DOCSLIB.ORG

Course Progression Map for 2020 Commencing Students

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Course Progression Map for 2020 Commencing Students Course progression map for 2020 commencing students This progression map provides advice on the suitable sequencing of units and guidance on how to plan unit enrolment for each semester of study. It does not substitute for the list of required units as described in the course 'Requirements' section of the Handbook. F2012 Bachelor of Design and Bachelor of Information Technology Specialisations: Communication design OR Industrial Design OR Spatial Design OR Collaborative Design, with Bachelor of Information Technology – GAMES DEVELOPMENT Major AHT1101 Introduction to the history and theory of art, FIT1047 YEAR 1 design and architecture DWG1201 Introduction to computer FIT1033 Semester 1 & OHS1000 Introduction to Drawing 1 systems, networks and Foundations of 3D art and design health and security safety (0 points) TDN1002 YEAR 1 FIT1048 FIT1049 FIT2073 Design and the Semester 2 Fundamentals of C++ IT professional practice Game design studio 1 avant-garde YEAR 2 TDN2001 FIT2096 COL1001 Collaborative design studio 1 (12 pts) Semester 1 Sociologies of design Games programming 1 CDS1002 Communication design studio 2 (12 pts) YEAR 2 FIT3145 FIT2097 or IDN1002 Industrial design studio 2 (12 pts) Semester 2 Game design studio 2 Games programming 2 or SDN1002 Spatial design studio 2 (12 pts) FIT2001 FIT3094 CDS2001 Communication design studio 3 (12 pts) Systems development YEAR 3 Artificial life, artificial or IDN2001 Industrial design studio 3 (12 pts) or FIT2099 Object- Semester 1 intelligence & virtual or SDN2001 Spatial design studio 3 (12 pts) oriented design and environments implementation YEAR 3 FIT2094 FIT2002 FIT3146 FIT Elective Semester 2 Databases IT project management Maker lab CDS3001 Communication design studio 4 (12 pts) YEAR 4 or IDN3001 Industrial design studio 4 (12 pts) TDN3001 FIT3039 Semester 1 or SDN3001 Spatial design studio 4 (12 pts) Research for design Studio project 1 or COL3001 Collaborative design studio 4 (12 pts) CDS3002 Communication design studio 5 (12 pts) TDN3002 YEAR 4 or IDN3002 Industrial design studio 5 (12 pts) FIT3040 Design strategy and Semester 2 or SDN3002 Spatial design studio 5 (12 pts) Studio project 2 professional practice or COL3002 Collaborative design studio 5 (12 pts) Design Information Technology Units are worth 6 credit points unless specified Page 1 of 5 Source: Monash University 2020 Handbook –http://www.monash.edu.au/pubs/2020handbooks/maps/map-F2012.pdf CRICOS Provider Number: 00008C While the information provided herein was correct at the time of viewing and/or printing, Monash University reserves the right to alter procedures, fees and regulations should the need arise. Students should carefully read all official correspondence, other sources of information for students and the official university noticeboards to be aware of changes to the information contained herein. The inclusion in a publication of details of a course in no way creates an obligation on the part of the university to teach it in any given year, or to teach it in the manner described. The university reserves the right to discontinue or vary courses at any time without notice. Students should always check with the relevant faculty officers when planning their courses. Some courses and units are described which may alter or may not be offered due to insufficient enrolments or changes to teaching personnel. Course progression map for 2020 commencing students This progression map provides advice on the suitable sequencing of units and guidance on how to plan unit enrolment for each semester of study. It does not substitute for the list of required units as described in the course 'Requirements' section of the Handbook. F2012 Bachelor of Design and Bachelor of