Tag Archives: design

TRANSIENT SPACES | Lecture Series

The Spaces and Narrations Research Group, in collaboration with Wayward, the Interior and Spatial Design Programme Practitioners-in-Residence, present an open lecture series to accompany the Transient Social Environments symposium on Saturday 11 March 2017

Monday 16 January 2017
HEATHER RING AND TOM KENDALL: WAYWARD
http://www.wayward.co.uk/ 

Monday 23 January 2017
HOLLY LEWIS: WE MADE THAT
http://www.wemadethat.co.uk/

Monday 30 January 2017
OLIVIU LUGOJAN-GHENCIU
http://olgv.net/

Monday 06 February 2017
BEN CAMPKIN
https://www.ucl.ac.uk/urbanlab/people/ben-campkin

Monday 13 February 2017
differencEngine
http://differencengine.co.uk/about/

Monday 20 February 2017
JE AHN: STUDIO WEAVE
http://www.studioweave.com/

Monday 27 February 2017
PAUL SMYTH: SOMETHING & SON
http://somethingandson.com/

Monday 27 February 2017
JANE BRODIE
http://jane-brodie.co.uk/

All ISD OPEN LECTURES start at 6:00 pm
Lecture Theatre, Chelsea College of Arts, Atterbury Street Entrance Millbank, London, SW1P 4JU
More information here: www.baisd.wordpress.com

Image courtesy of Wayward.

Call For Papers | Architecture and Culture Journal Special Issue

Architecture and Culture Journal Special Issue…

Behind the Scenes: Anonymity and the Hidden Mechanisms of Design and Architecture

DEADLINE EXTENDED to 27th February 2017
Behind the Scenes: Anonymity and the Hidden Mechanisms of Design and Architecture
Architecture and Culture, Vol. 6, Issue no. 1, March 2018. Editor: Jessica Kelly

Contributions sought from a wide range of practices and disciplines to interrogate the hidden, the intangible and the anonymous in design and architecture. Contributions that consider alternative forms to the conventional academic essay, including the visual and verbal are encouraged.

Contributions might address, but are not limited to, the following themes:

–       Design and anonymity in various contexts such as production, patent and copyright
–       Collective Practices and collaborative dynamics: Design teams, creativity and authorship
–       Networks – public and private, personal and professional
–       Non-masculinist/Feminist perspectives on design production
–       Spaces of production
–       Non-expert producers
–       Inter-disciplinary practices
–       Alternative modes of discourse: orality, non-verbal communication
–       Global perspectives on design practices and discourses

Contributions can range from short observations or manifestos, creative pieces, or visual essays, to longer academic articles. Architecture and Culture is published in both on-line and hard-copy formats: there is capacity to host on-line contributions that operate in a different way to paper-based work.

For author instructions, please go to ‘Instructions for Authors’ at
http://www.tandfonline.com/action/authorSubmission?journalCode=rfac20&page=instructions#.VzRvBmN7BHg

Upload submissions at: http://www.editorialmanager.com/archcult/
Or via ‘submit online’ at http://www.tandfonline.com/loi/rfac

If you have any queries or require further information, please contact:
Jessica Kelly [email protected]

Editorial Information
This issue is guest edited by Jessica Kelly

Image: Rudolph, Paul, , Architect. [Paul Rudolph’s architectural office in Manhattan. Man stepping across file cabinet tops among elevated drafting stations]. [Ca, 1965] Image. Retrieved from the Library of Congress, https://www.loc.gov/item/2010649573. (Accessed May 23, 2016.)

