance from the image. TWO CRITICAL QUESTIONS WHICH MY WORK AIMS TO RAISE. In respecting that the domain of design operates within the realm of possibilities, what modes of dissemination could invite speculation on research findings? In seeking to engage audiences to critique and question the relevance of a practice-led research project, what role might intentional ambiguity play in facilitating critical discussion?
{"title":"The Discursive Agency of Productive Ambiguity","authors":"L. Grocott","doi":"10.21606/nordes.2009.038","DOIUrl":"https://doi.org/10.21606/nordes.2009.038","url":null,"abstract":"This poster is an attempt to visually communicate the findings of a practice-led research study — a study that came to recognize the value of critical discussion provoked by the ambiguous readings of artifacts. Interested in considering how practitioners’ share the outcomes of research, the study was motivated to see the sharing of design research as less about wrapping up and more an invitation for ongoing critical reflection between the designer and audience. Within this context the poster works as a dissemination artifact that asks carefully crafted questions as opposed to presenting closed, definitive findings. This move seeks to engage the design community to speculate on the potential of the research beyond the situation investigated. The experiential space of the poster plays out the purchase of the ambiguous artifact — conceptually manipulating the clarity and interpretation of the poster’s statement dependent on one’s distance from the image. TWO CRITICAL QUESTIONS WHICH MY WORK AIMS TO RAISE. In respecting that the domain of design operates within the realm of possibilities, what modes of dissemination could invite speculation on research findings? In seeking to engage audiences to critique and question the relevance of a practice-led research project, what role might intentional ambiguity play in facilitating critical discussion?","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126415371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-07-14DOI: 10.21606/nordes.2009.043
Justin Gier
Rewire: Interaction Topologies presents interactive prototypes and conceptual investigations about the ways in which embedded technology might inhabit our lives. The goal of this project is to inform thinking and discussion about the design of new experiences in such a world. The outcomes explore the ways this new ecology will transform our concepts about objects, interface, and interactions. Through a design driven inquiry and its artifacts, new configurations and viewpoints emerge. TWO CRITICAL QUESTIONS WHICH MY WORK AIMS TO RAISE: How can design artifacts and their interpretation lead to new conceptual spaces and practices in the design of interactive systems? What is useful about inquiry through form and materials as a means of discovery? PROJECT WEBSITE, here
{"title":"Rewire: Interaction Topologies","authors":"Justin Gier","doi":"10.21606/nordes.2009.043","DOIUrl":"https://doi.org/10.21606/nordes.2009.043","url":null,"abstract":"Rewire: Interaction Topologies presents interactive prototypes and conceptual investigations about the ways in which embedded technology might inhabit our lives. The goal of this project is to inform thinking and discussion about the design of new experiences in such a world. The outcomes explore the ways this new ecology will transform our concepts about objects, interface, and interactions. Through a design driven inquiry and its artifacts, new configurations and viewpoints emerge. TWO CRITICAL QUESTIONS WHICH MY WORK AIMS TO RAISE: How can design artifacts and their interpretation lead to new conceptual spaces and practices in the design of interactive systems? What is useful about inquiry through form and materials as a means of discovery? PROJECT WEBSITE, here","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126373073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-07-14DOI: 10.21606/nordes.2009.039
Timo Arnall, Einar Sneve Martinussen, K. Nordby
Radio Frequency Identification (RFID) is a technology that has seen much hype and controversy. Small, wireless, battery-less RFID tags have become embedded in many everyday objects; from travelcards in every major metropolis, to mobile phones, library books, passports, tickets and a wide range of consumer goods, there are now over a billion tags in use worldwide. Some say that the technology offers a new era of smart objects and frictionless commerce, but others are protesting the drive towards the digitisation of everyday life. The Touch project was started in 2006 to explore RFID technology through a broad set of design processes. The intention was to create a diverse range of applications, tangible prototypes, future visions and communicative media, in order to offer the design community and a wider public a better understanding of the opportunities and consequences inherent in this new technology. TWO CRITICAL QUESTIONS WHICH OUR WORK AIMS TO RAISE: How does design involve itself in an emergent and inherently invisible technology? How can a 'raw' technology that is largely defined by engineers and marketers be reframed to offer greater room for play, design experimentation and critique? IMAGES CAN BE DOWNLOADED HERE: http://www.flickr.com/photos/timo/tags/touch/
