Engineering an Undergraduate Innovation Eco-System
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Planning Curriculum in Art and Design
Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning. -
The Engineering Message
Support The Engineering Message “a professional practitioner of engineering, A definition of an engineer is... concerned with applying scientific knowledge, mathematics, economics and ingenuity to develop solutions to meet economic and societal needs” “the discipline, art and profession of acquiring and And a definition of engineering is... applying scientific, mathematical, economic, social, and practical knowledge to design and build structures, machines, devices, Does Your Audience Agree With systems, materials and processes that safely realise solutions to These Definitions? the needs of society”. By working through this resource you will be able to help students understand The Engineering Message, and develop their understanding of engineers and engineering. Remember this is a starting point for discussion and activity and you can draw upon your own enthusiasm and experience. What Is Engineering? Many people think that engineering is just about fixing cars or constructing bridges, ships or buildings. Some will also have the impression that engineering takes place in a dirty environment that isn’t for them, but in fact engineering helps shape the future. Engineers look to develop and manufacture sustainable products, materials, structures and much more. Find out what your group thinks of engineering: You will need some fabric paints and old, extra large T-shirts (alternatively you can use just paints and paper or even badges). Ask your group to draw ‘engineering’ on a T-shirt. They may draw a person or product, building or bridge etc. Once dry, ask them to wear the T-shirt over their clothes and explain their drawing. Have they drawn an engineering stereotype? Allow time for this discussion. -
Ergonomics, Design Universal and Fashion
Work 41 (2012) 4733-4738 4733 DOI: 10.3233/WOR-2012-0761-4733 IOS Press Ergonomics, design universal and fashion Martins, S. B. Dr.ª and Martins, L. B.Dr.b a State University of Londrina, Department of Design, Rodovia Celso Garcia Cid Km. 380 Campus Universitário,86051-970, Londrina, PR, Brazil. [email protected] b Federal University of Pernambuco, Department of Design, Av. Prof. Moraes Rego, 1235, Cidade Universitária, 50670-901, Recife- PE, Brazil. [email protected] Abstract. People who lie beyond the "standard" model of users often come up against barriers when using fashion products, especially clothing, the design of which ought to give special attention to comfort, security and well-being. The principles of universal design seek to extend the design process for products manufactured in bulk so as to include people who, because of their personal characteristics or physical conditions, are at an extreme end of some dimension of performance, whether this is to do with sight, hearing, reach or manipulation. Ergonomics, a discipline anchored on scientific data, regards human beings as the central focus of its operations and, consequently, offers various forms of support to applying universal design in product development. In this context, this paper sets out a reflection on applying the seven principles of universal design to fashion products and clothing with a view to targeting such principles as recommendations that will guide the early stages of developing these products, and establish strategies for market expansion, thereby increasing the volume of production and reducing prices. Keywords: Ergonomics in fashion, universal design, people with disabilities 1. -
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[ENTER NAME of PROJECT] PROJECT CHARTER SMALL to MEDIUM PROJECTS [Enter Date] V1.0