DeSForM 2017: Sense and Sensitivity

 

10th Conference on Design and Semantics of Form and Movement

October 17-18 Delft, October 19-20 Eindhoven, The Netherlands

desformx.org

CALL FOR PARTICIPATION

Submission Deadlines:

– Papers (Full / Short / Demos): February 10, 2017

– Workshops connecting research and practice: April 21, 2017

DESIGN AND SEMANTICS OF FORM AND MOVEMENT – 10th EDITION

This year we celebrate the 10th edition of the DeSForM conference series. In 2005 DeSForM was born in (Eindhoven) the Netherlands with the premise of creating meaning through objects, interactions and people. Over the years, the DeSForM community has explored and designed objects through a multisensorial approach always aiming at enriching users’ experiences with them. Throughout previous editions we have seen the development from digital and mechanical objects that had enriched sensorial presence to adaptive and intelligent objects that feel almost analogous to reality given their increased information processing power and sensory resolution. These are thanks to the recent developments in the material sciences, robotics, information and sensor technology, and improved production techniques. Consequently, the arena that belongs to design researchers and practitioners has gotten more sophisticated by being more technical, but also raises new questions regarding the effect and the impact of the new technologically rich designs. In 2017, DeSForM is returning to its place of birth opening up to a broader audience with deeper insights to debate about the future of dynamic “form” giving and its effects on people and their environment. The conference will be hosted by the industrial design schools of TU Delft and TU Eindhoven.

For the 10th edition, DeSForM will bring you the best Dutch design can offer in collaboration with Design United and Philips Design. Prior to the conference on October 17, business cases will be organized in Delft with leading Dutch design consultancies. Furthermore, participants will have a chance to experience the Dutch Design Week 2017 in EIndhoven, which starts right after the conference on October 21. This international event hosts exhibitions from a great variety of schools, companies and designers.

DeSForM is an intimate, single-track conference that brings together design researchers, practitioners, students, and companies to have in-depth discussions over ongoing projects. It is an excellent platform for making new connections and bridging research interests. Therefore, we warmly invite multidisciplinary perspectives and discussions on current issues addressed in design research. Join us in Delft and Eindhoven and experience the rich and extensive design research and practice tradition that skillfully combines social sciences, arts and engineering to stimulate design-driven innovations!

Accepted submissions of all types will be included in the InTechOpen digital library proceedings. Selected publications will be invited to adapt their publication using the input and discussion during the conference for a special book series that represent and demonstrate the best of design research and practices.

DeSForM 2017

Everyday life offers a range of ordinary to rich experiences facilitated by designed artefacts. There is satisfaction when design contributes to a world full of recognizable objects and familiar experiences, and there is certainly excitement and maybe anxiety when design brings in the ‘new’. Technological developments (discoveries and inventions of bronze, iron, steam, electricity, plastics, computing, connectivity etc.) have always shaken up everyday life. Adapting to change is inevitable as humanity has been reinventing itself in accordance with every technological development. At DeSForM 2017, we are looking for a discussion on how designers deal with some of the challenges that come with this adaptation.

Adaptation to Interactive Technologies

Interactive technologies such as actuators, sensors, chips, lights, smart materials but also social robots and virtual reality, offer a specific challenge that humanity has not faced before. The design of interactive, responsive, and self-evolving artefacts and environments challenges the physical understanding of people’s surroundings and their skills to adapt to it. More than ever before, technologies create a gap between the human senses and the understanding of what is (being) sensed. Therefore, the senses are not to be trusted as much as one was used to. Novel products, interactions, and experiences naturally emerge and question the way users make sense of novelty and interpret its effect on them.

The Perceptual and Experiential Gap

This gap opens up new avenues for designers and researchers to explore the enhanced domain of experience design. First, by exploring the new definition of satisfaction in the realm of novelty. Next, and maybe more exciting, by exploring how the gap can be used to generate new ways of interacting with, interpreting and creating an intriguing new world rather than a mundane one. As a creative community we have reached a crunch point where we are able to shape the future of product, interaction and experience design in an exciting way. Thus, it has become possible to envision a world where people are intrigued by design, have dialogue with designed artefacts, or artefacts that have discussions with other objects. These encounters will move people in surprising ways. The natural design habitat enriches people’s sensory repertoire and deepens the meanings attached to artefacts allowing for, for example, poetry, reciprocity and seduction in relation to designed objects.

