Rooms on view : home and design exhibition

The expression of a narrative realized through a constructed interior environment provides a significant and engaging response that falls between the realms of design and theatre in which the space itself provides the role of actor.

A discussion on design exhibition "delivery to Sichuan" - interview with Tie Fan, senior architect at Foster & Partners

By the British "East Design Alliance" (West East Design Group) was launched, entitled "Sichuan Express" (Delivery to Sichuan) earthquake relief concept design exhibition in September 2008 from 1 to 5 at the Alan Baxter gallery...

National Academy of Design exhibition record, 1826-1860 ...

Prepared by Miss Bartlett Cowdrey. cf. Pref.

Bouncing back : Resilient design for Brisbane - Exhibition

"Bouncing Back: Resilient Design for Brisbane" was an opportunity for QUT students to communicate their inspiring design responses to adversity, to the larger Brisbane community. The exhibition demonstrates new and innovative ways of thinking about our cities, and how they are built to be resilient and to suit extreme environmental conditions. The challenge for architecture students is to address the state of architecture as a reflection of today's world and to consider how design fits into the 21st century. Students have explored notions of 'Urban Resilience' from multiple perspectives, including emergency design while facing flooding, flood proof housing and urban designs.

Couture Academy Exhibition : a curation of the story behind a couture design

Research background: The general public is predominantly unaware of the complexities and skills involved in the fashion supply chain (design, manufacture and retail) of couture/bespoke garments. As cited in McMahon and Morley (2011) “While a high price tag is widely accepted as a necessary element of luxury products (Fionda &Moore, 2009) this must be accompanied by a story that gives the items intrinsic as well as extrinsic value (Keller, 2009). Research question: Is it possible to simulate a fashion couture studio environment in a non-traditional public space in order to produce and promote the processes involved in couture designs; each with their own story and aligned to the aesthetic of six collaborating high profile couture fashion retailers? Research contribution: The Couture Academy project allowed the team to curate the story behind the couture design and supply chain process. It was an experimental, curated, ‘hot-house’ fashion design project undertaken in real time to create one-off couture garments, inspired by key seasonal fashion trends as determined by leading Westfield retailers. The project was industry based, with Westfield Chermside as the launch pad for six QUT fashion students to experiment with design nuances aligned to renowned national fashion industry retailers; Cue, Dissh, Kitten D'Amour, Mombasa and Pink Mint. Industry mentors were assigned to each student designer, in order to heighten the design challenge. The exhibition consisted of a pop-up couture workshop based at Westfield Chermside. A complete fashion studio (sewing machines, pattern-cutting tables and mannequins) was set up for a seven day period in the foyer of the shopping centre with the public watching as the design process unfolded in real-time. The final design outcomes were paraded at the Southbank Precinct to a prominent industry and media panel, with the winner receiving a $2000 prize to fund a research trip to an international fashion capital of their choice. Research significance: This curated fashion project was funded by Westfield Group Australia. "It was the most successful season launch Westfield Chermside has ever had from both an average volume for exposure perspective, and in terms of the level of engagement with retailers and shoppers," said Laura Walls, Westfield Public Relations Consultant. Significant media coverage was generated; including three full pages of editorial in Brisbane’s Sunday Mail, with an estimated publicity value of $95,000. And public exposure through the live project/exhibition was estimated at 7,000 people over the 7 days.

Intellectual property : designing 4 success. Safeguarding your innovations - rights, obligations and opportunities in creating intellectual property by design

Design talks LOUDLY!!! Is a series of interactive presentations exploring issues and opportunities involving professional design. --------------- These seminars are organised by the Industrial Design Network Queensland (IDnetQLD) in coordination with the Design Institute of Australia (DIA). This event was held at the State Library of Queensland (SLQ) with invited public presentations by a panel of industry experts from the Australian Government – IP Australia. --------------- The first seminar "Intellectual Property : designing 4 success" highlighted to design professionals how the various forms of Intellectual Property interact, what protections and pitfalls exist, and how these impact upon the work and responsibilities of designers. The overlaps, gaps and in congruencies in the various IP protection systems were highlighted by the expert line-up of speakers. --------------- The underlying message is that a clear understanding of all IP types is necessary in order to gain the best advantage from IP protection and therefore eliminate potential IP ownership issues before they become a problem.

