DOCSLIB.ORG

Nodem 2014 Conference & Expo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nodem 2014 Conference & Expo ENGAGING SPACES Interpretation, Design and Digital Strategies Proceedings Editors Halina Gottlieb Marcin Szeląg NODEM 2014 CONFERENCE & EXPO ENGAGING SPACES Interpretation, Design and Digital Strategies December 1-3, 2014 Warsaw, Poland Proceedings Editors Halina Gottlieb Marcin Szeląg Welcome to the NODEM 2014 Conference We are delighted to give a warm welcome to the NODEM 2014 conference participants who have responded to our invitation, and we hope that you will find the conference informative and worthwhile. We are gratified that many participants from our previous NODEM conferences continue to engage in our interdisciplinary effort to address challenges and opportunities facing museums and cultural heritage institutions. We are proud that participation at NODEM conferences is becoming more global in reach involving culture heritage professionals from South America, Asia and USA. Our highest priority is to provide the most stimulating sessions and exhibitions for sharing know-how, generat- ing ideas and starting collaborations. The primary goal of the NODEM conference Engaging Spaces is to bring together heritage professionals, museum researchers as well as ICT experts from around the world in an open dialogue to discuss the issues facing newly built or renovated museums and other culture-historical institu- tions to stay competitive in engaging today’s visitors. We hope that our diverse and dynamic group of keynote and special session speakers and exhibitors provide new insight about practical tools, engagement models and methods for heritage institutions to become more effective in the on-going development efforts of involving visitors through interpretative content and design and digital strategies. On behalf of NODEM 2014 conference organizers and partners we would like to thank you for choosing to at- tend the NODEM 2014 conference. We wish you an interesting and productive conference! Sincerely, Halina Gottlieb PhD, Founding Director of NODEM, Digital Heritage Center Sweden AB Marcin Szeląg Assistant Professor, Adam Mickiewicz University in Poznań, Poland NODEM 2014 CONFERENCE & EXPO 3 Conference Program Committee Marcin Szeląg (Chair of Program Committee), Adam Mickiewicz University, Forum of Museum Educators, Poland Andrea Nanetti, Shanghai Jiaotong University International Research Centre for Architectural Heritage Conservation, Shanghai Anne Balsamo, The New School for Public Engagement, USA Ari Häyrinen, University of Jyväskylä, Finland Behrang Mousavi, The New Institute (Het Nieuwe Instituut), Netherlands Bodil Axelsson, Linköping University, Sweden Christoffer Gottlieb, Digital Heritage Center Sweden AB Daniel Spikol, Malmö Högskola, Sweden Dorota Folga-Januszewska, Academy of Fine Arts in Warsaw, Cardinal Stefan Wyszyński University in Warsaw, President ICOM-Poland, Poland Halina Gottlieb, Interactive Institute Swedish ICT, Sweden Harald Kraemer, Zurich University of the Arts, Switzerland Herminia Din, University of Alaska, USA Jacek Smolicki, Malmö Högskola, Sweden Katarzyna Nowakowska-Sito, The Museum of the History of Polish Jews, Exhibitions and Museum Collections, Poland Kevin Walker, Royal College of Art, UK Krzysztof Walczak, Poznań University of Economics, Poland Lily Díaz-Kommonen, Aalto University, Finland Magdalena Laine-Zamojska, University of Jyväskylä, Finland Marco de Niet, The DEN Foundation (Digitaal Erfgoed Nederland / Digital Heritage Netherlands), Netherlands Mariana Salgado, Aalto University, Finland Neil Silberman, University of Massachusetts Amherst, USA Ole Smørdal, University of Oslo, Norway Piotr Majewski, NIMOZ – National Institute for Museums and Public Collections Poland Piotr Szaradowski, The National Museum in Poznań, Poland Sanna Marttila, Aalto University, School of Arts, Design and Architecture, Finland Wim Hupperetz, University of Amsterdam, Netherlands Zygmunt Kalinowski, Museum of the First Piasts at Lednica, Poland NODEM 2014 CONFERENCE & EXPO 4 Editorial board Andrea Nanetti, Shanghai Jiaotong University International Research Centre for Architectural Heritage Conservation, Shanghai Anne Balsamo, The New School for Public Engagement, USA Annelise de Jong, Interactive Institute Swedish ICT, Sweden Ari Häyrinen, University of Jyväskylä, Finland Behrang Mousavi, The New Institute (Het Nieuwe Instituut), Netherlands Bodil Axelsson, Linköping University, Sweden Christoffer Gottlieb, Digital