On imagining in spatial design

Using the imagination during the design process is a critical part of how designers design, using it in the synthesis phase to generate ideas and find creative solutions to a given problem. However, what designers imagine - see in the mind’s eye - during the design process is a complex and difficult to articulate phenomenon, which, until recently, has been not been greatly understood or articulated. This early study reports on an education context where exercises were integrated into undergraduate design studies aimed to enhance the imagining process. Outcomes suggest that exercising the imagination in this context assists future designers to become more skilled in design synthesis practices which explore various temporal, existential and physical qualities in future spaces, as well as be able to articulate the seemingly ‘mysterious’ aspects of the design process.

The Art of Studio Teaching

This project began in 2013, with the award of an internal QUT Teaching and Learning grant. The task we wished to undertake was to document and better understand the role of studio teaching practice in the Creative Industries Faculty. While it was well understood that the Faculty had long used studio pedagogies as a key part of its teaching approach, organizational and other changes made it productive and timely to consider how the various study areas within the Faculty were approaching studio teaching. Chief among these changes were innovations in the use of technology in teaching, and at an organizational level the merging of what were once two schools within different faculties into a newly-structured Creative Industries Faculty. The new faculty consists of two schools, Media, Entertainment and Creative Art (MECA) and Design. We hoped to discover more about how studio techniques were developing alongside an ever-increasing number of options for content delivery, assessment, and interaction with students. And naturally we wanted to understand such developments across the broad range of nineteen study areas now part of the Creative Industries Faculty. This e-book represents the first part of our project, which in the main consisted in observing the teaching practices used in eight units across the Faculty, and then interviews with the unit coordinators involved. In choosing units, we opted for a broad opening definition of ‘studio’ to include not only traditional studios but also workshops and tutorials in which we could identify a component of studio teaching as enumerated by the Australian Learning and Teaching Council’s Studio Teaching Project: • A culture, a creative community created by a group of students and studio teachers working together for periods of time • A mode of teaching and learning where students and studio teachers interact in a creative and reflective process • A program of projects and activities where content is structured to enable ‘learning in action’ • A physical space or constructed environment in which the teaching and learning can take place (Source: http://www.studioteaching.org/?page=what_is_studio) The units we chose to observe, and which we hoped would represent something of the diversity of our study areas, were: • Dance Project 1 • Furniture Studies • Wearable Architecture • Fashion Design 4 • Industrial Design 6 • Advanced Writing Practice 3 • Introduction to Creative Writing • Studio Art Practice 2 Over the course of two semesters in 2013, we attended classes, presentations, and studio time in these units, and then conducted interviews that we felt would give further insight into both individual and discipline-specific approaches to studio pedagogies. We asked the same questions in each of the interviews: • Could you describe the main focus and aims of your unit? • How do you use studio time to achieve those aims? • Can you give us an example of the kind of activities you use in your studio teaching? • What does/do these example(s) achieve in terms of learning outcomes? • What, if any, is the role of technology in your studio teaching practice? • What do you consider distinctive about your approach to studio teaching, or the approach taken in your discipline area? The unit coordinators’ responses to these questions form some of the most interesting and valuable material in this book, and point to both consistencies in approach and teaching philosophies, as well as areas of difference. We believe that both can help to raise our critical awareness of studio teaching, and provide points of comparison for the future development of studio pedagogy in the Creative Industries. In each of the following pages, the interviews are placed alongside written descriptions of the units, their aims and outcomes, assessment models, and where possible photographs and video footage, as well as additional resources that may be useful to others engaged in studio teaching.

Care for care: Studio REV's strategies of engagement

The artists at Studio REV-, along with their allies in the broader non-profit sector, address domestic workers’ rights in the United States. As a social practice art project, NannyVan works to improve how information about domestic rights is disseminated to these workers, whether nannies, elder caregivers or others. As part of a larger project named CareForce, the NannyVan project shows an ethics of care by using design traces as tactics and transversal methods as strategies.

