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Exploring the Design Potential of Wearable Technology and Functional Fashion Design
Wearable Technology and Functional Fashion 1 Exploring the Design Potential of Wearable Technology and Functional Fashion Design By Jensin Wallace BFA, Textile Design, Rhode Island School of Design Submitted to the Graduate School of the University of Cincinnati Masters of Design School of Design, Art, Architecture and Planning 2014 Wearable Technology and Functional Fashion 2 Phyllis Borcherding Abstract Wearable technology is a growing field at the intersection of fashion and technology. Apparel and technology designers are unsure of how best to merge the strengths of their independent fields to create products that can be easily integrated into an individual’s lifestyle. The aim of this research is to create a conceptual framework that combines functional apparel design values with interaction design values in a model that could theoretically be used inter- disciplinary for the future development of wearable technology products. ProJect-based research was conducted to create a wearable technology prototype that explored the potential of a multifunctional and technologically enabled knitted garment. The framework was developed using the findings from this process with an emphasis on user centered design techniques. Wearable Technology and Functional Fashion 3 Table of Contents Introduction…………………………………………………………………………………......................................………4 Methodology……………………………………………………………………………………………………………………….......5 1 Interdisciplinary Boundaries………………………………………………………………………….……………………….7 1.1 Technology in Everyday Life 1.2 Knitwear: -
Thermal Mass
Thermal Mass • What is Thermal Mass? • Types of Thermal Mass • Historical Applications • Thermal Properties of Materials • Analyzing Heat/Cool Storage • Strategies • Other Factors • Computer Analysis • Bibliography Thermal Mass • Thermal mass refers to materials have the capacity to store thermal energy for extended periods. • Thermal mass can be used effectively to absorb daytime heat gains (reducing cooling load) and release the heat during the night (reducing heat load). Types of Thermal Mass • Traditional types of thermal mass include water, rock, earth, brick, concrete, fibrous cement, caliche, and ceramic tile. • Phase change materials store energy while maintaining constant temperatures, using chemical bonds to store & release latent heat. PCM’s include solid-liquid Glauber’s salt, paraffin wax, and the newer solid-solid linear crystalline alkyl hydrocarbons (K-18: 77oF phase transformation temperature). PCM’s can store five to fourteen times more heat per unit volume than traditional materials. (source: US Department of Energy). Historical Applications • The use of thermal mass in shelter dates back to the dawn of humans, and until recently has been the prevailing strategy for building climate control in hot regions. Egyptian mud-brick storage rooms (3200 years old). The lime-pozzolana (concrete) Roman Pantheon Today, passive techniques such as thermal mass are ironically considered “alternative” methods to mechanical heating and cooling, yet the appropriate use of thermal mass offers an efficient integration of structure and thermal services. Thermal Properties of Materials The basic properties that indicate the thermal behavior of materials are: density (p), specific heat (cm), and conductivity (k). The specific heat for most masonry materials is similar (about 0.2-0.25Wh/kgC). -
The American Lawn: Culture, Nature, Design and Sustainability
THE AMERICAN LAWN: CULTURE, NATURE, DESIGN AND SUSTAINABILITY _______________________________________________________________________________ A Thesis Presented to the Graduate School of Clemson University _______________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Landscape Architecture _______________________________________________________________________________ by Maria Decker Ghys May 2013 _______________________________________________________________________________ Accepted by: Dr. Matthew Powers, Committee Chair Dr. Ellen A. Vincent, Committee Co-Chair Professor Dan Ford Professor David Pearson ABSTRACT This was an exploratory study examining the processes and underlying concepts of design nature, and culture necessary to discussing sustainable design solutions for the American lawn. A review of the literature identifies historical perceptions of the lawn and contemporary research that links lawns to sustainability. Research data was collected by conducting personal interviews with green industry professionals and administering a survey instrument to administrators and residents of planned urban development communi- ties. Recommended guidelines for the sustainable American lawn are identified and include native plant usage to increase habitat and biodiversity, permeable paving and ground cover as an alternative to lawn and hierarchical maintenance zones depending on levels of importance or use. These design recommendations form a foundation -