Heritage Center Sweden AB Daniel Spikol, Malmö Högskola, Sweden Dorota Folga-Januszewska, Academy of Fine Arts in Warsaw, Cardinal Stefan Wyszyński University in Warsaw, President ICOM-Poland, Poland Halina Gottlieb, Interactive Institute Swedish ICT, Sweden Harald Kraemer, Zurich University of the Arts, Switzerland Herminia Din, University of Alaska, USA Jacek Smolicki, Malmö Högskola, Sweden Krzysztof Walczak, Poznań University of Economics, Poland Laia Pujol, Universitat Pompeu Fabra, Spain Lily Díaz-Kommonen, Aalto University, Finland Magdalena Laine-Zamojska, University of Jyväskylä, Finland Marcin Szeląg, Adam Mickiewicz University, Forum of Museum Educators, Poland Marco de Niet, The DEN Foundation (Digitaal Erfgoed Nederland / Digital Heritage Netherlands), Netherlands Mariana Salgado, Aalto University, Finland Neil Silberman, University of Massachusetts Amherst, USA Piotr Majewski, NIMOZ – National Institute for Museums and Public Collections Poland Piotr Szaradowski, The National Museum in Poznań, Poland Zygmunt Kalinowski, Museum of the First Piasts at Lednica, Poland NODEM 2014 CONFERENCE & EXPO 5 Contents TACTEC, Transforming Art and Culture Through Engagement and Construction .............................................. 10 Raquel Barros Pinto, Lia Oliveira, Nelson Zagalo Restaging a Garden Party: Sharing Social Histories through the Design of Digital and Material Interactive Experiences ...................................................................................................................... 20 Caroline McCaw, Morgan Oliver, Leyton Glen Authenticity and Authorship: The Chocolate Kitchens at Hampton Court Palace ............................................. 28 Aileen Peirce and Polly Putnam Proactive Spaces. An Insight on the Spatial and Museographical Features of 21st Century “Post-museum” ........................................................................................................................................... 43 Francesca Lanz, Elena Montanari Archives as New Spaces for Engaging Experiences: Technologies and Languages within the Scenario of “Heritage Continuum” ....................................................................................................... 51 Ece Özdil Seen/Unseen Dancing Art Inside and Outside the Museum ................................................................................ 59 Laura Donnelly Cross Cutting Concepts for Change: Collections – Alignment – Engagement ................................................... 63 Rachel Hosker, Claire Knowles, Norman Rodger ArtMaps: Framing Public Engagement ................................................................................................................... 70 Gabriella Giannachi, Rebecca Sinker, John Stack, Rebecca Ward, Cristina Locatelli, Laura Carletti, Dominic Price, Derek McAuley, Tim Coughlan, Steve Benford Thresholds of Technological Remembering ........................................................................................................... 79 Dirk de Bruyn The Rotterdam Heritage Coalition: Cooperation between Heritage Institutions ............................................... 85 Gwenny van Hasselt “You could have told me!” Collaboration on the Design of Interactive Pieces for Museums. A Case Study ...................................................................................................................................... 91 Teresa Macchia, Mariana Salgado The Widget Art Gallery – A Gallery 2.0 .................................................................................................................... 98 Chiara Passa The Whisperers: An Interactive Exhibition. Using Voice as Navigation for an Experiential Interface in a Museum Environment ............................................................................................... 105 Christopher Koelsch Towards a Significant Portuguese Cultural Heritage – An Intervention from the Design Perspective .......................................................................................................................................... 119 Gonçalo Gomes, Vasco Branco Confabulated Architecture .................................................................................................................................... 129 Jae Kyung Kim NODEM 2014 CONFERENCE & EXPO 6 Exhibiting Fashion: Museums as Myth in Contemporary Branding and Media Culture .................................................................................................................................................. 136 Synne Skjulstad The Exquisite Cabinet: An Experimental Installation to Encourage Creative Thinking and Sharing Stories .................................................................................................................. 145 Caroline Claisse Parallel Exhibits: Combining Physical and Virtual Exhibits .................................................................................. 150 Lars Lischke, Tilman Dingler, Stefan Schneegaß, Albrecht Schmidt, Merel van der Vaart, Pawel Wozniak Wonderful Stories on Digital Devices – How Museums Have the Power to Ignite