[ENTER NAME OF PROJECT] PROJECT CHARTER SMALL TO MEDIUM PROJECTS [Enter Date] V1.0 Campus Planning and Facilities Management – Design and Construction 1276 University of Oregon, Eugene OR 97403-1276 541-346-8292 | fax 541-346-6927 cpfm.uoregon.edu/design-construction An equal-opportunity, affirmative-action institution committed to cultural diversity and compliance with the Americans with Disabilities Act PROJECT NAME PROJECT NUMBER TABLE OF CONTENTS 1. INTRODUCTION ………………………………………………………….. 3 Purpose of the Project Charter ………………………………………… 3 2. BASIC PROJECT DELIVERY PROCESS ….……………………………… 4 3. PROJECT OVERVIEW/GOALS ……………………..……………………. 4 4. SCOPE ……………………………………………………………………. 5 4.1 Objectives ………………………………………………………… 5 4.2 Boundaries ……………………………………………………….. 5 5. ASSUMPTIONS AND RISKS ……………………………………………… 5 5.1 Assumptions ……………………………………………………... 5 5.2 Risks ……………………………………………………………... 5 5.3 Exclusions ………………………………………………………… 5 6. DURATION ……………………………………………………………….. 5 5.1Timeline …………………………………………………………... 5 7. BUDGET OPINION …………………………………………………... 6 6.1 Funding Source ………………………………………………..... 6 6.2 Estimate ………………………………………………………..... 6 8. CONTRACT METHODOLOY ………………………………………... …… 7 9. PROJECT ORGANIZATION ……………………………………………… 8 10. FUNDING SOURCES ……………………………………………………. 11 11. PROJECT CHARTER APPROVALS…………………………………….. 12 APPENDIX A: KEY ACRONYMS AND TERMS …………………………….. 13 APPENDIX B: REFERENCE MATERIALS …………………………………. 15 APPENDIX C: PROJECT CHARTER CHANGE TRACKING ........................ 16 Page 3 of 20 PROJECT NAME PROJECT NUMBER 1. INTRODUCTION -
Teacher's Pack Will Help You to Introduce Your Students to Dyson Technology
TEACHER’S PACK All of the videos referred to in the following In the United States, fewer than 40% of college lessons can be found on our website: www.jamesdysonfoundation.org students majoring in science, technology, engineering, or math (STEM) complete a Section 1: Today’s Engineers Meet Ruth: a research engineer STEM degree, resulting in 300,000 STEM Meet Annmarie: a design engineer (new product innovation) graduates annually. In order to keep up with Meet David: a design engineer (new product development) Meet Farai: a materials engineer economic demand, the U.S. will need to Meet Marcus: an electronics engineer produce approximately one million more Meet Nathan: an acoustic engineer STEM professionals over the next decade. President’s Council of Advisors on Science and Technology, Report to the President: Engage to excel, 2012 1 2 3 This teacher's pack will help you to introduce your students to Dyson technology. It will show them the engineering BY ENCOURAGING thinking behind Dyson machines – and help them to think like an engineer themselves. YOUNG PEOPLE TO GET In the following lessons, students will learn about the diversity of engineering jobs – and the passion for solving problems that all engineers have in common. The videos referenced in PRACTICAL, WE CAN SHOW the pack can be found on YouTube and include interviews with Dyson engineers. Once they have learned about the many career opportunities within the field of engineering, students THEM WHAT A HIGH-TECH, will be introduced to the design process and use it to design their own problem-solving technologies. This pack contains six lesson plans. -
How to Make It | the New Yorker
8/22/2019 How To Make It | The New Yorker Annals of Invention September 20, 2010 Issue How To Make It James Dyson built a better vacuum. Can he pull off a second industrial revolution? By John Seabrook September 13, 2010 n the fall of 2002, the British inventor James Dyson entered the United States I market with an upright vacuum cleaner, the Dyson DC07. Dyson was the product’s designer, engineer, manufacturer, and pitchman—its auteur. The price was three hundred and ninety-nine dollars. At the time, a bad one economically, most of the major vacuum-cleaner manufacturers were in a price war to produce a machine that could sell for less than a hundred dollars at the retail chains, where low-priced, high- volume sales are the standard business model. The idea that a mass of big-box-store shoppers would spend four hundred dollars for a vacuum cleaner was far-fetched indeed. “Dyson? Who’s he?” one vacuum-cleaner dealer said at the time, in a Forbes article. “If I were Hoover, I wouldn’t be quaking in my boots.” Not only did the Dyson cost much more than most machines sold at retail but it was made almost entirely of plastic, a material commonly associated with cheap products. And whereas other vacuum cleaners were frosted with sleek exteriors that hid the machine’s innards, the DC07 looked as if it had been turned inside out: it wore its guts on its skin. In the most perverse design decision of all, Dyson let you see the dirt as you collected it, in a clear plastic bin on prominent display in the machine’s midsection. -
Universal Design in Architectural Education: Who Is Doing It? How Is It Being Done?