Unleashed : roadshow finale 2010 exhibition

This exhibition, as part of the Queensland Government Unlimited: Designing for the Asia Pacific Program, showcased the unleashed: queensland design on tour 2010 Exhibition and outcomes from the aligned goDesign Travelling Workshop Program for Regional Secondary School Students, delivered concurrently by the Design Institute of Australia Queensland Branch and QUT, between February and September 2010 in the six regional Queensland towns of Chinchilla, Mt Isa, Quilpie, Emerald, Gladstone and Bundaberg. Mirroring the delivery of the exhibition opening in the local gallery of each regional town, student design work produced during the workshop program was displayed alongside the award winning work of professional visual communication, interior and product designers and design students from the DIA qdos Awards Program of 2008 and 2009. The resulting linkages and connections made possible by the aligned programs, and the students’ creative product, based on their own interpretation of the local culture, environment, economy and politics of their town developed through a design process, were the subject of the exhibition, captured through photos and dialogues (digital and print format) and sketchbooks. The two programs and resulting final ‘retrospective’ exhibition, addressed the key objectives outlined in the Queensland Government Arts Queensland Design Strategy 2020 (2008-2012 Action plan), which focuses on the promotion of a better understanding of the value of good design across all of the state, by enhancing the collaboration between industry, the professional body for design, the government and the education sectors, and by providing opportunities for young people to engage in design. The exhibition highlighted the benefits for regional communities in being exposed to design exhibitions, and linking with tertiary educators and design practitioners to participate in design-based learning activities which broaden student understanding of their learning and subsequent career opportunities, by establishing a meaningful connection with real world issues of place, identity and sustainability.

Bouncing back : resilient design for Brisbane

"Bouncing Back: Resilient Design for Brisbane" was an opportunity for QUT students to communicate their inspiring design responses to adversity, to the larger Brisbane community. The exhibition demonstrates new and innovative ways of thinking about our cities, and how they are built to be resilient and to suit extreme environmental conditions. The challenge for architecture students is to address the state of architecture as a reflection of today's world and to consider how design fits into the 21st century. Students have explored notions of 'Urban Resilience' from multiple perspectives, including emergency design while facing flooding, flood proof housing and urban designs.

Wear Next exhibition: What's next for wearable technology?

There was a time when 'smart attire' was simply a dress code—a happy medium between formal and informal clothes. But as technological advancements continue to change our lives, the clothes and accessories we wear are increasingly embedded with smart technology. Wearable technology is nothing new, if you cast your mind back to the popular calculator watch of the '80s. But as more advanced products like Apple Watch and FitBit become mainstream, a new exhibition in Brisbane asks what's next for wearable technology.