Load more

Recommended publications
  • Anya Gallaccio
    ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition,
    [Show full text]
  • Disentangling Public Space: Social Media and Internet Activism Thérèse F
    thresholds 41 Spring 2013, 82-89 DISENTANGLING PUBLIC SPACE: SOCIAL MEDIA AND INTERNET ACTIVISM THÉRÈSE F. TIERNEY In late 2010, global events began to demonstrate that the unique communication af- fordances of social media could support and empower marginalized groups. As has occurred with previous revolutions, associated technologies are frequently champi- oned as the impetus for social change, reflecting a technological determinist stand- point on the liberatory potential of Western technology. While technology is clearly instrumental in Internet activism, the core processes at work in these movements are social, not technical.1 Setting up a blog in Burma, for example, is helpful only if potential contributors dare to post despite fears of arrest. Technology tends to over- shadow actions on the ground and, more importantly, enjoys short-lived victories as new methods of surveillance and control emerge. Media outlets and platforms focus on current expansions of the prowess and impact of technology; their attention to painstaking, long-term efforts at economic and political reform usually wanes quickly after a revolutionary moment. What motivations exist for labeling the Arab uprisings and other demonstrations as determined by social media effects? Foreign Affairs editor Evgeny Morozov answers “by emphasizing the liberating role of the tools and downplaying the role of human agency, such accounts make Americans feel proud of their own contribution to events in the Middle East.”2 The very appellation “media” in “social media” plays up the role of the technology “and thus overestimates [sic] its . importance.” To what extent do Morozov’s claims hold true? Such assertions prompt a deliberate reflec- tion on the definition of publicness, causing us to question if socio/spatial processes during the uprisings have recontextualized the historical public sphere (Figure 1).
    [Show full text]
  • Michael Landy Born in London, 1963 Lives and Works in London, UK
    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
    [Show full text]
  • Azerbaijan on the International Arena
    Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y Azerbaijan on the international arena Azerbaijan - UN Azerbaijan – European Union Azerbaijan - Council of Europe Azerbaijan - OSCE Azerbaijan - UNESCO Azerbaijan – OIC Azerbaijan – Guam Azerbaijan - NATO 1 Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y Azerbaijan on the international arena Azerbaijan has been following an independent foreign policy since gaining independence in 1991. This policy aims at the strengthening and development of the state system and the protection of the national interests of Azerbaijan. Azerbaijan builds its foreign policy on the principle of respect to the international legal standards and norms, the state sovereignty and territorial integrity and the principles of nonintervention into the internal affairs. The foreign policy of Azerbaijan, adhering to these principles and speaking on behalf of the national interests targets such urgent issues as the risks and challenges to the national security and territorial integrity, sovereignty and independence of the republic and the prevention of the intervention of the Republic of Armenia. The major priorities of the foreign policy of Azerbaijan are the establishment of the regional peace and stability, the implementation of large transport and cooperation projects. The attraction of the foreign capital to the implementation of different projects on the development of the country's economics for more effective protection of the national interests plays a great role in the foreign policy of Azerbaijan in the present-day world.