Developing Sensitivity

Sensitivity is no longer about ‘knowing the world’ but about ‘being in the world’ and exploring it. This means that people need to continuously adapt to a changing world and give meaning to it in a creative way. The sensitivity of the mind is grounded in the sensitivity of the senses. The question becomes: how do people develop this new sensitivity and how do we design for it? Understanding the process of adaptation sheds light on the working of human body and mind. We are able to tackle sensory and cognitive capacity of users using the knowledge, tools and methods we have been acquiring and building over the years. Designing for sensitivity using these new approaches should result in the creation of unprecedented experiences as well as the envisioning and demonstration of interactive futures.

Design Application Domains

DeSForM explores the range of design from its fundamentals to its application domains. Although technology may challenge people to adapt to all domains of our everyday life, DeSForM 2017 especially calls for examples and initiative in the realm of:

  • Care for our Health
  • Sustainable Well-being
  • Smart and Connected Environments
  • Future of Mobility

SUGGESTED TOPICS

We invite to submit high-quality original contributions that face the issue of designing artefacts that explore new materials and technologies (both tangible and virtual) and give rise to innovative interactive forms. The following topics are of particular interest for DeSForM 2017. However, research works addressing more general issues on the topic of meaning, semantics and aesthetics of smart, dynamic and interactive products or systems, are appropriate for the conference:

  • Aesthetics of Interaction
  • Affective Computing
  • Choreography of Interaction
  • Co-creation
  • Tools and Methods for Designing with and for the Senses
  • Design with Interactive Materials
  • Experience-driven Design
  • Generative Design
  • Haptic Interfaces
  • Multisensory Research and Design
  • Senses and Sensors
  • Sensory Experiences (Especially the Tactile, Auditory, Olfactory and Gustatory senses)
  • Tangible Interfaces
  • Wearable Technologies

 

 

PAPERS

Papers should be between 2000 and 4000 pages long. Full papers (2000 – 4000 words) address empirical studies, theoretical stand points or literature reviews. Short papers (2000 – 2500 words) describe raison d’être, design process, product description, audio-visual material or activities with participants.

Authors must use the InTech template and submit as a Word or Word compatible file to prepare the manuscripts. PDF’s can be used for the review process. But the camera ready versions must be a Word or Word compatible file.

All papers will undergo a standardized (double-blind) review and publication process. Length must match the contribution, and the same general criteria hold for all papers. Regardless of length, a paper may be presented as a talk, demo and/or poster. All work must be submitted electronically via the DeSForM 2017 easychair conference site at: easychair.org/. During submission, authors may propose the presentation format that they feel best suits their contribution, which may include multiple presentation forms. The available formats include:

  • Talk
  • Demo
  • Poster

Please do consider the most appropriate presentation format for your work. In particular we stimulate high quality demonstrators. When submitting your contribution, we want to emphasize that providing a supplementary short video (maximum 2 minutes) for demonstrators will allow the reviewers to evaluate the quality of their design work.

High quality demonstrators will be considered for exhibition at the Dutch Design Week Eindhoven (21-29 October 2017), an event following the DeSForM conference, hosting 2.500 exhibitors and almost 300.000 visitors. This is a unique opportunity provided only for DeSForM participants!

All presentation formats will be included in the conference proceedings and high-quality ones will be considered for an adapted version for the special book series.

WORKSHOPS CONNECTING RESEARCH AND PRACTICE

DeSForM 2017 will host up to five parallel (half)day workshops on Friday October 20. The aim for these workshops is to translate theoretical perspectives / tools / methods / materials from (design) research to practice. We are interested in workshops that try to explore novel approaches to interaction and holistic experiences involving all our senses and sensitivities in everyday contexts. We encourage workshops to explore applications in healthcare domains. Furthermore, we encourage contributors to seek inspiration in the themes of the conference. The workshops will be organized at the High-Tech Campus Philips Design offices.

