Design Is Intelligence Made Visible. De Sign Doe S Mat Ter an Anthology of Essays
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Using Experience Design to Drive Institutional Change, by Matt Glendinning
The Monthly Recharge - November 2014, Experience Design Designing Learning for School Leaders, by Carla Silver Using Experience Design to Drive Institutional Change, by Matt Glendinning Designing the Future, by Brett Jacobsen About L+D Designing Learning for School Leadership+Design is a nonprofit Leaders organization and educational Carla Robbins Silver, Executive Director collaborative dedicated to creating a new culture of school leaders - empathetic, creative, collaborative Dear Friends AND Designers: and adaptable solution-makers who can make a positive difference in a The design industry is vast and wonderful. In his book, Design: rapidly changing world. Creation of Artifacts in Society, Karl Ulrich, professor at Wharton School of Business at the University of Pennsylvania, includes an We support creative and ever-growing list of careers and opportunities in design. They innovative school leadership at range form the more traditional and known careers - architecture the individual and design, product design, fashion design, interior design - to organizational level. possibilities that might surprise you - game design, food design, We serve school leaders at all news design, lighting and sound design, information design and points in their careers - from experience design. Whenever I read this list, I get excited - like teacher leaders to heads of jump-out-of-my-seat excited. I think about the children in all of our school as well as student schools solving complex problems, and I think about my own leaders. children, and imagine them pursuing these careers as designers. We help schools design strategies for change, growth, Design is, according to Ulrich, "conceiving and giving form to and innovation. -
Exploring the Design Potential of Wearable Technology and Functional Fashion Design
Wearable Technology and Functional Fashion 1 Exploring the Design Potential of Wearable Technology and Functional Fashion Design By Jensin Wallace BFA, Textile Design, Rhode Island School of Design Submitted to the Graduate School of the University of Cincinnati Masters of Design School of Design, Art, Architecture and Planning 2014 Wearable Technology and Functional Fashion 2 Phyllis Borcherding Abstract Wearable technology is a growing field at the intersection of fashion and technology. Apparel and technology designers are unsure of how best to merge the strengths of their independent fields to create products that can be easily integrated into an individual’s lifestyle. The aim of this research is to create a conceptual framework that combines functional apparel design values with interaction design values in a model that could theoretically be used inter- disciplinary for the future development of wearable technology products. ProJect-based research was conducted to create a wearable technology prototype that explored the potential of a multifunctional and technologically enabled knitted garment. The framework was developed using the findings from this process with an emphasis on user centered design techniques. Wearable Technology and Functional Fashion 3 Table of Contents Introduction…………………………………………………………………………………......................................………4 Methodology……………………………………………………………………………………………………………………….......5 1 Interdisciplinary Boundaries………………………………………………………………………….……………………….7 1.1 Technology in Everyday Life 1.2 Knitwear: -
The American Lawn: Culture, Nature, Design and Sustainability
THE AMERICAN LAWN: CULTURE, NATURE, DESIGN AND SUSTAINABILITY _______________________________________________________________________________ A Thesis Presented to the Graduate School of Clemson University _______________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Landscape Architecture _______________________________________________________________________________ by Maria Decker Ghys May 2013 _______________________________________________________________________________ Accepted by: Dr. Matthew Powers, Committee Chair Dr. Ellen A. Vincent, Committee Co-Chair Professor Dan Ford Professor David Pearson ABSTRACT This was an exploratory study examining the processes and underlying concepts of design nature, and culture necessary to discussing sustainable design solutions for the American lawn. A review of the literature identifies historical perceptions of the lawn and contemporary research that links lawns to sustainability. Research data was collected by conducting personal interviews with green industry professionals and administering a survey instrument to administrators and residents of planned urban development communi- ties. Recommended guidelines for the sustainable American lawn are identified and include native plant usage to increase habitat and biodiversity, permeable paving and ground cover as an alternative to lawn and hierarchical maintenance zones depending on levels of importance or use. These design recommendations form a foundation -