Information Technology Specialisations: Communication design OR Industrial Design OR Spatial Design OR Collaborative Design, with Bachelor of Information Technology – INTERACTIVE MEDIA Major AHT1101 Introduction to the history and theory of art, FIT1047 YEAR 1 design and architecture DWG1201 Introduction to computer FIT1033 Semester 1 & OHS1000 Introduction to Drawing 1 systems, networks and Foundations of 3D art and design health and security safety (0 points) FIT1045 Algorithms and programming TDN1002 fundamentals in python FIT1046 YEAR 1 FIT1049 Design and the or FIT1048 Fundamentals Interactive media Semester 2 IT professional practice avant-garde of C++ foundations or FIT1051 Programming fundamentals in java FIT2091 YEAR 2 TDN2001 COL1001 Collaborative design studio 1 (12 pts) Interactive media Semester 1 Sociologies of design studio 1 CDS1002 Communication design studio 2 (12 pts) FIT2092 YEAR 2 FIT2087 or IDN1002 Industrial design studio 2 (12 pts) Interactive media Semester 2 Advanced 3D or SDN1002 Spatial design studio 2 (12 pts) studio 2 CDS2001 Communication design studio 3 (12 pts) YEAR 3 FIT3169 FIT2002 or IDN2001 Industrial design studio 3 (12 pts) Semester 1 Immersive environments IT project management or SDN2001 Spatial design studio 3 (12 pts) FIT2001 Systems development YEAR 3 FIT2094 FIT3146 or FIT2099 FIT3172 Semester 2 Databases Maker lab Object-oriented analysis, Sonics design and implementation CDS3001 Communication design studio 4 (12 pts) YEAR 4 or IDN3001 Industrial design studio 4 (12 pts) TDN3001 FIT3039 Semester 1 or SDN3001 Spatial design studio 4 (12 pts) Research for design Studio project 1 or COL3001 Collaborative design studio 4 (12 pts) CDS3002 Communication design studio 5 (12 pts) TDN3002 YEAR 4 or IDN3002 Industrial design studio 5 (12 pts) FIT3040 Design strategy and Semester 2 or SDN3002 Spatial design studio 5 (12 pts) Studio project 2 professional practice or COL3002 Collaborative design studio 5 (12 pts) Design Information Technology Units are worth 6 credit points unless specified Page 2 of 5 Source: Monash University 2020 Handbook –http://www.monash.edu.au/pubs/2020handbooks/maps/map-F2012.pdf CRICOS Provider Number: 00008C While the information provided herein was correct at the time of viewing and/or printing, Monash University reserves the right to alter procedures, fees and regulations should the need arise. Students should carefully read all official correspondence, other sources of information for students and the official university noticeboards to be aware of changes to the information contained herein. The inclusion in a publication of details of a course in no way creates an obligation on the part of the university to teach it in any given year, or to teach it in the manner described. The university reserves the right to discontinue or vary courses at any time without notice. Students should always check with the relevant faculty officers when planning their courses. Some courses and units are described which may alter or may not be offered due to insufficient enrolments or changes to teaching personnel. Course progression map for 2020 commencing students This progression map provides advice on the suitable sequencing of units and guidance on how to plan unit enrolment for each semester of study. It does not substitute for the list of required units as described in the course 'Requirements' section of the Handbook. F2012 Bachelor of Design and Bachelor of Information Technology Specialisations: Communication design OR Industrial Design OR Spatial Design OR Collaborative Design, with Bachelor of Information Technology – SOFTWARE DEVELOPMENT Major FIT1045 Algorithms and AHT1101 Introduction to the history and theory of art, programming fundamentals in python YEAR 1 design and architecture DWG1201 FIT1050 or FIT1048 Fundamentals Semester 1 Drawing 1 Web fundamentals & OHS1000 Introduction to of C++ art and design health and or FIT1051 Programming safety (0 points) fundamentals in java FIT1047 TDN1002 YEAR 1 Introduction to computer FIT1049 Design and the FIT Elective Semester 2 systems, networks and IT professional practice avant-garde security YEAR 2 TDN2001 FIT2001 COL1001 Collaborative design studio 1 (12 pts) Semester 1 Sociologies of design Systems development CDS1002 Communication design studio 2 (12 pts) YEAR 2 FIT2094 FIT2002 or IDN1002 Industrial design studio 2 (12 pts) Semester 2 Databases IT project management or SDN1002 Spatial design studio 2 (12 pts) FIT2104 CDS2001 Communication design studio 3 (12 pts) Web database interface YEAR 3 FIT3175 or IDN2001 Industrial design studio 3 (12 pts) or FIT2081 Semester 1 Usability or SDN2001 Spatial design studio 3 (12 pts) Mobile application development FIT Level 3 FIT Level 3 YEAR 3 FIT Elective FIT Elective Software Development Software Development Semester 2 Level 2/3 Level 3 Major Elective Major Elective CDS3001 Communication design studio 4 (12 pts) YEAR 4 or IDN3001 Industrial design studio 4 (12 pts) TDN3001 FIT3047 Semester 1 or SDN3001 Spatial design studio 4 (12 pts) Research for design IE studio project 1 or COL3001 Collaborative design studio 4 (12 pts) CDS3002 Communication design studio 5 (12 pts) TDN3002 YEAR 4 or IDN3002 Industrial design studio 5 (12 pts) FIT3048 Design strategy and Semester 2 or SDN3002 Spatial design studio 5 (12 pts) IE studio project 2 professional practice or COL3002 Collaborative design studio 5 (12 pts) Design Information Technology Units are worth 6 credit points unless specified Page 3 of 5 Source: Monash University 2020 Handbook –http://www.monash.edu.au/pubs/2020handbooks/maps/map-F2012.pdf CRICOS Provider Number: 00008C While the information provided herein was correct at the time of viewing and/or printing, Monash University reserves the right to alter procedures, fees and regulations should the need
Load more

Recommended publications
  • Improving Design Using Autonomous Spatial and Structural Generators
    Improving Design using Autonomous Spatial and Structural Generators Herm Hofmeyer, Harry Rutten, Henk Fijneman Structural Design Group, Department of Architecture, Building, and Planning, Technische Universiteit Eindhoven, The Netherlands http://w3.bwk.tue.nl Abstract. During a building design process, a structural designer transforms a spatial design into a structural design and this structural system can be improved by optimisation methods or expert views of other structural designers. The im- proved structural system allows the architect a new spatial design, which can be transformed or altered again by the architect. This design cycle can be repeated several times and is defi ned as interaction of spatial and structural design. Case studies are used to demonstrate that this interaction occurs in practice and is needed to improve building quality. This paper presents a program with more or less autonomous spatial and structural generators. Each generator will facilitate one direction in the interaction process. Then using both consecutively leads to a design method that provides interaction between spatial and structural design. For the spatial generator, named “room positioning with structural constraints” a space allocation technique is used including constraints that handle structural boundary conditions. A zone generator based on pattern recognition and shape grammars handle the structural design. A Prolog-2 program was developed to demonstrate the application of the two proposed generators. “Zone generation” is performed per building storey and thus represents a horizontal two-dimensional procedure. Similarly “room positioning with structural constraints” is a planar vertical operation. In future these procedures can be made three-dimensional. Keywords. Spatial design, structural design, interaction, case study, data model.