Universal design in architectural education: Who is doing it? How is it being done? 1 1 1 Megan Basnak , Beth Tauke , Sue Weidemann 1IDeA Center, University at Buffalo—State University of New York, Buffalo, NY ABSTRACT: The World Health Organization estimates that over one billion people, or 15% of the world’s population, have some form of disability. As demographics change and the world’s population continues to age, this number is expected to dramatically increase. In response to this global trend, many designers, advocates, and anyone interested in making physical and visual environments more usable for people with diverse backgrounds and abilities have adopted the philosophy known as universal design (UD), inclusive design, or design for all. Despite the demonstrated need for designers who are knowledgeable in UD theory and practice, it seems that architecture programs in U.S. universities have been slow to adequately incorporate UD into their curricula. In an effort to gain a better understanding of the current state of UD content in architecture curricula, researchers distributed an online survey to architectural educators and administrators in 120 U.S. institutions with accredited degree programs. The study, sponsored by the National Institute on Disability and Rehabilitation Research (NIDRR), consisted of qualitative and quantitative questions that sought information related to the understanding, attitudes, and incorporation of UD into each participant’s curriculum. Responses were obtained from 463 participants representing 104 of the 120 surveyed schools. Quantitative analyses found relationships between perceived attitudes of administrators, faculty, and students and the effectiveness of UD components in a program. Qualitative findings were rich and complex, revealing great variability across schools, in terms of how, when (course level), and the degree to which UD aspects were incorporated into programs. -
Urban Environment Development Based on Universal Design Principles
E3S Web of Conferences 31, 09010 (2018) https://doi.org/10.1051/e3sconf/20183109010 ICENIS 2017 Urban Environment Development based on Universal Design Principles Bangun IR Harsritanto1,* 1Architecture Department of Engineering Faculty, Diponegoro University, Semarang - Indonesia Abstract. Universal Design is a design which facilitated full range of human diversity. By applying Universal design principles, urban environment can be more functional and more user-friendly for everyone. This study examined five urban streets of South Korea as a country experienced on developing various urban street designs based on universal design. This study aimed to examine and compare the South Korea cases using seven principles of universal design. The research methods of this study are literature study, case study, and site observation. The results of this study are: South Korea cases are good practices, urgency of implementing the direction into local regulations; and change of urban development paradigm. 1 Introduction 2. Site observation was used to inspect South Korea urban streets with evaluation sheet which Urban streetscape which designed and developed in constructed before, and measured by interval scales detail with a special theme or purpose of urban of five points. development. However, not all people can access the 3. Case study was used to explain several phenomena specialized street easily because of their different ability happening on the site observation and later on can (as the elderly, children and people with special needs). be generalized into the bigger scope of research Universal design (also called inclusive design or area. accessible design) refers to facility designs that accommodate the widest range of potential users, including people with mobility and visual disabilities 3 Discussions and other special needs [11]. -
Our Mission Is to Inspire the Next Generation of Engineers
2018 Welcome 05 Inspiring the next generation 07 Spreading the word 13 Our mission Our resources go where we can’t 23 Measuring our impact: the Schools Project 33 The James Dyson Award 47 Overcoming financial obstacles 57 is to inspire the Supporting our commmunities 73 2019 vision 77 next generation of engineers. As a society, we are failing to help young people by not connecting the science, design, technology and maths they learn in the classroom with the exciting and important engineering problems and solutions in the outside world. Sir James Dyson Inventor 03 I joined the James Dyson Foundation achieving their potential. That’s why because I felt lucky to have accidently we also offer financial support for fallen into an engineering education, students, through bursaries and both at school and university. However, partnerships with top universities. so many young people miss out, as James feels strongly about giving they’re misinformed or, quite simply, young people a platform to develop not introduced to engineering as and commercialise new ideas. And a potential career at all. his international design competition, We continue to face a global shortfall the James Dyson Award, does just of engineers. Failing to address this that. It’s continuing to work with problem is expected to cost the UK more budding inventors – the 2018 economy alone £27 billion every year. competition was our biggest yet. Put very simply, we need more engineers. This report sets out some of the highlights That is why James set up the James and achievements from the James Dyson Dyson Foundation in 2002 – to combat Foundation’s year. -