Communication Design: Material Artefact, Immaterial Influence Culture–Practice–Discourse: a Theoretical Framework for A
Volume 15 Paper 04 SMT VOLUME 15 ASTRACT KEY WORDS Communication Design: Material Communication design is a purposeful activity that and culturally produced it can also be conceived as a Communication Design, Artefact, Immaterial Influence involves human subjects and relations, is tied to action, discourse. This paper considers the relationship between Practice, Culture, Discourse, representation and is context-bound. Furthermore, design culture, practice, and discourse and proposes an PAPER 04 Production, Critical ‘effective’ communication design can be understood as emergent theoretical framework for critically reflecting on Culture–practice–discourse: Practice, Theory accomplishing its purpose in having a desired influence on communication design as a discursive practice—a practice a theoretical framework an individual’s belief, values, behaviour, or action, and is that both shapes and is shaped by culture and wider for a critical approach a basic concern of the design practitioner. In this regard, discourses, that is both regulated and has the potential to to communication design design practice knowledge—‘practice’ meaning both transform its operations. professional situations and preparing for such situations AUTHOR Veronika Kelly by increasing expertise—can be conceived as being created in and by a particular culture, at the same time that it also creates culture. As design practice knowledge is socially Culture–practice–discourse: a theoretical framework for a critical approach to communication design Volume 15 Paper 04 INTRODUCTION world’. As ‘culture’, ‘practice’ and ‘discourse’ can be understood differently, taking into consideration 1 – In this paper the terms Communication design1 that is ‘effective’ in achieving the scholarship of Michel Foucault, Donald Schön, ‘communication design’ and its purpose can be conceived as having a desired and Norman Fairclough helps inform examination ‘design’ are used interchangeably. -
Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles
This is a repository copy of Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles.. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/89265/ Version: Accepted Version Article: Shin, MJ, Cassidy, T and Moore, EM (2015) Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles. Fashion Practice, 7 (2). 175 - 198. ISSN 1756-9370 https://doi.org/10.1080/17569370.2015.1045354 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Design Reinvention for Culturally Influenced Textile Products: focused on traditional Korean bojagi textiles Meong Jin Shin, Tom Cassidy and E.M. Moore Dr. Meong Jin Shin is a researcher working with Tom Cassidy who is a professor in the School of Design, University of Leeds and Edel Moore is a lecturer in the same department. -
Graphic Design in the Postmodern Era
Graphic Design in the Postmodern Era By Mr. Keedy This essay was based on lectures presented at FUSE 98, San Francisco, May 28, and The AIGA National Student Design Conference, CalArts, June 14, 1998. It was first published in 1998 in Emigre 47. Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital "M," which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small "m." It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be. -
Rapport Sur La Responsabilité De L'entreprise
