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Critical Making at the Edges
Visible Language 49.3 the journal of visual communication research special issue Jessica Barness Amy Papaelias guest editors December 2015 critical making DESIGN and the DIGITAL HUMANITIES ADVISORY BOARD GUEST EDITORS' INTRODUCTION Naomi Baron — The American University, Washington, D.C. 4–11 Critical Making at the Edges Michael Bierut — Pentagram, New York, NY Jessica Barness, Amy Papaelias Matthew Carter — Carter & Cone Type, Cambridge, MA Keith Crutcher — Cincinnati, OH THEORY AND SPECULATIONS Mary Dyson — University of Reading, UK 12–33 Meta!Meta!Meta! A Speculative Design Brief for the Digital Humanities Jorge Frascara — University of Alberta, Canada / Universidad Anne Burdick de las Americas Puebla Ken Friedman — Swinburne University of Technology, Melbourne, Australia 34–61 Clues. Anomalies. Understanding. Detecting underlying assumptions and Michael Golec — School of the Chicago Art Institute, Chicago, IL Judith Gregory — University of California-Irvine, Irvine, CA expected practices in the Digital Humanities through the AIME project Kevin Larson — Microsoft Advanced Reading Technologies Donato Ricci, Robin de Mourat, Christophe Leclercq, Bruno Latour Aaron Marcus — Aaron Marcus & Associates, Berkeley, CA Per Mollerup — Swinburne University of Technology, Melbourne, Australia 62–77 Writing Images and the Cinematic Humanities Tom Ockerse — Rhode Island School of Design, Providence, RI Holly Willis Sharon Poggenpohl — Estes Park, CO Michael Renner — The Basel School of Design — Visual Communication 78–99 Beyond the Map: Unpacking -
Design Technology Sl, Year 1
FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION INTERNATIONAL BACCALAUREATE PROGRAM DESIGN TECHNOLOGY SL, YEAR 1 Grade Level: 11 Credits: 2.5 BOARD OF EDUCATION ADOPTION DATE: AUGUST 28, 2017 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS FREEHOLD REGIONAL HIGH SCHOOL DISTRICT Board of Education Mrs. Jennifer Sutera, President Mr. Peter Bruno, Vice President Mr. Vincent Accettola Mrs. Elizabeth Canario Mr. Samuel Carollo Mrs. Amy Fankhauser Mrs. Kathie Lavin Mr. Michael Messinger Mr. Heshy Moses Central Administration Mr. Charles Sampson, Superintendent Dr. Nicole Hazel, Chief Academic Officer Ms. Shanna Howell, Director of Curriculum and Instruction Mr. Oscar Diaz, Administrative Supervisor of Curriculum & Instruction Ms. Stephanie Mechmann, Administrative Supervisor of Curriculum & Instruction Ms. Renee Schneider, Administrative Supervisor of Curriculum & Instruction Curriculum Writing Committee Mr. Thomas Jennings Supervisor Ms. Mary Hough IB DESIGN TECHNOLOGY SL YEAR 1 COURSE PHILOSOPHY The International Baccalaureate Organization provides the following philosophy: “Diploma Programme Design Technology aims to develop internationally- minded people whose enhanced understanding of design and the technological world can facilitate our shared guardianship of the planet and create a better world. Both science and technology have a fundamental relationship with design. Technology preceded science, but now most technological developments are based on scientific understanding. Traditional technology comprised useful artifacts often with little understanding of the science underpinning their production and use. In contrast, modern technology involves the application of scientific discoveries to produce useful artifacts. The application of scientific discovery to solve a problem enables designers to create new technologies and these new technologies, in turn, can impact on the rate of scientific discovery. -
Architectural Design Technology – Interior Design ASSOCIATE of APPLIED SCIENCE DEGREE (AAS) REQUIRED CREDITS: 67 DEGREE CODE: ADTDSG-AAS
ARCHITECTURAL DESIGN TECHNOLOGY PROGRAM Architectural Design Technology – Interior Design ASSOCIATE OF APPLIED SCIENCE DEGREE (AAS) REQUIRED CREDITS: 67 DEGREE CODE: ADTDSG-AAS DESCRIPTION This degree program builds the skills required to produce professional and quality interior architectural designs. The core curriculum is a sequence of lecture/lab courses that stress the design theory and application, color, space planning, interior materials, furniture specification, CADD, business practices and field experience. STUDENT LEARNING OUTCOMES • Demonstrate competency in the foundations and theory of interior design. • Demonstrate competency in drafting, CADD and presentation skills. • Demonstrate competency in design development skills in the selection and specification of interior furnishings, finishes, materials, textiles and decorative elements. • Demonstrate knowledge in design process including research, programming, concept development, specifications and business practices. PLEASE NOTE - The courses listed below may require a prerequisite or corequisite. Read course descriptions before registering for classes. All MATH and ENG courses numbered 01-99 must be completed before reaching 30 total college-level credits. No course under 100-level counts toward degree completion. GENERAL EDUCATION REQUIREMENTS (25 CREDITS) FULL-TIME STUDENT DEGREE PLAN Add more semesters to modify this plan to fit part-time student needs. MATHEMATICS (3 credits) FIRST SEMESTER Credits MATH 116 or above (except MATH 122, 123) ENG 100 or 101 or 113 3-5 AAD -