Art Design Magazine
04/ 14/ 16/ DAY OF CONTEMPORARY ART DIGITAL MEDIA STEPS OUT VISITING ART/DESIGN PROGRAM Art & Design COPYRIGHT © 2009 FACULTY OF ART & DESIGN, MONASH UNIVERSITY, THE WRITERS, PHOTOGRAPHERS AND ARTISTS. ALL RIGHTS RESERVED. NO PART OF THIS PUBLICATION MAY BE REPRODUCED, STORED IN A RETRIEVAL SYSTEM, TRANSMITTED IN ANY FORM OR BY ANY OTHER MEANS, ELECTRONIC, MECHANICAL, PHOTOCOPYING, RECORDING OR OTHERWISE, WITHOUT PRIOR PERMISSION FROM THE PUBLISHER. THIS MAGAZINE IS PUBLISHED BY THE FACULTY OF ART & DESIGN, TO INFORM READERS OF NEWS AND EVENTS FROM THE FACULTY, AS WELL AS THE ACHIEVEMENTS OF ITS STAFF, STUDENTS AND ALUMNI. EDITOR: YOUNA ANGEVIN-CASTRO, CASTRO COMMUNICATIONS DESIGN: SWEET DESIGN PRINTING: ERWINS PRINTING COVER IMAGE: TRINH VU SACRED SEASON, 2009 PAPER, 80CM X 80CM X 80CM Issue/08 2009 04/ DAY OF CONTEMPORARY ART IN PRATO 05/ ARCHIVE/COUNTER ARCHIVE 06/ ON THE MOVE 08/ NEWS AND EVENTS 12/ DESIGN/BUILD 14/ DIGITAL MEDIA STEPS OUT 16/ VISITING ART/DESIGN PROGRAM 18/ PROFILE: DARREN SYLVESTER Welcome/ It has been a prolific year for the Faculty of Art & Students have also been very successful. Industrial Silvia Acosta from the Rhode Island School of Design Design, with a number of Faculty members recognised Design graduate Robert Dumaresq won the top prize and James Angus, an Australian-born artist with a for their research excellence and creative practice at the Australian International Student Design Awards: significant international profile, now based in New through the award of many of the country’s top prizes The James Dyson Award for his ‘Switch’ Commuter York. The Faculty has also signed an artists’ residency and research grants. -
Guide to the Elaine Ostroff Universal Design Papers
Guide to the Elaine Ostroff Universal Design Papers NMAH.AC.1356 Alison Oswald 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 4 Biographical Note............................................................................................................. 2 Historical Note.................................................................................................................. 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal/Biographical Materials, 1967 - 2008.......................................... 5 Series 2: Subject Files, 1965 - 2008....................................................................... 7 Series 3: Universal Design Education Program Files, -
Chapter 1 Is Universal Design a Critical Theory?
Chapter 1 Is Universal Design a Critical Theory? N. D’souza 1.1. Introduction Universal design is a term that was first used in the United States by Ron Mace (1985) although forms of it were quite prevalent in Europe long before. For the purpose of this chapter Universal Design is defined as ‘the design of all products and environments to be usable by people of all ages and abilities to the greatest extent possible (Story, 2001, p.10.3). Universal design in recent years has assumed growing importance as a new paradigm that aims at a holistic approach ranging in scale from product design (Balaram, 2001) to architecture (Mace, 1985), and urban design (Steinfield, 2001) on one hand and systems of media (Goldberg, 2001) and information technology (Brewer, 2001) on the other. Given the popularity, Universal design still remains largely atheoretical i..e. the researchers of Universal design do not explicitly affiliate themselves to any form of theoretical paradigm. One of the reason is perhaps because Universal design is a melting point between cross paradigms. By paradigms I mean basic orientations to theory and research (Newman, 1997, p.62). In this sense Universal design can come under functionalist paradigm (because it caters to utility), pragmatic (because it is instrumental in nature), positivistic (because it strives for universal principles), normative (because it prescribes certain rules) and critical theorist paradigms (because it gives voice to the oppressed). Conventionally the word universal is synonymous to general and refers to a set of principles that are stable, timeless and value free. In this sense universal design could be interpreted as deriving from a positivist paradigm.