    [Show full text]
  • The Study of Spatial Safety and Social Psychological Health Features Of
    International Journal of Environmental Research and Public Health Article The Study of Spatial Safety and Social Psychological Health Features of Deaf Children and Children with an Intellectual Disability in the Public School Environment Based on the Visual Access and Exposure (VAE) Model Ning Ma 1, Sa Ma 2, Shuangjin Li 3, Shuang Ma 4,*, Xinzhi Pan 5 and Guohui Sun 6,* 1 College of Art and Design, Beijing University of Technology, Beijing 100124, China; [email protected] 2 Shenzhen Key Laboratory of Spatial Information Smart Sensing and Services, School of Architecture and Urban Planning, Research Institute for Smart Cities, Shenzhen University, Shenzhen 518060, China; [email protected] 3 Graduate School for International Development and Cooperation, Hiroshima University, Higashi Hiroshima 739-8529, Japan; [email protected] 4 Research Center for Advanced Science and Technology, The University of Tokyo, Tokyo 153-8904, Japan 5 Laguardalow Architect, New York, NY 10041, USA; [email protected] 6 Beijing Key Laboratory of Environment and Viral Oncology, Faculty of Environment and Life, College of Life Science and Chemistry, Beijing University of Technology, Beijing 100124, China * Correspondence: [email protected] (S.M.); [email protected] (G.S.); Tel.: +81-80-5919-9031 (S.M.); +86-10-6739-6139 (G.S.) Citation: Ma, N.; Ma, S.; Li, S.; Ma, S.; Pan, X.; Sun, G. The Study of Spatial Abstract: Nowadays, there is increasing attention towards the safety and feelings of children in Safety and Social Psychological urban or architectural space. In this study, the authors suggest a new approach based on the Visual Health Features of Deaf Children and Access and Exposure (VAE) Model to evaluate the spatial safety and social psychological health Children with an Intellectual features of deaf children and children with an intellectual disability in the public school environment.
    [Show full text]
  • Tracing Japan's Traditional Design In
    THINKING INSIDE THE BOX: TRACING JAPAN’S TRADITIONAL DESIGN IN MODERN JAPANESE ARCHITECTURE A DARCH PROJECT SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARCHITECTURE DECEMBER 2016 By Matthew T. Kubota DArch Committee: Pu Miao, Chairperson William Chapman Elaine Wong Keywords: Modernism, Japan, Nature, Space, Materiality Dedications This dissertation is dedicated to my family for believing in me since day one. Through all the ups and downs, I cannot express in words how much it means to me for supporting me and being there when I needed help the most. Mom, Dad and Timmy, this is for you. i Acknowledgements I would like to thank my entire committee for their help along my academic journey through the D Arch program. Pu Miao, thank you for aiding me in my final semester of graduate school as well as serving as my chair. Professor William Chapman, thank you for believing in me since I first had you as a professor for an American Studies class; the help and support that you’ve given me has helped me grow as a student as well as learned more about myself along my academic journey. Elaine Wong, thank you for aiding me along the professional world as well as taking time out of your busy schedule to help me. Lastly, Clark Llewellyn, thank you for believing me and helping me accomplish so much during my time with you. Your help and guidance from the start served as an incredible foundation for which I built my work and research upon.
    [Show full text]
  • FINAL D&AD Results Judging Week 2015 23 April 2015
    Jury Title Agency Primary Client Name Country Art Direction Leo Burnett Canada Toronto TSN/Bell Media Kings and Queens of the Court Canada Art Direction Geometry Global Hong Kong Lego / Hamleys Magritte / Van Gogh / Wood China Art Direction Lowe China Shanghai General Motors Human Traffic Sign China Art Direction Y&R China Jo Lusby MIC China Art Direction Young and Rubicam (Y&R) Hong Kong Colgate-Palmolive Turning Packaging into Education Hong Kong Art Direction McCann Erickson India Perfetti Van Melle Fruits India Art Direction Ogilvy & Mather India Pernod Ricard India Pvt. Ltd. Sufi Rock - Horns India Art Direction Ogilvy & Mather Bangkok Accident Prevention Network A/B/P Thailand Art Direction Grey London News UK The Sunday Times Rich List United Kingdom Art Direction Ustwo ustwo games Monument Valley United Kingdom Art Direction Deutsch Inc PwC PwC Extraordinary Challenges United States Art Direction Droga5 Under Armour Under Armour - I Will What I Want - Gisele United States Book Design Phoenix Fine Arts Publishing A Gift from Hong Wei China Book Design Superultraplus Designstudio Cappelen Damm Transatlantic Germany Book Design Euphrates ltd. BIJUTSU SHUPPAN-SHA CO., LTD. "Putting Finger" Masahiko Sato + Tatsuya Saito Japan Book Design Plug-in Graphic ARTS & SCIENCE Pots Japan Book Design Tama Art University TAMABI BOOK Japan Book Design Nai010 Publishers nai010 publishers Landscape and Energy Netherlands Book Design Nai010 Publishers nai010 publishers Dutch Dikes Netherlands Book Design Atlas Toni Amengual PAIN Spain Book Design