Architectural and Engineering Design Technology
MCHENRY COUNTY COLLEGE ARCHITECTURAL AND ENGINEERING DESIGN TECHNOLOGY A PROGRAM IN CONJUNCTION WITH THE MCC FAST TRACK The Fast Track at McHenry County College is a cohort-based program that helps give students the advantage they need when competing for jobs in today’s workforce. Through the Fast Track, students can earn a certificate in two years or less and an associate’s degree in three years, depending on the program. Nearly everything manufactured and built in today’s society starts with computer generated drawings. Drafters and designers work in a variety of industries, including manufacturing, architecture and construction to develop the technical drawings needed for the manufacturing and construction of our built environment. Using the latest computer- aided design (CAD) systems, including parametric solid modeling and building information modeling (BIM), they create both 2-D and 3-D models and drawings for everything—from the simplest machined part of a mechanical assembly to the largest and most complex structures SALARY RANGE such as bridges and skyscrapers and everything in between. $30,000 to $45,700 The Architectural and Engineering Design Certificate program, with specialization in either architectural, engineering, or interior JOB OUTLOOK* design technology, represents a collective approach to developing Projected growth is 3-9% in most or upgrading the necessary visualization, graphical communication fields, higher in others. Projected and organization skills required of this ever evolving field. CAD job openings range by field. Top technicians can expect to find employment in such diverse occupations industries are professional, as architectural/mechanical/civil design and construction, surveying, scientific, manufacturing, and product design, or fashion/interior design. -
A Critical Role for Design Technology Charles L
Institute of Design Illinois Institute of Technology Chicago, Illinois U.S.A A Critical Role for Design Technology Charles L. Owen Distinguished Professor of Design (Keynote article, Design Management Journal, Design Technology Issue (Spring 1993): pp. 10-18) A phenomenon very apparent to the American businessman, as well as to any lay observer, is the wave of "restructuring" passing through the country. It is a fact of life for seemingly all large companies, and through ripple effects, it affects all but those companies most finely tuned to the new realities of the marketplace. Less apparent, but of greater portent, is the implicit recognition that new rules are taking form for how the games of business will be played. As the recession abates, and revitalized industries emerge, they will not return to the ways of the past; they will seek a development philosophy for their products and services in tune with the times. Of the factors involved in this product/service philosophy, design will be one of the most important, as the growing interest of the business press makes that very clear. There is little question that design will play a major role in the kind of economic world on the horizon. The question is, What role will that be? The Quality The issue really involves "quality", and what is now being termed "product Pyramid integrity". To a great extent, the present opportunity for design is what it is because of the now-general concern for quality. Most customers equate quality with craftsmanship, an observable attribute that has been drummed into everyone’s consciousness for at least a decade. -
Occupying Time: Design, Technology, and the Form of Interaction
Title Occupying Time: Design, technology, and the form of interaction Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/16139/ Dat e 2 0 0 7 Citation Mazé, Ramia (2007) Occupying Time: Design, technology, and the form of interaction. PhD thesis, Malmö University/ Blekinge Institute of Technology. Cr e a to rs Mazé, Ramia Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Occupying Time Ramia Maze Author Ramia Mazé Title Occupying Time: Design, technology, and the form of interaction Blekinge Institute of Technology Doctoral Dissertation Series No. 2007:16 ISSN 1653-2090 ISBN 978-91-7295-124-2 School of Arts and Communication, Malmö University, Sweden in collaboration with Department of Interaction and System Design. School of Engineering, Blekinge Institute of Technology, Sweden Copyright © 2007 Ramia Mazé Published by Axl Books, Stockholm: 2007 www.axlbooks.com info@ axlbooks.com ISBN 978-91-975901-8-1 To the best of my knowledge, all images and photographs featured here were created by members of the ‘project team’ as listed by each respective project or program. Additional photographs of IT+Textiles projects and the Static! ‘Energy Curtain’ were taken by Ben Hooker and James King. Additional photographs of the Front ‘Flower Lamp’ were taken by myself. Book and cover design by Christian Altmann Printed in Latvia Ramia Mazé Occupying Time Abstract As technology pervades our everyday life and material culture, new possibilities and problematics are raised for design. -
Lmc 6313 Principles of Interaction Design