 

A more detailed call for the workshop  submissions will be included in DeSForM second call for papers, expected at the beginning of March 2017. Please keep an eye on desformx.org for updates.

SUBMISSION DEADLINES

  • Papers: February 10, 2017
  • Workshops: April 21, 2017

All work must be submitted electronically via the DeSForM 2017 easychair conference site at:

easychair.org/

CONTACT

[email protected]

 

Design Connections Istanbul | British Council

In partnership with IKSV, the British Council are seeking expressions of interest for senior curators, programmers and heads of design organisations from the UK to join a delegation visiting Istanbul Design Biennial between 19 – 23 October 2016.

The purpose of the delegation is to connect key individuals from the UK to designers and organisations, with the aim of brokering new collaborations and partnerships, as well as providing the opportunity for networking, learning and sharing with international counterparts. The British Council will fund travel, accommodation and per diems for delegates.

Five individuals will be selected to join an industry networking programme, visiting the Biennial itself and leading designer organisations and studios in Istanbul.

To express interest please email [email protected] by 9 September with a short professional profile.

About Istanbul Design Biennial 2016

The 3rd Istanbul Design Biennial, curated by Mark Wigley and Beatriz Colomina, explores the intimate relationship between the concepts of “design” and “human.” Design always presents itself as serving the human but its real ambition is to redesign the human. The history of design is therefore a history of evolving conceptions of the human. To talk about design is to talk about the state of our species.

About İKSV

Istanbul Foundation for Culture and Arts (İKSV) is a non-profit cultural institution that was founded in 1973. The general objectives of the Foundation are: to make Istanbul one of the world’s foremost capitals of culture and the arts; to create continuous interaction between national and universal values and traditional and contemporary values via culture and the arts; and to contribute actively to the development of cultural policies. With these objectives, İKSV organises the Istanbul Festivals of Music, Film, Theatre and Jazz, as well as the Istanbul Biennial, the Istanbul Design Biennial, Leyla Gencer Voice Competition, autumn film week Filmekimi and one-off events throughout the year. The Foundation hosts cultural and artistic events at its performance venue Salon, located at the Nejat Eczacıbaşı Building. İKSV also organises the Pavilion of Turkey at la Biennale di Venezia and coordinates an artist residency programme at Cité International des Arts, France. Furthermore, İKSV conducts studies and drafts reports with the aim of contributing to cultural policy development.

iksv.org

Open Call for Applications: Winston Churchill Fellowships 2017

Applications are now open for the 2017 Winston Churchill Memorial Trust Fellowships, which include a strand for Designers in partnership with the British Council. This is the third and final year of the partnership.

The Design Fellowships are awarded for projects that add to international collaboration and understanding, and also bring back knowledge and best practice for the benefit of others in the UK. Designers in the following applied arts are eligible to apply:

  • Architecture
  • Interiors
  • Product
  • Graphic Design

Successful applicants will be able to apply to the British Council’s Architecture Design Fashion department for a follow-up grant to help with events, exhibitions and further international collaboration to further the outcomes of their Churchill Fellowship.

2016 Fellows in the Design category include:

  • Marc Cairns, Pidgin Perfect. The multidisciplinary designer, who is based in Glasgow, will be travelling to Albania, Serbia, Azerbaijan and Turkey investigating public engagement in architecture and planning.
  • Alexander Groves, Studio Swine. The London-based designer will be travelling to Brazil to research design projects which promote sustainable products from the Amazon Rainforest.

The closing date for applications is 5pm on Tuesday 20 September 2016.

Full details and how to apply can be found on the Winston Churchill Memorial Trust website.