    [Show full text]
  • Design and Boundaries: Exploring the Boundary Relations Within the Context of Interactive Family-Oriented Museum Space
    1 Design and Boundaries: Exploring the Boundary Relations within the Context of Interactive Family-Oriented Museum Space John Frane, Predock_Frane Architects Hadrian Predock, Predock_Frane Architects The problem of designing family-oriented museum space is ripe with opportunities stemming from the complex matrix of relationships between the collections, curators, educational objectives, and spatial parameters. These same relationships are rife with complexities and potentially competing agendas. Our brief will focus on the edges that exist where these ideologies meet, both in terms of the dynamic design process and as it relates to the resultant architectural space of the Getty Family Room. We are fascinated with how these slippages and inherently unpredictable forces have the ability to reshape interactive environments in a positive, and sometimes negative way. The new Getty Family Room project is simple in concept – a space that introduces families to art concepts and activities. As a built work it is also quite easy to engage and occupy. However, this simplified experiential understanding veils the complex and dynamic relationships that underpin the project. The accumulated evolutionary design process of testing, learning, discarding, and saving is hidden from sight, but this invisibility is in a way a project also – one that deserves to be “exhibited,” revealed, and critiqued. In the case of the Getty Family Room, this involved an expanded field of client, consultants, specialists, and a series of nuanced negotiations across the various disciplinary boundaries. In addition, boundaries between institution and project, new and existing, and young and old become important areas to re-visit. These boundaries deserve a special focus – because the way that these edges are defined, approached, engaged, or ignored can mean radically different results for each project.
    [Show full text]
  • The Design Charrette Ways to Envision Sustainable Futures the Design Charrette
    Rob Roggema Editor The Design Charrette Ways to Envision Sustainable Futures The Design Charrette Rob Roggema Editor The Design Charrette Ways to Envision Sustainable Futures Editor Rob Roggema Department of Landscape Architecture Van Hall Larenstein, Wageningen University The Netherlands The Swinburne Institute for Social Research Swinburne University of Technology Hawthorn, Australia ISBN 978-94-007-7030-0 ISBN 978-94-007-7031-7 (eBook) DOI 10.1007/978-94-007-7031-7 Springer Dordrecht Heidelberg New York London Library of Congress Control Number: 2013947776 © Springer Science+Business Media Dordrecht 2014 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifi cally for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. The use of general descriptive names, registered names, trademarks, service marks, etc.
    [Show full text]
  • Participation Is Not a Design Fix for Machine Learning
    Participation is not a Design Fix for Machine Learning Mona Sloane * 1 Emanuel Moss * 2 Olaitan Awomolo * 3 Laura Forlano * 4 Abstract consent and is based on (post-)colonial structures of global This paper critically examines existing modes power (Peet & Hartwick); in the corporate sector where of participation in design practice and machine ”users” are invited into ”co-creation” sessions in order to learning. Cautioning against ”participation- create new product ideas; in the philanthropic sector where washing”, it suggests that the ML community ”the public” is challenged to join in defining new problems must become attuned to possibly exploitative and/or solutions to ”wicked problems”; or in the urban de- and extractive forms of community involvement sign or architecture sector where stakeholder engagement and shift away from the prerogatives of context- protocols often legitimize injustices in the (material) plan- independent scalability. ning of space and systematically devalue user needs as part of profit- and scale-oriented design practices, or design in- equality (Sloane, b;c). 1. Introduction Over the past years, we have seen mounting evidence 2. Participatory Design of the disparate impact of ML systems on already Participatory design methods can be traced to the 1970s oppressed and disadvantaged groups (Bolukbasi et al.; when workers in Scandinavia worked together collabora- Buolamwini & Gebru; Eubanks; Noble; O’Neal). The ex- tively to design the technologies that they would use in cor- periences of oppression and privilege are structural chal- porate settings (Schuler & Namioka; Sanders; Spinuzzi). lenges that are incredibly complex, and they are not Over the past several decades, participatory design and new particularly not to the communities that suffer from related concepts such as codesign and co-creation have them.
