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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. -
Media Information New University of the Arts London Campus Central Saint Martins at King’S Cross
Media Information © 2011 New University of the Arts London Campus Central Saint Martins at King’s Cross Project Description October 2011 To the north of King’s Cross and St Pancras International railway stations, 67-acres of derelict land are being transformed in what is one of Europe’s largest urban regeneration projects. The result will be a vibrant mixed-use quarter, at the physical and creative heart of which will be the new University of the Arts London campus, home of Central Saint Martins College of Arts and Design. Stanton Williams’ design for the £200m new campus unites the college’s activities under one roof for the first time. It provides Central Saint Martins with a substantial new building, connected at its southern end to the Granary Building, a rugged survivor of the area’s industrial past. The result is a state-of-the-art facility that not only functions as a practical solution to the college’s needs but also aims to stimulate creativity, dialogue and student collaboration. A stage for transformation, a framework of flexible spaces that can be orchestrated and transformed over time by staff and students where new interactions and interventions, chance and experimentation can create that slip-steam between disciplines, enhancing the student experience. The coming together of all the schools of Central Saint Martins will open up that potential. The design aims to maximise the connections between departments within the building, with student and material movement being considered 3-dimensionally, as a flow diagram North to South, East to West, and up and down – similar in many ways to how the grain was distributed around the site using wagons and turntables. -
Building Design GUIDELINES Table of Contents
Building Design GUIDELINES Table of Contents Acknowledgements . 1 Part I. Introduction Background . 2 Goals . 3 Applicability of This Document . 3 Part II. Building Design Guidelines A Context Fit. 5 B Pedestrian Friendliness. 8 C Visual Attractiveness . 18 D Sustainable Design . 32 Appendix I. Public Input Process . 36 II. Design Review Procedure . 40 III. Design Guidelines Checklist . 42 IV. Façade Renovation Toolkit . 43 Acknowledgements The Building Design Guidelines for the City of Naperville, Illinois were prepared through the help of many citizens, staff and officials of the Naperville community who participated in the planning process at stakeholder meetings, on-line surveys and open house meetings. Their involvement and insights are sincerely appreciated. City Plan Commission Derke Price, Chairman Bill Jepson Mike Brown Joe McElroy Ann Edmonds Jeffrey Meyers Paul Hinterlong Reynold Sterlin City Council George Pradel, Mayor Jim Boyajian Kenn Miller Bob Fieseler John Rosanova Richard Furstenau Darlene Senger Doug Krause Grant Wehrli City Staff Allison Laff, AICP, Planning Services Team Leader - TED Business Group Ying Liu, AICP, Community Planner - TED Business Group Suzanne Thorsen, Community Planner - TED Business Group Prepared by the City of Naperville with assistance from Lohan Anderson, LLC and A Design Consulting. 1 INTRODUCTION Background From just a handful of families residing within the City Council adopted Resolution #05-020 that states: original settlement, Naperville has grown to a community of over 140,000 people and is now a dynamic city with “It is the City of Naperville’s vision and expectation both old-fashioned charm and a high-tech corporate that issues related to design and architecture, corridor. -
Habitat Ltd, Furniture and Household Goods Manufacturer and Retailer: Records, Ca
V&A Archive of Art and Design Habitat Ltd, furniture and household goods manufacturer and retailer: records, ca. 1960 – 2000 1 Table of Contents Introduction and summary description ................................................................ Page 4 Context .......................................................................................................... Page 4 Scope and content ....................................................................................... Page 4 Provenance ................................................................................................... Page 5 Access ......................................................................................................... Page 5 Related material .......................................................................................... Page 5 Detailed catalogue ................................................................................ Page 6 Corporate records .............................................................................................. Page 6 Offer for sale by tender, 1981 ................................................................................................ Page 6 Annual Reports and Accounts, 1965-1986 ............................................................................. Page 6 Marketing and public relations records ............................................................. Page 7 Advertising records, 1966-1996 ............................................................................................ -
1 CLOTHING and ARCHITECTURE: More in Common