Theatre & Performance Design – Call for Submissions

Volume 3, Issues 1&2: Drawing & Design

The editors, Arnold Aronson and Jane Collins have pleasure in calling for submissions to the journal Theatre and Performance Design Volume 3, Issues 1&2 spring and summer 2017. The volume will consist of general articles on scenography but we are also interested in receiving articles that address the specific theme of Drawing and Design.                                             

 ‘Drawing… is at once medium and process, performative act and idea, it is sign, symbol and diagram. It is a space of negotiation for both established meanings and what is yet to be known, defined and articulated. It is a medium for analysis, for the acquisition and facilitation of understanding. It is observational tool and recording practice.’ Flavia Loscialpo[1]

There is a substantial canon of writing about drawing in fine art but relatively little on drawing in theatre and performance.  In the 2017 spring and summer issues of the journal we are keen to explore how drawing works across the full range of scenographic practices.  As a means of making ideas concrete and as a discursive tool drawing is instrumental in theatre, costume and performance design, spatial design and architecture. Articles might consider; how precisely does drawing work as ‘a space of negotiation’ in these practices? What kind of drawings do designers make and how are they evaluated? In a recent edition of the journal David Bisaha, with reference to the New Stagecraft movement early in the last century, has argued that ‘‘Renderings’ depiction of composed dramatic moments afforded designers greater control and autonomy over the completed stage picture…’’ [2]  What is the status of drawing as scenographic artefact and process in contemporary theatre and performance practice? As work has moved beyond theatre buildings and into diverse sites, both urban and rural, have performance scores and maps replaced ground plans and renderings? What materials and tools, including the digital, do designers use to draw? What kind of drawings do sound and lighting designers make? How might a close analysis of the drawings of designers from the past help us to understand the visual culture and the professional context in which they were made?  Can a close study of different approaches to drawing help us to understand the evolving role of the designer?

We welcome articles on drawing of between 5000-8000 words. Contributions from practitioners talking about their own use of drawing, articles on CAD and its applications as well as visual essays that explore the currency of drawing as design practice past, present and future.  In addition we continue to encourage submissions on issues relating to scenography in general.

Submissions to Nick Tatchell, Editorial Assistant: [email protected]   

Deadline: October 31st 2016

[1] Drawing and The Body, Exhibition Catalogue KG52 Gallery, Kammakargatan 52, Stockholm, 18April -14 May 2011published by The Swedish School of Textiles, University of Boras and London College of Fashion, University of the Arts, London.

[2] Bisaha, David. 2015. Robert Edmund Jones’ scenic rendering as design artefact and professional tool. Theatre and Performance Design 1 (3): 220-235 (p.220)

Who is the Teacher-Researcher in Art, Design and Communication?

A Wimbledon College of Arts Event for UAL Research Fortnight 2016
Friday 11 March 2016, 2pm – 6pm (​Drinks Recpetion 6pm – 7:45pm)

​Academics do not just teach and undertake research – they are teacher-researchers. This half-day symposium addresses the role of the teacher-researcher in an arts university, with contributions from students and staff at Camberwell, Chelsea and Wimbledon Colleges of Arts.  Further and Higher education in art, design and communication is not just about getting a qualification – by definition, a university should expose students to leading research in their field of study. The curriculum that students follow and the courses and the programmes that they have chosen, should be responsive to innovative research in the discipline.  While there are ways of recognising excellence in research and (more recently) in teaching, we lack developed accounts of the relationship of research and teaching and the skills and capabilities of the teacher-researcher. An aim of the symposium is to arrive at some actions/ideas for further enhancement of the curriculum and the student experience through bringing teaching and research closer together. Topics we will cover include:

  • How do we describe the role of a teacher-researcher?
  • How do students understand the relationship of teaching and research within their courses and programmes?
  • How does the teacher-researcher work within the curriculum and the programme in art, design and communication?
  • Should the art and design curriculum respond to the latest innovations in research – if so how?
  • What spaces, technologies, objects and external institutions are important to develop good relationships between teaching and research?
  • How does the integration of research and teaching work at different levels, from FE to PhD?