Criteria and Guidelines for Product and System Developers
D E S I G N I N G S O L A R T H E R M A L S Y S T E M S F O R A R C H I T E C T U R A L I N T E G R A T I O N criteria and guidelines for product and system developers T.41.A.3/1 Task 41 ‐ Solar energy & Architecture ‐ International Energy Agency ‐ Solar Heating and Cooling Programme Report T.41.A.3/1: IEA SHC Task 41 Solar Energy and Architecture DESIGNING SOLAR THERMAL SYSTEMS FOR ARCHITECTURAL INTEGRATION Criteria and guidelines for product and system developers Keywords Solar energy, architectural integration, solar thermal, active solar systems, solar buildings, solar architecture, solar products, innovative products, building integrability. Editors: MariaCristina Munari Probst Christian Roecker November 2013 T.41.A.3/1 IEA SHC Task 41 I Designing solar thermal systems for architectural integration AUTHORS AND CONTRIBUTORS AFFILIATIONS Maria Cristina Munari Probst Christian Roecker (editor, author) (editor, author) EPFL‐LESO EPFL‐LESO Bâtiment LE Bâtiment LE Station 18 Station 18 CH‐1015 Lausanne CH‐1015 Lausanne SWITZERLAND SWITZERLAND [email protected] [email protected] Alessia Giovanardi Marja Lundgren Maria Wall - Operating agent (contributor) (contributor) (contributor) EURAC research, Institute for White Arkitekter Energy and Building Design Renewable Energy P.O. Box 4700 Lund University Universitá degli Studi di Trento Östgötagatan 100 P.O. Box 118 Viale Druso 1 SE‐116 92 Stockholm SE‐221 00 Lund SWEDEN I‐39100 Bolzano, ITALY SWEDEN [email protected] [email protected] [email protected] 1 T.41.A.3/1 IEA SHC Task 41 I Designing solar thermal systems for architectural integration 2 T.41.A.3/1 IEA SHC Task 41 I Designing solar thermal systems for architectural integration ACKNOWLEDGMENTS The authors are grateful to the International Energy Agency for understanding the importance of this subject and accepting to initiate a Task on solar energy and architecture. -
Communication Design: Material Artefact, Immaterial Influence Culture–Practice–Discourse: a Theoretical Framework for A
Volume 15 Paper 04 SMT VOLUME 15 ASTRACT KEY WORDS Communication Design: Material Communication design is a purposeful activity that and culturally produced it can also be conceived as a Communication Design, Artefact, Immaterial Influence involves human subjects and relations, is tied to action, discourse. This paper considers the relationship between Practice, Culture, Discourse, representation and is context-bound. Furthermore, design culture, practice, and discourse and proposes an PAPER 04 Production, Critical ‘effective’ communication design can be understood as emergent theoretical framework for critically reflecting on Culture–practice–discourse: Practice, Theory accomplishing its purpose in having a desired influence on communication design as a discursive practice—a practice a theoretical framework an individual’s belief, values, behaviour, or action, and is that both shapes and is shaped by culture and wider for a critical approach a basic concern of the design practitioner. In this regard, discourses, that is both regulated and has the potential to to communication design design practice knowledge—‘practice’ meaning both transform its operations. professional situations and preparing for such situations AUTHOR Veronika Kelly by increasing expertise—can be conceived as being created in and by a particular culture, at the same time that it also creates culture. As design practice knowledge is socially Culture–practice–discourse: a theoretical framework for a critical approach to communication design Volume 15 Paper 04 INTRODUCTION world’. As ‘culture’, ‘practice’ and ‘discourse’ can be understood differently, taking into consideration 1 – In this paper the terms Communication design1 that is ‘effective’ in achieving the scholarship of Michel Foucault, Donald Schön, ‘communication design’ and its purpose can be conceived as having a desired and Norman Fairclough helps inform examination ‘design’ are used interchangeably. -
Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles
This is a repository copy of Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles.. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/89265/ Version: Accepted Version Article: Shin, MJ, Cassidy, T and Moore, EM (2015) Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles. Fashion Practice, 7 (2). 175 - 198. ISSN 1756-9370 https://doi.org/10.1080/17569370.2015.1045354 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Design Reinvention for Culturally Influenced Textile Products: focused on traditional Korean bojagi textiles Meong Jin Shin, Tom Cassidy and E.M. Moore Dr. Meong Jin Shin is a researcher working with Tom Cassidy who is a professor in the School of Design, University of Leeds and Edel Moore is a lecturer in the same department. -
Graphic Design in the Postmodern Era
Graphic Design in the Postmodern Era By Mr. Keedy This essay was based on lectures presented at FUSE 98, San Francisco, May 28, and The AIGA National Student Design Conference, CalArts, June 14, 1998. It was first published in 1998 in Emigre 47. Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital "M," which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small "m." It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be. -
Culturalistic Design: Design Approach to Create Products
CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. Brandon J. Allen Certificate of Approval: Bret Smith Tin Man Lau, Chair Professor Professor Industrial Design Industrial Design Tsai Lu Liu George T. Flowers Assistant Professor Dean Industrial Design Graduate School CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Industrial Design Auburn, Alabama May 9, 2009 CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. Signature of Author Date of Graduation iii THESIS ABSTRACT CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Master of Industrial Design, May 9, 2009 (B.I.D., Auburn University, 2005) 93 Typed Pages Directed by Tin Man Lau Designers have a unique process for solving problems commonly referred to as design thinking. Design thinking, especially on a cultural level can be used to tackle a wide range of creative and business issues. Design thinking with true cultural infusion is known as “Culturalistic Design”, and can have profound and varying effects on product designs. -
The Past, Present, and Future of the Chinese Home an Architectural
Te Past, Present, and Future of the Chinese Home An Architectural Study of the Relationship Between Politics, Culture, and Domestic Space By | Tina Huang | 黄维钰 A thesis submitted to the Faculty of Graduate and Postdoctoral Afairs in partial fulfllment of the requirements for the degree of Master in Architecture Carleton University, Ottawa, Ontario ©2021TinaHuang ABSTRACT his thesis analyzes the oscillating cause and effect between State, citizen, Tand architecture by studying the relationship between politics and domestic spaces in China. It explores the development of China from the beginning of the twentieth century through the present and into a speculative future to argue that wider socio-political changes are reflected in the detailed and intimate spaces of the home, and conversely, that the home can act as an agent of political resistance. The timeline in question represents a unique and tumultuous era in the development of modern China, one which dramatically changed the way people in China built their homes, and in turn, lived their lives. By imagining a speculative future condition in which China has undergone another major political and cultural shift, this thesis will consider the past in order to propose a speculative trajectory for the future of domestic Chinese architecture. II ACKNOWLEDGEMENTS I want to firstly thank my advisor Natalia for your patience and constant support during this past year, your encouragement throughout the writing of this thesis has been invaluable. To the staff and faculty at the Azrieli School of Architecture and Urbanism, thank you for making the last six years so wonderful. The guidance and support from everyone has been crucial to my educational growth. -
The Wind-Catcher, a Traditional Solution for a Modern Problem Narguess
THE WIND-CATCHER, A TRADITIONAL SOLUTION FOR A MODERN PROBLEM NARGUESS KHATAMI A submission presented in partial fulfilment of the requirements of the University of Glamorgan/ Prifysgol Morgannwg for the degree of Master of Philosophy August 2009 I R11 1 Certificate of Research This is to certify that, except where specific reference is made, the work described in this thesis is the result of the candidate’s research. Neither this thesis, nor any part of it, has been presented, or is currently submitted, in candidature for any degree at any other University. Signed ……………………………………… Candidate 11/10/2009 Date …………………………………....... Signed ……………………………………… Director of Studies 11/10/2009 Date ……………………………………… II Abstract