    [Show full text]
  • Design Museum Annual Review 2017-2018
    annual review 2017–18 designmuseum.org Annual Review 2017–18 Contents 3 Chairman’s Introduction 5 2017–18 Exhibitions 19 Designers in Residence 21 Learning 23 Research and Collection 25 The Global Museum 29 Building Partnerships 31 Engaging Audiences 33 Financial Review 35 Supporters Interior view of the Design Museum Chairman’s Introduction The Design Museum has now been open in its new Kensington home for 18 months and in this period it has welcomed more than 1m visitors, taught more than 60,000 learners in specific programmes, staged a series of critically acclaimed exhibitions, and run a provocative and engaging public programme. More recently the museum has won the European Museum of the Year award, further building upon these successes. We are proud of this achievement. In 2017–18 the museum sold a record 160,000 exhibition tickets and raised over £10m in income from admissions, commercial activities and fundraising efforts, doubling in scale from previous years at our former home in Shad Thames. This transformational achievement is the product of the imagination, continued commitment and generosity of our founder, Sir Terence Conran, the support of our donors and funders, an enterprising approach to running the museum and the sustained effort of our staff, volunteers and trustees. We have demonstrated that design is as much a part of the cultural landscape as contemporary art, music or theatre. The Design Museum’s purpose is to make the impact of design visible to the public, to policymakers, to educators, to industry and to entrepreneurs. We are a significant cultural institution with national and international stature that measures itself against the intellectual ambition of peers the world over.
    [Show full text]
  • Press Release Keith Coventry Junk & Pure Junk
    PRESS RELEASE KEITH COVENTRY JUNK & PURE JUNK 24 February – 4 April 2018 Official opening and book release on Saturday February 24th, from 5 to 7 pm. Reflex Amsterdam is proud to announce the first Benelux exhibition by internationally acclaimed British artist Keith Coventry. Widely admired for his work which takes aspects modernism and grafting them on to socio- political issues, Coventry appropriates global symbols of junk culture – the golden McDonald’s arch, in particular – and recontextualises them, inviting the viewer to consider these logos afresh in a gallery context. Working in white monochrome, or colour, he hones in on the curves of the infamous “M”, cropping, recasting and framing, to striking minimalist effect. In his extensive “Estate Painting” series Coventry focuses on the architectural layouts of London’s notorious tower blocks and council estates and distils them into abstract colour block patterns which have been likened to works by Russian Constructivist painter Kazimir Malevich. In employing these tropes of modernism, Coventry has said he is returning to the original ideas of utopianism behind these urban projects – now widely regarded as failures. As Coventry put it, this kind of social housing: “it was a promise given at the beginning of the 20th century that was unfulfilled.” Living in central London, his immediate urban environs have remained Coventry’s main source of inspiration: “Making art is about the things that surround me.” Yet, despite the socio-political undertone of his work, Coventry insists: “I’m totally ambivalent. I have no message. People can take one side or another. I don’t have any polemic or didactic stance.” Coventry was born in Burnley in Lancashire, in 1958 and studied at London’s progressive Chelsea school of Art.
    [Show full text]
  • To the Pittsburgh Synagogue Shooting: the Evolution of Gab
    Proceedings of the Thirteenth International AAAI Conference on Web and Social Media (ICWSM 2019) From “Welcome New Gabbers” to the Pittsburgh Synagogue Shooting: The Evolution of Gab Reid McIlroy-Young, Ashton Anderson Department of Computer Science, University of Toronto, Canada [email protected], [email protected] Abstract Finally, we conduct an analysis of the shooter’s pro- file and content. After many mass shootings and terror- Gab, an online social media platform with very little content ist attacks, analysts and commentators have often pointed moderation, has recently come to prominence as an alt-right community and a haven for hate speech. We document the out “warning signs”, and speculate that perhaps the attacks evolution of Gab since its inception until a Gab user car- could have been foreseen. The shooter’s anti-Semitic com- ried out the most deadly attack on the Jewish community in ments and references to the synagogue he later attacked are US history. We investigate Gab language use, study how top- an example of this. We compare the shooters’ Gab presence ics evolved over time, and find that the shooters’ posts were with the rest of the Gab user base, and find that while he was among the most consistently anti-Semitic on Gab, but that among the most consistently anti-Semitic users, there were hundreds of other users were even more extreme. still hundreds of active users who were even more extreme. Introduction Related Work The ecosystem of online social media platforms supports a broad diversity of opinions and forms of communication. In the past few years, this has included a steep rise of alt- Our work draws upon three main lines of research: inves- right rhetoric, incendiary content, and trolling behavior.