The Perception of Light: Understanding Architectural Lighting Design

Light is essential to life and vision; without light, nothing exists. It plays a pivotal role in the world of architectural design and is used to generate all manner of perceptions that enhance the designed environment experience. But what are the fundamental elements that designers rely upon to generate light enhanced experiences? How are people’s perceptions influenced by designed light schemas? In this book Dr. Marisha McAuliffe highlights the relationship that exists between light source and surface and how both create quality of effect in the built environment. Concepts relating to architectural lighting design history, theories, research, and generation of lighting design schemes to create optimal experiences in architecture, interior architecture and design are all explored in detail. This book is essential reading for both the student and the professional working in architectural lighting, particularly in terms of qualitative perception oriented lighting design

Design of a salisbury screen absorber using frequency selective surfaces to improve bandwidth and angular stability performance

A new design method that greatly enhances the reflectivity bandwidth and angular stability beyond what is possible with a simple Salisbury screen is described. The performance improvement is obtained from a frequency selective surface (FSS) which is sandwiched between the outermost 377 Ω/square resistive sheet and the ground plane. This is designed to generate additional reflection nulls at two predetermined frequencies by selecting the size of the two unequal length printed dipoles in each unit cell. A multiband Salisbury screen is realised by adjusting the reflection phase of the FSS to position one null above and the other below the inherent absorption band of the structure. Alternatively by incorporating resistive elements midway on the dipoles, it is shown that the three absorption bands can be merged to create a structure with a −10 dB reflectivity bandwidth which is 52% larger and relatively insensitive to incident angle compared to a classical Salisbury screen having the same thickness. CST Microwave Studio was used to optimise the reflectivity performance and simulate the radar backscatter from the structure. The numerical results are shown to be in close agreement with bistatic measurements for incident angles up to 40° over the frequency range 5.4−18 GHz.

Design and Practice in Architectural Theory Education

Benefiting from design in theory learning is not common in architecture schools. The general practice is to design in studio and to theorise in lectures. In the undergraduate module History and Theory in Architecture II at Queen’s University Belfast, students attend interactive lectures, participate in reading group discussions, design TextObjects, and write essays. TextObjects contain textual, audio and/or graphic representations that highlight a single concept or a complex set of issues derived from readings. Students experiment with diverse media, such as filmmaking, photography, and graphic design, some of which they experience for the first time. Lectures and readings revolve around theories of architectural representation, media and communication, which are practiced through TextObjects. This is a new way to link theory and practice in architectural education. Through action research, this study analyses this innovative teaching method called TextObject, which brings design and practice into architectural theory education to stimulate students towards critical thinking. The pedagogical research of architectural theoretician Necdet Teymur (1992, 1996, 2002) underlies the study.

Moments of Recognition:The Four Semester Studio in QUB

It is a legitimate assertion that the common ground of work of worth in architecture, whether theoretical or built comes from a firmly held position on the part of the author. In addition to delivery key competencies architectural education should act to support the formation of such a position in the student, or to make students aware of the possibility of holding such a position.

It is with this in mind perhaps that intensive unit-based diploma and masters structures are increasingly becoming the standard structure for for schools of architecture across the UK. The strengths of such a structure are most evident when the school, either by virtue of financial strength or geographic location is able to attract a diverse range of contrasting positions to bear in the formation of these units. In effect the offering to the student is a short, intensive immersion into a clear line of thought based on the position of those running the unit. Research is channeled by those running the unit to the work of the students. A single cohort of students therefore is able to observe and understand a wide range of ways of thinking about the subject whether or not they are participants in a unit or not. It is axiomatic that where this structure is applied in the absence of these resources the result can be less helpful, individual units are differentiated not to reflect the interests of those running the unit but for the sake of difference as its own end.

In structuring the M.Arch programme in Queens University Belfast the reality of our somewhat peripheral location was placed at the forefront of our considerations. A single 4 semester studio is offered. The first three semesters are carefully structured to offer a range of directed and self directed projects to the students. By interrogation of these projects, and work undertaken at undergraduate level the aim is to assist the students to identify a personal position on architecture, which is then developed in the thesis in semester four. Research and design outputs are emergent from the interest of the student body, cultivated by staff who have the time over the four semesters to get to know all aspects of a students interests.

This paper will lay out this structure and some of the projects run within it. Now having delivered two graduating years the successes and challenges of the system will be laid out by reference to several case studies of individual student experiences of the structure.