Followed by drinks in the Green Room hosted by Simon Betts, Dean of Wimbledon College of Arts

Universities partner to promote online design collection

500 images have been launched online today on the Visual Arts Data Service (VADS) from the Museum of Domestic Design & Architecture (MoDA) at: http://www.vads.ac.uk/collections/MODA.php

This unique collection includes well-known graphic designs, typography and book design, advertisements and posters, wallpapers, textiles, fashion, and interior design.

MoDA’s collections engage with design histories including the furnishing of ‘ordinary’ homes of the early and mid-twentieth century, the design process of commercial wallpaper and textiles for the home and inter-war suburbia. The collections are also concerned with broader themes encompassing visual and material culture.

The museum developed from a number of collections acquired by Middlesex University between the late 1960s and the 1990s.

VADS has also developed custom built web stats for the museum collection, allowing MoDA to track visitors from theme and collection pages to individual items and gain a better understanding of how people are using the online collection.

VADS has been hosted online for over 16 years by the University for the Creative Arts (UCA).  It provides online access to a growing collection of visual images contributed by universities, libraries, museums and archives from across the UK, which can be used freely for education.

To explore all the VADS collections, totaling over 140,000 images, visit: http://www.vads.ac.uk/collections

To view more of MoDA’s collections online visit: http://www.moda.mdx.ac.uk/home

To view items from the museum’s collection in person please contact: [email protected]

MoDA’s collaboration with VADS was made possible with the support of Jisc, the not-for-profit organization for higher, further education and skills. It was one of the projects selected to take part in Jisc’s Spotlight on the Digital resource discovery training programme pilot.

Beyond a Brief Encounter: Everyday Interactions Between Transport & Design

Call for Papers: Special Edition of the Journal of Design History. Deadline for submission 1st April 2016.

Design history and transport history are inexorably interwoven. From the sleek stream-lining of the Mallard to the unusual Moquette patterns that have welcomed bums to London Underground seats since the 1930s, designed elements have filled perceptions and experiences of transport. Design was, and still is, all around passengers, workers and travellers, and the goods they carried, in modern transport, encompassed by everything from locomotives down to monogrammed drinks coasters.

There is still, however, a significant gulf in our understandings of how everyday design affected transport users. Wolfgang Schivelbusch, in his 1989 The Railway Journey, spoke of how small design choices, such as seating arrangements, could have enormous consequences (both intended and accidental) on travellers. An intermeshing of transport and design histories, two disciplines with increasingly broad and innovative approaches to source material, research questions, and interdisciplinary theory, offers exciting new possibilities. Particularly, recent developments in transport history are poised to build upon the growing trend for histories of everyday design, with a focus on process and reflection rather than following big-name designers and brands.

Editor: Andrew McLean, Head Curator, National Railway Museum.

This special edition for the Journal of Design History invites papers that address this interaction surrounding the everyday in design and transport history.

Themes could include, but are by no means limited to:

  • Vehicle layout and design.
  • Architecture of stations, platforms, and termini.
  • “Scenic” routes and layouts.
  • Tickets, labels, signs, and other printed or typographic material.
  • The material culture of travel.
  • Presentation of transport in literature and modern media.
  • Passenger experiences.
  • Spaces of sociability, privacy, comfort or danger.
  • The senses and travelling, transport, and infrastructure.
  • Liveries, insignia and staff uniforms.
  • Children and the experience of travel.
  • Accessibility and disability in transport design.
  • Cycles of destruction and reconstruction in transport design.
  • The interplay between transport design and the landscape.
  • Engineering and design experts and expertise.
  • Advertising, promoting, and selling modern transport.
  • Safety, security, or hygiene and design.
  • Design differences between passenger and goods lines.
  • Briefs, consulting, and contracting of design work after privatisation.

Submissions covering other aspects of transport and design history are also encouraged.

Please email an abstract of c.300 words to [email protected] by 1st April 2016.