    [Show full text]
  • Overview of Scientific Aspects of Spatial Cognition: Significance in Architectural Information Involving Emotions, Feelings Etc
    ACADEMY OF NEUROSCIENCE FOR ARCHITECTURE ANFA 2016 CONFERENCE O Overview of Scientific Aspects of Spatial Cognition: Significance in Architectural information involving emotions, feelings etc. If we understand the process of acquisition of information of a physical place, its VERV cognition by our innate cognitive apparatus and encoding of this perceptive information into our spatial memory, we can be I EW Design better equipped to hack this process to create spatial environments that produce a seamless transition between place and space OF DASHITA TURAKHIA perception. S C I Massachusetts Institute of Technology ENT I [email protected] F I Architects and designers can also leverage the scientific observation of difference in attention demands (in different spatial C A environments) to instill the feel of awe and emphasis in creative architectural designs. By governing which aspects of spatial use SPECTS 1. EXTENDED ABSTRACT can be designed as egocentric and which aspects can be forced to be allocentric we can quantitatively assess successful use 1.1. SUMMARY of spaces designed by the architect for a particular purpose. Additionally, by measuring the accuracy of spatial updating while OF S In order to understand the implications of spaces on human behavior and vice versa, it is first imperative to understand the process traversing through a given space using different modalities like sound, vision, touch or plain blind navigation, one can measure PAT or compare performance and behavior of users of spaces. This aspect of spatial cognitive theory is crucial not only in defining I of spatial cognition and its computation in the human brain. Spatial cognition is an essential aspect of our social behavior in different AL success of architectural designs for users of varied disabilities, but also provides basis for framework of quantitatively assessing C spaces and also plays an elemental role in our spatial perception, psychology and memory.
    [Show full text]
  • Communication Space : Spatial Design in Manufacturing Industry
    !! "#$$ !" # $ # # %& #'( ) !* +,-,-./**0 0/,/0 1 !2 3!4 ABSTRACT The main concern of this licentiate thesis is to discuss how built space is used for communication in the manufacturing industry, from a visual communica- tion perspective. The thesis presents and develops the notion of 'communica- tion space' and presents a model to describe the relation between different fac- tors in the communication space. In a multiple case study, six different cases from the manufacturing industry are described and analyzed to highlight how built space is used for communica- tion in a lean production context. Research results on how built spaces such as improvement places, meeting places and a development workshop affect im- provement processes and communication are presented. What the studied im- provement areas, meeting places and workshop can be said to communicate about the improvement processes is analyzed. The research results show that the built spaces in manufacturing industry are used for communication on two levels, both as places for interaction be- tween employees and as a part of a communication process. The study also shows a relation between architecture from a specific time and the relation to the improvement work in the industrial context. How the results can be used to facilitate communication in the built spaces used for improvement processes in manufacturing industry is suggested in the thesis. ii ACKNOWLEDGEMENTS The author would like to thank all companies involved and their personnel who contributed to this study. I would also like to express my thanks to my current supervisors, Professor Yvonne Eriksson and Professor Monica Bellgran, and my first supervisor, Professor Mats Jackson, for supporting the work and giving constructive criticism in the early stages of the research education.