rapport de l’entreprise sur la responsabilité rapport sur la responsabilité de l’entreprise PRÉSENTATION ET AXES D’INTERVENTION 2 Un message de David Feldberg 3 Un message de Scott Deugo 6 Environnement 18 Santé, sécurité et bien-être 26 Inclusion et diversité 32 Engagement et éducation 1 message de david feldberg UN MESSAGE DE DAVID, CHEF DE LA DIRECTION Chers amis, e suis heureux de vous dévoiler les résultats de nos plus récentes initiatives en matière de responsabilité J de l’entreprise. La publication du présent rapport me fait réaliser à quel point notre entreprise et notre industrie ont progressé au cours des quinze dernières années. En effet, nous et nos pairs avons réussi à placer la durabilité à un niveau qui constitue la référence pour les autres industries. Il devient par contre difficile d’avoir des objectifs plus ambitieux, car nous ne nous sommes pas contentés de cueillir les fruits à portée de main. Dans ce contexte, l’innovation passe par le respect continu des grandes valeurs qui sont au cœur de Teknion depuis plus de 30 ans : un esprit d’entreprise chez tous les employés et un leadership fort. Teknion a été fondée en 1983 par le Malgré notre croissance, nous sommes demeurés agiles et père de David, Saul Feldberg. Il n’avait accessibles. Nous avons nos propres usines de fabrication afin alors que trois employés et un espace de de pouvoir défier le statu quo et faire avancer nos objectifs de 3 000 pieds carrés. David est devenu durabilité au-delà des attentes. C’est grâce à cet engagement président et chef de la direction en 1994, envers notre culture, nos employés et nos usines que nous et a guidé la croissance de l’entreprise : poursuivrons sur notre lancée. -
Print Design Narrative
Erin Gunter MIT 511 September 21, 2008 Print Design Criterion Document The five pages that I choose to redesign were the table of contents, the title page, a chapter beginning page, a flow chart (family tree) page pertaining to the story, and one page is from the middle of a chapter. The book that I chose was, A Wrinkle in Time by Madeleine L’Engle. This is a popular novel that is read in today’s classrooms. The reason why this book was chosen was due to its lack of a consistent and cohesive design. For a children’s book, the pictures and text are very boring. I originally purchased this book when I was in middle school, but the book has not changed in years, despite the fact that it is a popular children’s novel. The purpose of this redesign is to change the appearance of the book in hopes that with alterations, children will be more motivated to read the book. The following are the list of the different design criterion that I referenced when completing my redesign: BIAS AND OR/CULTURE: This is a fiction book written about a fantasy world. The novel does not exhibit any type of bias. The book is purely a work of fiction. It is not an opinion book and it does not try to push an opinion on someone else. The images and text that were used in the redesign are also free of bias. The constellation graphic and the clock are both relevant to the story in the book. -
A Peek Inside the Tent Overview
A Peek Inside the Tent Overview All about you Cost and Resources Overview of The Circus Recommendation Career Services Admissions Requirements Program Curriculum The Tour Our Mission The mission of The Creative Circus is to graduate the best prepared, most avidly sought after creatives in the industry. The 411 2 Year Certificate Program 210+ Students Founded in 1995 Fully Accredited by C.O.E. Bridge Gap Between Education and Industry Location/Environment What Employers Say How We’re Different Learn By Doing Integrated, Collaborative Programs Individual Attention/Class Size Student Competitions 7 Full-Time Dedicated Faculty Members Scheduling/Homework Part-Time Industry Pros The ‘Nice School’ Career Services Placement Statistics Graduates and Completers working in their field of study within six months of graduation: Forums Program 09-10 10-11 11-12 Mentors Art Direction 96% 100% 96% Portfolio Reviews Design 88.57% 100% 90% Copywriting 96.55% 100% 98% Local and National Networking Image 91.67% 100% 88% Interactive Development N/A N/A 100% Interactive Design N/A N/A N/A Average 93.07% 100% 94.53% Creative Circus Portfolio Review Industry Salaries 2013 The Creative Group 2013 Salary Guide INTERACTIVE STARTING SALARIES CREATIVE & PRODUCTION STARTING SALARIES TITLE LOW HIGH TITLE LOW HIGH Informaon Architect $80,500 $120,750 Copywriter (1 to 3yrs) $40,000 $55,000 User Experience Designer $55,000 $110,000 Copywriter (3 to 5yrs) $56,500 $73,250 Junior Interac0ve Designer $40,000 $55,000 Copywriter (5+ yrs) $72,750 $102,750 Senior Interac0ve Designer -
Rethinking the Book