Think, code, succeed: The Programming Studio as a games-based collaboration:Paper published in the Proceedings of the Association for Teacher Education in Europe conference: Teacher Education through Partnerships and Collaborative Learning Communities, Glasgow, UK. ATEE, 2015

This paper investigates the profile of teachers in the island of Ireland who declared themselves willing to undertake professional development activities in programming, in particular to master programming by taking on-line courses involving the design of computer games. Using the Technology Acceptance Model (TAM), it compares scores for teachers “willing” to undertake the courses with scores for those who declined, and examines other differences between the groups of respondents. Findings reflect the perceived difficulties of programming and the current low status accorded to the subject in Ireland. The paper also reviews the use of games-based learning as a “hook” to engage learners in programming and discusses the role of gamification as a tool for motivating learners in an on-line course. The on-line course focusing on games design was met with enthusiasm, and there was general consensus that gamification was appropriate for motivating learners in structured courses such as those provided.

Rittermere Farm Craft Studio Fonds, 1951-2006

During the 1950’s, the Rittenhouse family of Vineland in the Niagara Peninsula opened a craft store and studio. Within a short period of time, they realized that resources for the craft of rug hooking were in demand and they began to build their business around this niche. Edna Rittenhouse, the mother, was the wool dyer; Margaret Rowan, the daughter, was the pattern designer; Ted Rowan, the son-in-law, changed careers and became the manager of the family business. The 1960’s were a prosperous time, not only in the Niagara Peninsula, but also for the Rittenhouse business. Edna Rittenhouse had been hooking rugs for decades but she and her family worked at developing and sharing newer techniques with newer materials. Shading manuals were authored and published; students became teachers; creativity abounded in the demand for and the creation of new designs. Instead of using woolen yarn, they were using pure woolen fabric; instead of using a standard cutter, they began using a uniquely designed cutter; instead of using frames, they employed a table top method. The new material and technique resulted in a rug with a smooth, uniform texture and a soft nap. Since many crafters belonged to crafters guilds, Margaret and Ted Rowan began promoting the idea of a guild for rug hookers and in time the Ontario Hooking Craft Guild was also a reality. A joint project between Chatelaine magazine and the Rittermere studio for Canada’s centennial year of 1967 was extremely well received within the circle of hooking crafters and the Rittermere Farm Craft Studio became a North American landmark for crafters. From this point onward the studio had a large customer base not only in North America but also overseas. The studio remained popular until 1984 when Margaret and Ted Rowan decided to retire. The Rittermere name has been preserved in the name of Rittermere-Hurst-Field which is a similar business located in Aurora which is just north of Toronto.

Grafisk profilering och marknadsföring av fotogruppen Studio Fornby

SummaryA complete graphic profile program along with marketing material has been produced for seven photographers.The material has been produced in consideration to sell their pictures outside of Scandinaviaand Brazil as first priority. The criterion for the profile is to give a message of quality and ofScandinavia. Through research and interviews facts about typical scandinavian design have beenfound. Since the pictures will be exported abroad, a selling packaging solution has been developed. Theparts that are included in the marketing material are: a brochure, display solution, a website and printingexamples. One of the purposes with the project is that the company from the given price offer canevaluate the posibility to produce pictures.

Primitive art as it relates to contemporary design

For the most part, my project has been of an individually rewarding nature due to an extensive amount of reading and studio work. My paper functions as the major means of communication of my own experiences and findings. It is an attempt to share with others the ideas which I have found particularly stimulating and worthwhile during the course of the year. In other words, the written portion does not intend to summarize all of the phases of primitive art which I have studied during the past year; rather, it is indicative of the type of pursuit with which I became involved. It is neither a historical survey nor a specific and thorough study of one area of primitive art. Instead, my paper is a series of essays focusing upon primitive art in general, and upon some of the aspects of primitive art with which I became concerned in particular.

Divining Rods and Lightning Fields: Interactions and Interfaces: A Studio Exhibition in Communication With Save the Bay

"Design proposals for an outdoor 'exhibit' on the Shores of Narragansett Bay".