    [Show full text]
  • Graphic Design Applications for Spatial Imagery and Examples from a Nursery School Elif Atamaz-Daut 1*, Erdogan Ergun 1 1 Near East University, Nicosia, CYPRUS
    EURASIA Journal of Mathematics, Science and Technology Education ISSN: 1305-8223 (online) 1305-8215 (print) OPEN ACCESS 2018 14(3):947-957 DOI: 10.12973/ejmste/80931 Graphic Design Applications for Spatial Imagery and Examples from a Nursery School Elif Atamaz-Daut 1*, Erdogan Ergun 1 1 Near East University, Nicosia, CYPRUS Received 19 November 2017 ▪ Revised 30 November 2017 ▪ Accepted 1 December 2017 ABSTRACT In this study, from the point of the significance of “spatial imagery” in spaces, the contributions of graphic design to space were explored. Also, the importance and effect of illustrative, photographic, typographic and pictographic studies on the spatial imagery have been evaluated on the basis of examples. The observations obtained during the research showed that illustrations, photographs, typographies and pictograms, which have highly expressive language, have turned the space into a conceptual medium while presenting design solutions in accordance with the function and identity of the space in the creation of the spatial image and also positively influenced and directed the human behavior in the space. Graphic design solutions were shown with examples of architectural elements that create awareness of the space, perceive it and create permanent images in mind. The issue was supported by comparing the images before and after graphic analysis of sample spaces in this research. As a result, it was understood that the spatial images created by illustrative, photographic, typographic and pictographic analyses, which are the subdisciplines of graphic design, were transformed into an environment where they can communicate with the users of the space that is an architectural product, and express themselves correctly.
    [Show full text]
  • Introducing the Fundamentals of a Transdisciplinary Approach
    ServDes2018 - Service Design Proof of Concept Politecnico di Milano 18th-19th-20th, June 2018 Service+Spatial design: Introducing the fundamentals of a transdisciplinary approach Davide Fassi, Laura Galluzzo, Annalinda De Rosa [email protected]; [email protected]; [email protected] Department of Design, Politecnico di Milano, Via Durando 38a, 20158 Milan, Italy Abstract The paper is a position paper attempting to frame the foundations of an emerging topic in design research, education and practice: a transdisciplinary approach defined here as Service+Spatial design. Starting from the insights acquired by the authors through basic research and educational activities exploring the mutual influences between Spatial design and Service design, the challenge is to disclose the fundamentals of Service+Spatial design in order to set up a qualitative comparison and discussion around their relationships. The paper explores the cultural dimension of design, trying to identify and highlight common ground and differentiation to frame, support and expand the comparison between these two design disciplines. The common ground is based on the relevant converging factors that create the current landscape of design; the perspective for comparison is structured through the identified key dimensions in the different evolution of Spatial and Service design; the comparative analysis is sketched around the ongoing findings and the evidences gathered from the theoretical research and the assessed teaching framework tested. KEYWORDS: design
    [Show full text]
  • Some Considerations for Spatial Design and Concert Projection with Surround 5.1
    SOME CONSIDERATIONS FOR SPATIAL DESIGN AND CONCERT PROJECTION WITH SURROUND 5.1 Felipe Otondo1 Music Research Centre Department of Music University of York York Y010 5DD United Kingdom ABSTRACT This article describes the process of composing an 2. SPATIAL DESIGN OF THE PIECE electroacoustic music piece using a 5.1 surround sound system for studio monitoring and diffusion in a concert 2.1. Inspiration hall. Specific spatial ideas explored in the composition of the piece are explained in connection to the The piece Plastiches was conceived as an exploration of possibilities offered by this system, as well as to its different approaches to space, using sonorities of plastic limitations. Considerations are outlined regarding the sources and foams recorded in an anechoic chamber. quality of the spatial performance of the system in a Two types of sounds were used for the piece: natural concert hall as compared to its performance in a studio impulsive sounds from the mentioned sources and in the compositional process. Some conclusions are convolved continuous sounds obtained from the same drawn as regards limitations and advantages of surround sources. These two types of sounds were used as a basis 5.1 systems for electroacoustic music composition and for the design of the two very distinctive parts of the some suggestions are made for a more effective concert piece. The spatial design was conceived from the start in performance. surround 5.1, trying to achieve particular goals and Keywords – Spatial design, surround, sound projection, giving it an active role in the compositional process. composition, electronic music. An initial inspiration for the use of space in the piece were ideas developed by the composer Trevor Wishart 1.
    [Show full text]