Principles of Interaction Design – LMC 6313 Syllabus Course Number: LMC 6313 Location: Skiles 346 Times: T/Th – 3:00p-3:50p F (lab) – 11:15a-2:00p Instructor: Dr. Anne Sullivan Instructor Email: [email protected] Office Hours: By Appointment (Mondays are the best bet) Office Location: TSRB 317C TA: Takeria Blunt TA Email: [email protected] Course Website: http://canvas.gatech.edu Course Description: What is interaction, what is design, where did these notions come from, and where are they going? Through the activities in this course, you will return to questions of what kind of designer you are and wish to be, what you believe in, and how that will extend to your research and practice. You will also develop your own critical take on the material in the class and sharpen your voice and arguments about your perspectives. Interaction design wasn’t invented from scratch as a singular, monolithic practice. It was born out of the intersection of a number of disciplines from within design and human-computer interaction, and also from art, media, architecture, politics, and philosophy, and beyond. There are many different definitions of what it is and where we fit into it, and no two people we meet in this class will likely have the same definition. And that’s the way it should be. Through my suggestions and yours, we will also turn to design questions in digital culture, film, tv, fiction, gaming, music, art and beyond as we together frame our understandings. As you read, The syllabus, dates, times, assignments, and details are subject to change by instructor notification through Canvas or email. -
Fashion & Textiles
DESIGN & TECHNOLOGY: FASHION & TEXTILES WHY CHOOSE DESIGN & TECHNOLOGY: FASHION & TEXTILES? This is arguably one of the most interesting times to study Textiles. Consumers are no longer dictated to, nor slavishly follow a handful of haute couture fashion figures. Today anything goes and emerging new talents are a constant feature of the London fashion world. This is a creative and thought-provoking qualification and gives students the practical skills, theoretical knowledge and confidence to succeed in a number of careers. A global recession and an emphasis on recycling mean vintage clothing has been pushed to the forefront and with it a renewed appreciation for historical colours, prints and designs. Globalisation, cheap travel and easy communication facilities mean the exchange of ideas and inspirations has never been easier or faster. The study of textiles is exciting and challenging. Students work with a range of different materials and produce original, experimental work, whether printing on silk or knitting with bin bags. They are encouraged to look at textiles and fashions from different periods and cultures and interpret those designs using a repertoire HIGHER EDUCATION of different techniques and processes. AND CAREERS OPTIONS The UK’s thinning fashion industry makes a huge contribution to the COURSE DETAILS economy. It is worth 9 billion and is set to increase. Employment in Students will gain a real understanding of what it means to be a the sector is growing year on year, with 15,000 jobs expected to be designer, alongside the knowledge and skills sought by Higher created by 2020. Education and employers. Many students who have studied Design Technology: Textiles have This course will give you an insight to Fashion/Textiles and the wider gone on to university to further study the subject. -
ICT Design Unsustainability & the Path Toward
School of Computing Blekinge Institute of Technology ICT Design Unsustainability & the Path toward Environmentally Sustainable Technologies Mohamed Bibri School of Computing Blekinge Institute of Technology (BTH) Karlskrona, Sweden June 2009 Thesis submitted for completion of a Master in Informatics Supervisor Sara Eriksén i Abstract This study endeavors to investigate the negative environmental impacts of the prevailing ICT design approaches and to explore some potential remedies for ICT design unsustainability from environmental and corporate sustainability perspectives. More specifically, it aims to spotlight key environmental issues related to ICT design, including resource depletion; GHG emissions resulting from energy-intensive consumption; toxic waste disposal; and hazardous chemicals use; and also to shed light on how alternative design solutions can be devised based on environmental sustainability principles to achieve the goals of sustainable technologies. The study highlights the relationship between ICT design and sustainability and how they can symbiotically affect one another. To achieve the aim of this study, an examination was performed through an extensive literature review covering empirical, theoretical, and critical scholarship. The study draws on a variety of sources to survey the negative environmental impacts of the current mainstream ICT design approach and review the potential remedies for unsustainability of ICT design. For theory, central themes were selected for review given the synergy and integration between -
General Video Brainstorming for Workshops