This study investigated the ability of wind-catcher as an environmentally friendly component to provide natural ventilation for indoor environments and intended to improve the overall efficiency of the existing designs of modern wind-catchers. In fact this thesis attempts to answer this question as to if it is possible to apply traditional design of wind-catchers to enhance the design of modern wind-catchers. Wind-catchers are vertical towers which are installed above buildings to catch and introduce fresh and cool air into the indoor environment and exhaust inside polluted and hot air to the outside. In order to improve overall efficacy of contemporary wind-catchers the study focuses on the effects of applying vertical louvres, which have been used in traditional systems, and horizontal louvres, which are applied in contemporary wind-catchers. The aims are therefore to compare the performance of these two types of louvres in the system. For this reason, a Computational Fluid Dynamic (CFD) model was chosen to simulate and study the air movement in and around a wind-catcher when using vertical and horizontal louvres. -
Collaboration Design: Impact Factor of Cross- Culture
Collaboration Design: Impact Factor of Cross- Culture A Case Study of Design Background Student and Handicraftsman of Taiwan Indigenous Tien-Li Chen *, Man- Li Huang** * College of Design Graduate Institute of Design Doctoral Program NTUT, [email protected] ** College of Design Graduate Institute of Design Doctoral Program NTUT, [email protected] Abstract: This article looks at impact factors of cross culture in collaboration Design. The collaboration of 7 students with design backgrounds and 7 handicraftsman who have knowledge of production to develop cultural goods, cultural elements applied to the design mode. Taiwan in recent years has actively promoted cultural and creative industries in various places with Taiwan Indigenous Peoples, especially the most notable achievement is the Paiwan craft art. The team in July 2012 through a participatory design process, and cross cultural collaboration produced 10 works. These will be the study sample for in depth analysis of the collaborative process mode. This study adopted the methods such as documentary analysis, in depth interviews and participant observation that attempt to construct a model of cross cultural collaboration and cultural elements applications. Lastly model as cross cultural collaborative design interactive reference. The research significantly provides the lessons and suitable models emphasized on the transformation and development of cultural and creative industries especially for aboriginal craftsmen and government. Key words: Collaboration, Cross- Culture, Taiwan Indigenous, Cultural Product, Impact Factor 1. Introduction In traditional design education, students tend to achieve their goals through the design process, with a lack of understanding of the culture. There needs to be respect for the point of view of the cultural and ethnic culture as value-added elements, you need to be more careful with the use of culture. -
Ecology Design
ECOLOGY and DESIGN Ecological Literacy in Architecture Education 2006 Report and Proposal The AIA Committee on the Environment Cover photos (clockwise) Cornell University's entry in the 2005 Solar Decathlon included an edible garden. This team earned second place overall in the competition. Photo by Stefano Paltera/Solar Decathlon Students collaborating in John Quale's ecoMOD course (University of Virginia), which received special recognition in this report (see page 61). Photo by ecoMOD Students in Jim Wasley's Green Design Studio and Professional Practice Seminar (University of Wisconsin-Milwaukee) prepare to present to their client; this course was one of the three Ecological Literacy in Architecture Education grant recipients (see page 50). Photo by Jim Wasley ECOLOGY and DESIGN Ecological by Kira Gould, Assoc. AIA Literacy in Lance Hosey, AIA, LEED AP Architecture with contributions by Kathleen Bakewell, LEED AP Education Kate Bojsza, Assoc. AIA 2006 Report Peter Hind , Assoc. AIA Greg Mella, AIA, LEED AP and Proposal Matthew Wolf for the Tides Foundation Kendeda Sustainability Fund The contents of this report represent the views and opinions of the authors and do not necessarily represent the opinions of the American Institute of Architects (AIA). The AIA supports the research efforts of the AIA’s Committee on the Environment (COTE) and understands that the contents of this report may reflect the views of the leadership of AIA COTE, but the views are not necessarily those of the staff and/or managers of the Institute. The AIA Committee