    [Show full text]
  • Display and Control in Online Social Spaces: Toward a Typology of Users Jacquelyn A
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Scholarship@Western Western University Scholarship@Western FIMS Publications Information & Media Studies (FIMS) Faculty 2016 Display and Control in Online Social Spaces: Toward a Typology of Users Jacquelyn A. Burkell Faculty of Information and Media Studies, Western University, [email protected] Alexandre Fortier Follow this and additional works at: https://ir.lib.uwo.ca/fimspub Part of the Library and Information Science Commons Citation of this paper: Burkell, Jacquelyn A. and Fortier, Alexandre, "Display and Control in Online Social Spaces: Toward a Typology of Users" (2016). FIMS Publications. 43. https://ir.lib.uwo.ca/fimspub/43 DISPLAY AND CONTROL IN ONLINE SOCIAL SPACES: TOWARD A TYPOLOGY OF USERS1 2 Alexandre Fortier, McGill University Jacquelyn Burkell, The University of Western Ontario INTRODUCTION Online social networks are spaces of social display where an astronomical amount of personal information, which would once have been characterized as private, is shared with a loose community of friends or followers. This broad sharing does not preclude participant interest in control, both over the content of the social network profile and over the audience that has access to that profile. Thus, issues of display and control are in tension in the context of online social networking. Earlier research using qualitative techniques (Burkell et al., 2014) suggests that the default conception of online social networks is as public spaces with little or no expectation of control over content or distribution of profile information. This conception, however, is articulated with respect to information posted by others, and some results suggest that participants may frame their own participation in different ways, and may hold different expectations with respect to the display of and control over their own social network profiles.
    [Show full text]
  • Azzedine Alaïa: the Couturier Tour Proposal
    Azzedine Alaïa: The Couturier Tour proposal © GILLES BENSIMON / TRUNK ARCHIVE 2 Contents Exhibition overview 4 The themes 6 What are they saying 7 Exhibition details 8 Terms and conditions 9 Contact 10 The Design Museum Touring Programme The Design Museum Touring Exhibitions Programme was set up in 2002 with an aim to bring design exhibitions to audiences around the UK and internationally. Since then, the Museum has toured more than 100 exhibitions to 96 venues in 26 countries worldwide. In May 2018, The Design Museum was awarded the title of European Museum of the Year and commended by the panel for its effort in developing ‘an important democratic and multi-layered intercultural dialogue, with a significant social impact in the community’. The Design Museum touring exhibitions range in size from 150 to 1000 square metres and cover all areas of design – architecture, fashion, furniture, graphics, product, and more. EXHIBITION VIEW, ‘REVOLUTIONARY SKINS’. CREDIT: MARK BLOWER. 3 Exhibition overview EXHIBITION VIEW, ‘EXPLORING VOLUME’. CREDIT: MARK BLOWER. The first UK exhibition to present the outstanding work and creative talent of the Tunisian born Parisian fashion designer, Azzedine Alaïa: The Couturier was developed by the Design Museum in close collaboration with the designer and his team at Maison Alaïa. Azzedine Alaïa is known as one of the fashion industry’s free spirits, revered by stars and designers. Before his untimely passing last year, Alaïa produced a significant and highly influential body of work, from early made-to-measure garments for private clients such as Arletty and Greta Garbo to successful ready-to-wear collections in the 1980s which established his reputation in Europe and the US for his ‘second skin dressing’.