Standard Brainstorming Brainstorming, also known as the Delphi technique, is used to generate innovative ideas. Osborn (1957) introduced brainstorming to create synergy within the members of a group: ideas suggested by one participant would spark ideas in other participants. Subsequent studies (Collaros and Anderson, 1969, Diehl and Stroebe, 1987) challenged the effectiveness of group brainstorming, finding that aggregates of individuals could produce the same number of ideas as groups. They found that production blocking, free-riding and evaluation apprehension were sufficient to outweigh the benefits of synergy in brainstorming groups. Since then, many researchers have explored different strategies for addressing these limitations. For our purposes, the quantity of ideas is not the only important measure. We are also interested in the relationship among the members of the group. As de Vreede et al. (2000) point out, one should also consider elaboration of ideas, as group members react to each other's ideas. Brainstorming sessions have two phases: the first for generating ideas and the second for reflecting upon them. A small group (three to seven people) agree on a specific topic and a limited period of time. The goal is to generate as many ideas as possible, maximizing quantity over quality: Twenty different ideas are better than three indepth ideas. Phase 1 usually lasts from half-an-hour to an hour, depending upon the topic and the group. Sessions longer than an hour are not recommended. Even if ideas are still flowing, the group should stop when time is up. It is better that everyone leaves feeling energized and excited by the ideas rather than tired and bored. -
An Overview of the Building Delivery Process
An Overview of the Building Delivery CHAPTER Process 1 (How Buildings Come into Being) CHAPTER OUTLINE 1.1 PROJECT DELIVERY PHASES 1.11 CONSTRUCTION PHASE: CONTRACT ADMINISTRATION 1.2 PREDESIGN PHASE 1.12 POSTCONSTRUCTION PHASE: 1.3 DESIGN PHASE PROJECT CLOSEOUT 1.4 THREE SEQUENTIAL STAGES IN DESIGN PHASE 1.13 PROJECT DELIVERY METHOD: DESIGN- BID-BUILD METHOD 1.5 CSI MASTERFORMAT AND SPECIFICATIONS 1.14 PROJECT DELIVERY METHOD: 1.6 THE CONSTRUCTION TEAM DESIGN-NEGOTIATE-BUILD METHOD 1.7 PRECONSTRUCTION PHASE: THE BIDDING 1.15 PROJECT DELIVERY METHOD: CONSTRUCTION DOCUMENTS MANAGEMENT-RELATED METHODS 1.8 PRECONSTRUCTION PHASE: THE SURETY BONDS 1.16 PROJECT DELIVERY METHOD: DESIGN-BUILD METHOD 1.9 PRECONSTRUCTION PHASE: SELECTING THE GENERAL CONTRACTOR AND PROJECT 1.17 INTEGRATED PROJECT DELIVERY METHOD DELIVERY 1.18 FAST-TRACK PROJECT SCHEDULING 1.10 CONSTRUCTION PHASE: SUBMITTALS AND CONSTRUCTION PROGRESS DOCUMENTATION Building construction is a complex, significant, and rewarding process. It begins with an idea and culminates in a structure that may serve its occupants for several decades, even centuries. Like the manufacturing of products, building construction requires an ordered and planned assembly of materials. It is, however, far more complicated than product manufacturing. Buildings are assembled outdoors by a large number of diverse constructors and artisans on all types of sites and are subject to all kinds of weather conditions. Additionally, even a modest-sized building must satisfy many performance criteria and legal constraints, requires an immense variety of materials, and involves a large network of design and production firms. Building construction is further complicated by the fact that no two buildings are identical; each one must be custom built to serve a unique function and respond to its specific context and the preferences of its owner, user, and occupant. -
Your Design Technology Year 9 Homework Pack “Design Is a Funny Word
Your Design Technology Year 9 Homework Pack “Design is a funny word. Some people think design means how it looks. But of course, if you look deeper, it’s really how it works.” Steve Jobs Name: _________________________ Class: _________________________ Teacher: _________________________ Your Y9 DT: Structures Project Homework Programme. Approximate Time Is there help? Due on [day of class]: Needed Where can I find it? Week #1 Homework 1: 06.01.20 Render experiments to show different types of materials. Expect students to create wood, metal and plastic effects. Stretch students to practice techniques such as stippling and 30 mins Shading techniques hatching to add graphical shading. Present their renders using ‘colour blocking’. Week #2 Homework 2: 13.01.20 Complete the exam question on the hacksaw drawn as an exploded view. Expect students to practise drawing exploded views, linking 30 mins Hack Saw example back to key learning such as use of central axis, use of mm for accuracy/precision, British Standards for dimensions. Week #3 Homework 3: 20.01.20 Answer an exam question based on using CAD and CAM to manufacture a product Expect students to be able to describe full processes including 30 mins designing on 2D Design as a net and using laser to cut, line bender to shape, file to finish. Week #4 Homework 4: 27.01.20 Using the ‘history of architecture’ image below and the 3 Greek architecture that changed history articles/video clips write a report stating whether you agree or disagree with the statement ‘structure, or building blocks of Timeline of architecture 30 mins architecture, have not changed since Ancient Roman times’.