Wear Next: An Exploration into the Future of Wearable Technology

Technology is increasingly infiltrating all aspects of our lives and the rapid uptake of devices that live near, on or in our bodies are facilitating radical new ways of working, relating and socialising. This distribution of technology into the very fabric of our everyday life creates new possibilities, but also raises questions regarding our future relationship with data and the quantified self. By embedding technology into the fabric of our clothes and accessories, it becomes ‘wearable’. Such ‘wearables’ enable the acquisition of and the connection to vast amounts of data about people and environments in order to provide life-augmenting levels of interactivity. Wearable sensors for example, offer the potential for significant benefits in the future management of our wellbeing. Fitness trackers such as ‘Fitbit’ and ‘Garmen’ provide wearers with the ability to monitor their personal fitness indicators while other wearables provide healthcare professionals with information that improves diagnosis. While the rapid uptake of wearables may offer unique and innovative opportunities, there are also concerns surrounding the high levels of data sharing that come as a consequence of these technologies. As more ‘smart’ devices connect to the Internet, and as technology becomes increasingly available (e.g. via Wi-Fi, Bluetooth), more products, artefacts and things are becoming interconnected. This digital connection of devices is called The ‘Internet of Things’ (IoT). IoT is spreading rapidly, with many traditionally non-online devices becoming increasingly connected; products such as mobile phones, fridges, pedometers, coffee machines, video cameras, cars and clothing. The IoT is growing at a rapid rate with estimates indicating that by 2020 there will be over 25 billion connected things globally. As the number of devices connected to the Internet increases, so too does the amount of data collected and type of information that is stored and potentially shared. The ability to collect massive amounts of data - known as ‘big data’ - can be used to better understand and predict behaviours across all areas of research from societal and economic to environmental and biological. With this kind of information at our disposal, we have a more powerful lens with which to perceive the world, and the resulting insights can be used to design more appropriate products, services and systems. It can however, also be used as a method of surveillance, suppression and coercion by governments or large organisations. This is becoming particularly apparent in advertising that targets audiences based on the individual preferences revealed by the data collected from social media and online devices such as GPS systems or pedometers. This type of technology also provides fertile ground for public debates around future fashion, identity and broader social issues such as culture, politics and the environment. The potential implications of these type of technological interactions via wearables, through and with the IoT, have never been more real or more accessible. But, as highlighted, this interconnectedness also brings with it complex technical, ethical and moral challenges. Data security and the protection of privacy and personal information will become ever more present in current and future ethical and moral debates of the 21st century. This type of technology is also a stepping-stone to a future that includes implantable technology, biotechnologies, interspecies communication and augmented humans (cyborgs). Technologies that live symbiotically and perpetually in our bodies, the built environment and the natural environment are no longer the stuff of science fiction; it is in fact a reality. So, where next?... The works exhibited in Wear Next_ provide a snapshot into the broad spectrum of wearables in design and in development internationally. This exhibition has been curated to serve as a platform for enhanced broader debate around future technology, our mediated future-selves and the evolution of human interactions. As you explore the exhibition, may we ask that you pause and think to yourself, what might we... Wear Next_? WEARNEXT ONLINE LISTINGS AND MEDIA COVERAGE: http://indulgemagazine.net/wear-next/ http://www.weekendnotes.com/wear-next-exhibition-gallery-artisan/ http://concreteplayground.com/brisbane/event/wear-next_/ http://www.nationalcraftinitiative.com.au/news_and_events/event/48/wear-next http://bneart.com/whats-on/wear-next_/ http://creativelysould.tumblr.com/post/124899079611/creative-weekend-art-edition http://www.abc.net.au/radionational/programs/breakfast/smartly-dressed-the-future-of-wearable-technology/6744374 http://couriermail.newspaperdirect.com/epaper/viewer.aspx RADIO COVERAGE http://www.abc.net.au/radionational/programs/breakfast/wear-next-exhibition-whats-next-for-wearable-technology/6745986 TELEVISION COVERAGE http://www.abc.net.au/radionational/programs/breakfast/wear-next-exhibition-whats-next-for-wearable-technology/6745986 https://au.news.yahoo.com/video/watch/29439742/how-you-could-soon-be-wearing-smart-clothes/#page1

El desafío de exponer: procesos y retos museográficos

Il y a aussi des chapitres en français. There are also chapters in English. Cap. 1. El complicado arte de exponer. Iñaki Arrieta Urtizberea. Cap. 2. “Esta exposición no es para este museo”. Las salas permanentes del Museu Valencià d’Etnologia. Joan Segui. Cap. 3. Debunking, Decentralizing and Dissonance: Cultural Jamming @ Museum of Vancouver. Viviane Gosselin. Cap. 4. L’exposition des objets de cultures autochtones aujourd’hui, gain ou perte de sens? Le cas de l’exposition « C’est notre histoire... » au Musée de la civilisation de Québec. Daniel Arsenault et Nadine Desbiens. Cap. 5. El Born de Barcelona: exposiciones conmemorativas, límites, problemas y desafíos. Francesc Xavier Hernàndez Cardona. Cap. 6. Silencios y omisiones: narrando y exhibiendo la historia nacional. Magdalena Mieri. Cap. 7. Exhibiting the Commons. The Case of Tensta konsthall. Haizea Barcenilla Garcia. Cap. 8. Interactividad y patrimonio. Retos, tendencias y líneas de futuro. Núria Serrat Antolí.