Rethinking the Book David L Small B.S., Cognitive Science, MIT (1987) S.M., Visual Studies, MIT (1990) Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the Degree of Doctor of Philosophy, Massachusetts Institute of Technology January 1999 Massachusetts Institute of Technology © 1999 Massachusetts Institute of Technology. All Rights Reserved. David L Small Program in Media Arts and Sciences January 8, 1999 William J. Mitchell Dean, School of Architecture and Planning Stephen A. Benton Chair, Departmental Committee on Graduate Students, Program in Media Arts and Sciences Rethinking the Book David L Small Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on January 8, 1999 in partial fulfillment of the requirements for the Degree of Doctor of Philosophy. abstract Electronic media have lagged behind their paper progenitors in the clear, usable display of large bodies of information. New visual lan- guages have been created for information display which exploit the computer's unique ability to render dynamic and three-dimensional typography. These languages demonstrate that the use of three dimensional form, expressive movement, visual focus and layering, in harmony with human perceptual abilities, improve navigation and contextual understanding of complex written documents. This thesis shows that graphic displays can be combined with physical interfaces to create interactions with purely typographic informa- tion -
Books About Music in Renaissance Print Culture: Authors, Printers, and Readers
BOOKS ABOUT MUSIC IN RENAISSANCE PRINT CULTURE: AUTHORS, PRINTERS, AND READERS Samuel J. Brannon A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2016 Approved by: Anne MacNeil Mark Evan Bonds Tim Carter John L. Nádas Philip Vandermeer © 2016 Samuel J. Brannon ALL RIGHTS RESERVED ii ABSTRACT Samuel J. Brannon: Books about Music in Renaissance Print Culture: Authors, Printers, and Readers (Under the direction of Anne MacNeil) This study examines the ways that printing technology affected the relationship between Renaissance authors of books about music and their readers. I argue that the proliferation of books by past and then-present authors and emerging expectations of textual and logical coherence led to the coalescence and formalization of music theory as a field of inquiry. By comparing multiple copies of single books about music, I show how readers employed a wide range of strategies to understand the often confusing subject of music. Similarly, I show how their authors and printers responded in turn, making their books more readable and user-friendly while attempting to profit from the enterprise. In exploring the complex negotiations among authors of books about music, their printers, and their readers, I seek to demonstrate how printing technology enabled authors and readers to engage with one another in unprecedented and meaningful ways. I aim to bring studies of Renaissance music into greater dialogue with the history of the book. -
For Immediate Release – August 20, 2009 What: United States Disc
For Immediate Release – August 20, 2009 What: United States Disc Golf Championship When: October 7 – 10, 2009 Where: Winthrop University Recreational Complex / Rock Hill, South Carolina What is at Stake: The title of United States Disc Golf Champion and more than $80,000 in prize money Who is Competing: Nearly 200 of the world’s top disc golf professionals, representing the United States, Canada, Sweden, Finland, Norway, and Japan Top Players to Watch: Nate Doss – 2-time World Champion, Defending US Champion Avery Jenkins – Current World and Japan Open Champion Ken Climo – 12-time World Champion, 5-time US Champion Barry Schultz – 2-time World Champion, 3-time US Champion David Feldberg – 2005 US Champion and 2008 World Champion Beneficiaries: Habitat for Humanity, Educational Disc Golf Experience, and York County Schools Corporate Partners: Innova Champion Discs, Rock Hill Coca-Cola Bottling Company, First Citizens Bank, Comer Distributing Company, Wingate by Wyndham, Kicker Audio, Keen Footwear Summary: For the 11th consecutive year, York County will host disc golf’s most prestigious event. Discs will soar hundreds of feet with pinpoint accuracy as competitors face the toughest course, the strongest field, for the most money, and under greater pressure than at any other event. The intense action at the US Championship is always dramatic and guaranteed fun for all ages. Ticket Information: Single Day Pass: $10.00 VIP Pass: $25.00 * Free Admission for Ages 12 and under * Free Admission for Winthrop University students with ID * Free Tournament Disc for first 1000 Single Day Ticket Holders Contact: Jonathan Poole, Event Director 800.476.3968 (toll free) 803.366.5028 (local) 704.724.1352 (cell) [email protected] www.usdgc.com .