CLOTHING AND ARCHITECTURE: more in common Han Xu 20107500 1 Clothing and buildings are becoming even more alike. Both have typically served the bodies that inhabit them by maintaining environmental control and by presenting a codified exterior to the world. But now there are new kinds of physical resemblances between architecture and clothing. Various kinds of textiles and weaves are now being exploited in landscape and building design. Vast landscapes are shaped by geotexiles while building structures and envelopes exploit tensile, textile strategies, enabled by new lighter and more flexible materials and by the assistance of digital simulations. As well as becoming lighter, buildings are also becoming increasingly more temporary. The lifespans of buildings are ever shorter as their inhabitants become more transient, moving frequently from city to city. Evidence of this nomadic lifestyle can be found in fashion. Clothing, the portable envelope worn on the body, now provides some of the functions formerly associated with architecture. Designers are exploring the possibilities of integrated lights in clothes, pockets to carry portable electronic devices as well as soft electronic devices that are embedded in technical fabrics. Through other technological advances in textiles, specialized suits offer climatic control in very extreme environments. Yet other designers are integrating structure into clothing or even reviving the primitive model of a portable textile shelter. Many designers switch between fashion and architecture. Even the manufacturing processes for clothing and architecture can now be very much alike as new, highly sophisticated weaving robots automize the manufacturing process for articles of fashion or for components of buildings. In Gottfried Semper’s 1860 Style in the Technical and Tectonic Arts, we find a creation myth for today’s textile buildings and architectural suits. -
Using BIM Technology to Optimize the Traditional Interior Design Work Mode
E3S Web of Conferences 38, 03026 (2018) https://doi.org/10.1051/e3sconf/20183803026 ICEMEE 2018 Using BIM Technology to Optimize the Traditional Interior Design Work Mode Ning Ke ZHU Beijing University of Civil Engineering and Architecture, Beijing, 100044, China Abstract: the development of BIM technology and application in the field of architecture design has produced results, but BIM technology and application in the field of interior design is still immaturity because of construction and decoration engineering separation. The article analyzes the problems that BIM technology lead to the interior design work mode optimization, from the 3D visualization work environment, real-time collaborative design mode, physical analysis design mode, information integration design mode state the application in interior design. free designer from tedious drawing works, it help budget company work more accurate, it help construction 1. Introduction organization work more precise and greatly improve the The Building Information Modeling technique first project progress, it help the operation management appeared in the United States. The concept of BIM people manage and maintain the whole life cycle of undergo nearly 30 years. in 1975, Dr Charlie Eastman , construction more convenient and accurate. Carnegie Mellon University initiated the "Building the In the design stage, The application of BIM Description System" (architecture Description System) technology is aimed at architectural design mainly. working prototype, in 1984, the Hungarian Graphisoft Several major design software, such as Autodesk Revit, company researched and developed architectural design Bentley, ArchiCAD, etc, have a lot of information software named AtchiCAD, in 1986, Robert Ash in building block libraries which is easy to adjust GMW company proposed "Building Modeling" architecture building information modelling by means of conception, the definition of Building Information Model parametric design model, and they have effectively has been updated and improved. -
Experiences and Insights from Use of a Design-Build Process in Founding a New Campus
Experiences and Insights from Use of a Design-Build Process in Founding a New Campus Design-build was the best choice for K-State Olathe because of the flexibility with regard to unknown users and change stakeholder expectations. by Daniel C. Richardson, Lisa C. Freeman, Valerie K. York, Cynthia A. Shuman, and B. Jan Middendorf Introduction Daniel C. Richardson is the CEO of K-State Olathe and is At public research universities, state funding is decreasing responsible for building relationships with industry, developing teaching programs, and recruiting faculty. He was involved in the and budget cuts are now the norm. Establishing a new day-to-day activities associated with the acquisition process of campus may seem impossible under these conditions; K-State Olathe’s International Animal Health and Food Safety Institute. however, Kansas State University (K-State) recently established a new campus in Olathe, Kansas. K-State Lisa C. Freeman formerly served as the associate vice president for innovation at K-State Olathe. She was responsible for building Olathe’s first building, the International Animal Health and public-private partnerships relevant to teaching, research, and Food Safety Institute, a $28 million, 108,000 square foot outreach activities. She was involved in the acquisition process of facility, expands K-State into a three-campus system and K-State Olathe’s International Animal Health and Food Safety Institute. provides the Kansas City region with increased access to Valerie K. York was part of the external evaluation team that the university’s programs. K-State was able to take this documented the acquisition process for K-State Olathe’s significant step during an economic downturn, in part International Animal Health and Food Safety Institute and because of strategic planning with a focus on innovation interviewed key stakeholders about the process. -
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. -
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’. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
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. -
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.