Exposições museológicas: a moda por narrativas, experiências e conexões

Este estudo apresenta o universo patrimonial pela perspetiva da acessibilidade pública conferida por instituições museológicas. Consiste em exploração e análise das informações e experiências proporcionadas por museus no âmbito da cultura material indumentária e de moda. O foco desta abordagem são as exposições presenciais e os websites institucionais, com ênfase à acessibilidade aos catálogos de coleções. Pela perspectiva do designer como antropólogo neste estudo – com base em estudos de caso e outros dados coletados – são apresentadas ferramentas comparativas da realidade atual e propostas para a disseminação mais alargada, diversificada e especializada das informações cultura material e imaterial de moda. Duas hipóteses orientaram esta tese: - A noção de que as exposições de artefatos de traje podem ser inovadoras em relação às exposições de outros objetos, já que a roupa vincula-se a movimento, toque, corpo e usabilidade que induz experiências e conexões, sentimentos e identidades em uma relação de metamorfose. - A noção de que o potencial de ensino e difusão de uma cultura de design, com destaque aos contextos de Portugal e Brasil, é um campo relevante à visibilidade pública da indústria da moda nestes países e alavanca para um melhor posicionamento na competitividade global. Pelas propostas específicas e pelo contributo de fornecer informações inéditas a respeito do universo investigado, este estudo abre novas perspectivas para futuras investigações, principalmente nas áreas de museologia, museografia, história e teoria da moda e do design, design de exposição, design de produto, estudos da cultura material, comunicação e antropologia do design.

Beyond the Bauhaus : Cultural Modernity in Breslau, 1918-1933 /

The Breslau arts scene during the Weimar period was one of the most vibrant in all of Germany, yet it has disappeared from memory and historiography. Breslau was a key center for innovative artistic production during the Weimar Republic; recovery of its history will shed new light on German cultural dynamics in the 1920s. Such a study has art historical significance because of the incredible extent of innovation that occurred in almost every intellectual field, advances that formed the basis for aesthetic modernism internationally and continue to affect the course of visual art and architecture today. Architecture education, just one example in many, is still largely based on a combination of the Bauhaus model from the 1920s and the model developed at the Breslau Academy of Fine and Applied Art. The exploratory attitude encouraged in Weimar era arts endeavors, as opposed to the conformism of academic art, is still a core value promoted in contemporary art and architecture circles. Given the long-lasting influence of Weimar culture on modernism one would expect to find a spate of studies examining every aspect of its cultural production, but this is not the case. Recent scholarship is almost exclusively focused on Berlin and the Dessau Bauhaus. Although both interests are understandable, the creative explosion was not confined to these cities but was part of a larger cultural ethos that extended into many of the smaller regional centers. The Expressionist associations the Blaue Reiter in Munich and Brücke in Dresden are two well-known examples. Equally, innovation was not confined to a few monumental projects like the Stuttgart Weissenhofsiedlung but part of a broader national cultural ethos. The dispersion of modernism occurred partly because of the political history of Germany as a loosely joined confederation of small city states and principalities that had strong individual cultural identities before unification in 1871 but also because of the German propensity to value and take intense pride in the Heimat, understood both as the hometown and the region. Heimatliebe translated into generous support for cultural institutions in outlying cities. Host to a roster of internationally acclaimed artists and architects, major collectors, arts organizations, museums, presses, galleries, and one of the premier German arts academies of the day, Breslau boasted a thriving modern arts scene until 1933 when the Nazis began their assault on so-called "degenerate" art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators, who were especially interesting because they operated in the space between the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground. It is the first book in English to address this history and presents the history in a manner unique to any studies currently on the market. 'Beyond the Bauhaus' explores the polyvalent and contradictory nature of cultural production in Breslau in order to expand the cultural and geographic scope of Weimar history; the book asserts a reciprocal dimension to the relationship between regional culture and national culture, between centers like Breslau and the capital Berlin. With major international figures like the painters Otto Mueller and Oskar Moll, architects Hans Scharoun and Adolf Rading, urban planners Max Berg and Ernst May, collectors Ismar Littmann and Max Silberberg, and an art academy that by 1929 was considered the best in Germany, Breslau clearly had significance to narratives of Weimar cultural production. 'Beyond the Bauhaus' contributes the history of German culture during the Weimar Republic. It belongs alongside histories of art, architecture, urban design, exhibition, collecting, and culture; histories of the Bauhaus; histories of arts education more broadly; and German history. The readership would include those interested in German history; German art, architecture, urban design, planning, collecting, and exhibition history; in the avant-garde; the development of arts academies and arts pedagogy; and the history of Breslau and Silesia.

"Food For Thought" Selected Design Installation DIA Homegrown 2011 Life In the Slow Lane Exhibition: Little Stanley Street, South Bank, Brisbane

'Homegrown is an initiative of the Design Institute of Australia–Queensland Branch to promote the collaboration and cultivation of local design talent in Queensland and strengthen the connection between design, plate, planet, people and culture.' Homegrown 2011 Exhibition Catalogue Excerpt