{"title":"Touch: Exploring RFID","authors":"Timo Arnall, Einar Sneve Martinussen, K. Nordby","doi":"10.21606/nordes.2009.039","DOIUrl":"https://doi.org/10.21606/nordes.2009.039","url":null,"abstract":"Radio Frequency Identification (RFID) is a technology that has seen much hype and controversy. Small, wireless, battery-less RFID tags have become embedded in many everyday objects; from travelcards in every major metropolis, to mobile phones, library books, passports, tickets and a wide range of consumer goods, there are now over a billion tags in use worldwide. Some say that the technology offers a new era of smart objects and frictionless commerce, but others are protesting the drive towards the digitisation of everyday life. The Touch project was started in 2006 to explore RFID technology through a broad set of design processes. The intention was to create a diverse range of applications, tangible prototypes, future visions and communicative media, in order to offer the design community and a wider public a better understanding of the opportunities and consequences inherent in this new technology. TWO CRITICAL QUESTIONS WHICH OUR WORK AIMS TO RAISE: How does design involve itself in an emergent and inherently invisible technology? How can a 'raw' technology that is largely defined by engineers and marketers be reframed to offer greater room for play, design experimentation and critique? IMAGES CAN BE DOWNLOADED HERE: http://www.flickr.com/photos/timo/tags/touch/","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121629985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-06-29DOI: 10.21606/nordes.2009.052
Lee Vander Kooi, Pamela Napier
WORKSHOP Leaders: Lee Vander Kooi Indiana University, Herron School of Art and Design, Indianapolis, USA Pamela Napier, Indiana University, Herron School of Art and Design, Indianapolis, USA Email: lv2@iupui.edu, pschiff@iupui.edu Description: During this workshop participants will gain experience through doing collaborative visualization in a team to articulate values and perpectives, and connect facts, thoughts and ideas. They will develop a shared understanding of how their own personal values connect to a design process and the larger social, economic and environmental contexts in which design decisions are made.
{"title":"Collaborative Visualization Workshop: Engaging People, Perspectives, and Values","authors":"Lee Vander Kooi, Pamela Napier","doi":"10.21606/nordes.2009.052","DOIUrl":"https://doi.org/10.21606/nordes.2009.052","url":null,"abstract":"WORKSHOP Leaders: Lee Vander Kooi Indiana University, Herron School of Art and Design, Indianapolis, USA Pamela Napier, Indiana University, Herron School of Art and Design, Indianapolis, USA Email: lv2@iupui.edu, pschiff@iupui.edu Description: During this workshop participants will gain experience through doing collaborative visualization in a team to articulate values and perpectives, and connect facts, thoughts and ideas. They will develop a shared understanding of how their own personal values connect to a design process and the larger social, economic and environmental contexts in which design decisions are made.","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127026869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-06-25DOI: 10.21606/nordes.2009.045
D. Hensel
Performance Oriented Integral Design Process focuses on complex hierarchical organisations and higher-level functionality in biological systems to extract analogies for design principles. In order to understand and explain biology's strategies for diversity, embedded complexity and functionality, scientists deploy advanced tools, techniques and technologies to model, simulate and analyze biological systems. The purpose of this article is to investigate specific tools, techniques and technologies that may provide potentials for both the generative and analytical aspects of the design process of material artefacts.
以性能为导向的整体设计过程（Performance Oriented Integral Design Process）侧重于生物系统中复杂的层次组织和更高层次的功能，以提取设计原则的类比。为了理解和解释生物的多样性、内含复杂性和功能性策略，科学家们采用了先进的工具、技术和科技来模拟、仿真和分析生物系统。本文旨在研究可为材料人工制品设计过程的生成和分析两方面提供潜力的特定工具、技术和工艺。
{"title":"Exploring Tools, Techniques and Technologies for a Performance-Oriented Integral Design Process","authors":"D. Hensel","doi":"10.21606/nordes.2009.045","DOIUrl":"https://doi.org/10.21606/nordes.2009.045","url":null,"abstract":"Performance Oriented Integral Design Process focuses on complex hierarchical organisations and higher-level functionality in biological systems to extract analogies for design principles. In order to understand and explain biology's strategies for diversity, embedded complexity and functionality, scientists deploy advanced tools, techniques and technologies to model, simulate and analyze biological systems. The purpose of this article is to investigate specific tools, techniques and technologies that may provide potentials for both the generative and analytical aspects of the design process of material artefacts.","PeriodicalId":423180,"journal":{"name":"Nordes 2009: Engaging Artifacts","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127969151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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