    [Show full text]
  • Artaid 2002 Brochure
    REG CHARITY. 1011718 brochure 19/08/02 8/20/02 10:21 AM Page 1 Page AM 10:21 8/20/02 19/08/02 brochure brochure 19/08/02 8/20/02 10:21 AM Page 2 Cover: Venice, Night (detail) – Howard Hodgkin 17 October – 02 November 2002 at Bloomberg Space 50 Finsbury Square London EC2A 1HD Open Tuesday – Saturday 11.00am – 6.00pm brochure 19/08/02 8/20/02 10:21 AM Page 3 Pick me (detail), audition 10 Richard Cuerden ARTAID CRUSAID 03 – We are very fortunate indeed to be able Please be assured that it is the money raised targeting those most in need in the UK. We do hope you feel inspired to purchase one to show ARTAID 2002 in Bloomberg Space – via unique occasions such as this that We shall fund innovative educational of the highly collectable works in ARTAID a spectacular location – and our sincere allows Crusaid to distribute funding both in programmes and provide grants to over fifty 2002 - and you can feel confident in the gratitude goes to this year’s ARTAID sponsor, the UK and internationally – funding that HIV/AIDS programmes annually. knowledge that the art you buy will not only Bloomberg, and to the many leading does make a difference. In the UK alone, we provide years of pleasure, but will clearly help contemporary artists whose generosity and are seeing the highest incidence of infections We shall establish examples of best practice us to make a real difference. support have made this exhibition possible. since records began and we are faced with an in the international arena, such as the unprecedented global pandemic.
    [Show full text]
  • Design Field Dice
    DESIGN ACTIVITY (6–12 GRADE) Design Field Dice Learners will create several concepts ideas using randomly selected categories. There are up to 216 combinations! Learners will... • Name the seven design fields along with a real world example of each field • Critique their own or a partner’s designs • Design 3-5 concepts within their selected design field DESIGN ACTIVITY (6–12 GRADE) Instructions Instruct them to choose their top two ideas to present to you 1 Before starting, print out and build the attached dice, or 7 follow this link to a digital randomizer for those without or a partner. Ask them to prepare a short presentation about printers or looking to save paper. their designs, including a section that addresses why their designs would benefit their audience. 2 Start by having a conversation about the design fields (use the definitions on page 3). Make sure to ask your learner to 8 Between each presentation, give your learner feedback on name an example of each field in their own daily lives. their design, phrased in questions. Examples: This is great! Looking at it now, what would you change? Can this be used by several people at once? How do you think we Hand your learner a drawing surface and utensil. Think 3 could build this? Who should we ask more information from? pencils, markers, paint, tablets, paper, whiteboards. 9 Repeat this cycle as many time as you’d like! 4 Have your learner roll each die (in person or digitally) and write down their results. 10 Debrief with them. Ask them about their experience and which field most closely aligns with their interest.
    [Show full text]
  • Designs of the Year 2015: Nominees Announced
    DESIGNS OF THE YEAR 2015: NOMINEES ANNOUNCED 76 NOMINATED PROJECTS INCLUDE AN OFF-GRID ECO TOILET, MICROCHIPS THAT MIMIC HUMAN ORGANS, A CAMPAIGN PROMOTING UGLY VEGETABLES AND A BOOK PRINTED WITHOUT INK 2015’s Designs of the Year nominees, announced today by London’s Design Museum, represent the global breadth of design talent, featuring some of the industry’s biggest names alongside rising stars and little-known practices. Google’s self-driving car, Frank Gehry’s Fondation Louis Vuitton and Asif Kahn’s Sochi Olympic Megafaces are just some of the high-profile projects to be represented in the exhibition of nominees which opens at the Design Museum on 25 March. Now in its eighth year, Designs of the Year celebrates design that promotes or delivers change, enables access, extends design practice or captures the spirit of the year. The international awards and exhibition showcase projects from the previous year, across six categories: Architecture, Digital, Fashion, Product, Graphics, and Transport. Design experts, practitioners and academics from across the world are asked by the Design Museum to suggest potential projects, from which the museum has selected 76 for nomination and display in the exhibition. A specially selected jury chooses a winner for each category and an overall winner. Designs of the Year’s wide-ranging scope provides a snapshot of the contemporary concerns of the design world, with nominees coming from over thirty countries across five continents. A strong theme for 2015 is the desire to harness new technologies to solve long-standing problems, as seen in projects as diverse as the world’s first lab for 3D printing prosthetic limbs, and the Moocall sensor which is connected to a cow’s tail and texts the farmer when calving is imminent.
    [Show full text]