Metodi numerici per lo studio di centri di lavoro ad alta velocità

A Machining Centre is nowadays a complex mechanical, electronic, electrical system that needs integrated design capabilities which very often require a high time-consuming effort. Numerical techniques for designing and dimensioning the machine structure and components usually requires different knowledge according to the system that have to be designed. This Ph. D Thesis is related about the efforts of the Authors to develop a system that allows to perform the complete project of a new machine optimized in its dynamic behaviour. An integration of the different systems developed, each of which respond to specific necessities of designer, is here presented. In particular a dynamic analysis system, based on a lumped mass approach, that rapidly allows to setup the drives of the machine and an Integrated Dynamic Simulation System, based on a FEM approach, that permit a dynamic optimization, are shown. A multilevel Data Base, and an operator interface module provide to complete the designing platform. The proposed approach represents a significant step toward the virtual machining for the prediction of the quality of the worked surface.

Safety factors in sheet pile wall design: considerations by using traditional methods and FEM analysis

The purpose of the work is: define and calculate a factor of collapse related to traditional method to design sheet pile walls. Furthermore, we tried to find the parameters that most influence a finite element model representative of this problem. The text is structured in this way: from chapter 1 to 5, we analyzed a series of arguments which are usefull to understanding the problem, while the considerations mainly related to the purpose of the text are reported in the chapters from 6 to 10. In the first part of the document the following arguments are shown: what is a sheet pile wall, what are the codes to be followed for the design of these structures and what they say, how can be formulated a mathematical model of the soil, some fundamentals of finite element analysis, and finally, what are the traditional methods that support the design of sheet pile walls. In the chapter 6 we performed a parametric analysis, giving an answer to the second part of the purpose of the work. Comparing the results from a laboratory test for a cantilever sheet pile wall in a sandy soil, with those provided by a finite element model of the same problem, we concluded that:in modelling a sandy soil we should pay attention to the value of cohesion that we insert in the model (some programs, like Abaqus, don’t accept a null value for this parameter), friction angle and elastic modulus of the soil, they influence significantly the behavior of the system (structure-soil), others parameters, like the dilatancy angle or the Poisson’s ratio, they don’t seem influence it. The logical path that we followed in the second part of the text is reported here. We analyzed two different structures, the first is able to support an excavation of 4 m, while the second an excavation of 7 m. Both structures are first designed by using the traditional method, then these structures are implemented in a finite element program (Abaqus), and they are pushed to collapse by decreasing the friction angle of the soil. The factor of collapse is the ratio between tangents of the initial friction angle and of the friction angle at collapse. At the end, we performed a more detailed analysis of the first structure, observing that, the value of the factor of collapse is influenced by a wide range of parameters including: the value of the coefficients assumed in the traditional method and by the relative stiffness of the structure-soil system. In the majority of cases, we found that the value of the factor of collapse is between and 1.25 and 2. With some considerations, reported in the text, we can compare the values so far found, with the value of the safety factor proposed by the code (linked to the friction angle of the soil).

Studio e sviluppo di sistemi RFID in banda UHF

The recent widespread diffusion of radio-frequency identification (RFID) applications operating in the UHF band has been supported by both the request for greater interrogation ranges and greater and faster data exchange. UHF-RFID systems, exploiting a physical interaction based on Electromagnetic propagation, introduce many problems that have not been fully explored for the previous generations of RFID systems (e.g. HF). Therefore, the availability of reliable tools for modeling and evaluating the radio-communication between Reader and Tag within an RFID radio-link are needed. The first part of the thesis discuss the impact of real environment on system performance. In particular an analytical closed form formulation for the back-scattered field from the Tag antenna and the formulation for the lower bound of the BER achievable at the Reader side will be presented, considering different possible electromagnetic impairments. By means of the previous formulations, of the analysis of the RFID link operating in near filed conditions and of some electromagnetic/system-level co-simulations, an in-depth study of the dimensioning parameters and the actual performance of the systems will be discussed and analyzed, showing some relevant properties and trade-offs in transponder and reader design. Moreover a new low cost approach to extend the read range of the RFID UHF passive systems will be discussed. Within the scope to check the reliability of the analysis approaches and of innovative proposals, some reference transponder antennas have been designed and extensive measurement campaign has been carried out with satisfactory results. Finally, some commercial ad-hoc transponder for industrial application have been designed within the cooperation with Datalogic s.p.a., some guidelines and results will be briefly presented.