Tag: 2009

Future Vision, Microsoft Office Labs, 2004-

Project page

 

Design, implementation and evaluation of a novel public display for pedestrian navigation: the rotating compass、Rukzio, et al, 2009

http://dl.acm.org/citation.cfm?id=1518722
http://andrewjohnsonhci.blogspot.com/2010/02/design-implementation-and-evaluation-of.html

Echo Objects: The Cognitive Work of Image, Barbara Maria Stafford, 2009

Product Description
Barbara Maria Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In Echo Objects, she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought.

Subnature: Architecture’s Other Environments, David Gissen, 2009

http://www.amazon.com/gp/product/1568987773

Review

“Gissen defines subnatures as conditions within our cities that are often deemed filthy, fearsome, and uncontrollable. He defines 12 subnatures in three categories: Atmospheres include dankness, smoke, gas, and exhaust; Matter contains dust, puddles, mud, and debris; and Life includes weeds, insects, pigeons, and crowds. For each subnature Gissen traces the changing historical views, looks at the current attitudes towards it, and presents contemporary projects that question and consider alternatives for incorporating the subnature into architectural design. In some cases the views over time have done a complete 180, pointing to the way nature is defined socially, not objectively or scientifically. Not surprisingly the projects are today’s avant-garde, mostly hypothetical, research-based, installations, or unrealized. They are examples of how Gissen’s path of exploration is not unprecedented; it is tapping into more widespread reconsiderations of today’s fairly uncritical acceptance of sustainability.” –Archidose“The exhilarating and at times unsettling work featured in Subnature suggests an alternative view of natural processes and ecosystems and their relationships to human society and architecture.” –One Half of the Worlds Population, Approximately 3 Billion People on Six Continents, Lives or Works in Buildings Constructed of Earth“Another book that engaged me on my hiatus from blogging is one I picked up on somewhat of a whim as it looked like a fascinating read. I wasn’t disappointed, as ‘Subnature: Architecture’s Other Environments’ by David Gissen, quickly became impossible to put down. The reason? It really tackles some interesting terrain that is definitely at the fringes of architecture and landscape, which typically addresses the realms purity and order, whether in terms of materials or the messy nature in cities.” –Landscape and Urbanism

“Just the idea of exploring the design implications of Atmospheres include dankness, smoke, gas, and exhaust; Matter contains dust, puddles, mud, and debris; and Life includes weeds, insects, pigeons, and crowds gets me salivating. I’ve yet to read this, but Gissen seems to have tapped into the world of Dross, rust, derive and other relevant under-appreciated aspects of our material culture.” –Archinect

“In Subnature, David Gissen, author of our critically acclaimed Big and Green, examines experimental work by today’s leading designers, scholars, philosophers, and biologists that rejects the idea that humans can somehow recreate a purely natural world, free of the untidy elements that actually constitute nature.” –Dexigner

“In his book Subnature, the architectural historian David Gissenprovides an etymological history of debris as it pertains to our perception of ruins.” –TripleCanopy

“There is little point in me repeating what David Gissen has put so beautifully and engaging in print. This is simply a must read, if you are prepared to take the plunge and be prepared to see the world, and definitely your work, with different eyes.” –UrbanTick

“…a clear, well-structured analysis.” –archinnovations

“As the title suggests, however, Gissen’s contention is that these forms not only advance more novel relations but deserve their own distinction from`nature.’ He claims that while these alternative forms are not separate from nature, they are perceived to fall beneath the strata of normative nature. To arrive at this new definition, he extends the metaphysical idea that if the supernatural world exists above humankind, the subnatural world must lurk below.” –Yale Architecture Magazine

Product Description

We are conditioned over time to regard environmental forces such as dust, mud, gas, smoke, debris, weeds, and insects as inimical to architecture. Much of today’s discussion about sustainable and green design revolves around efforts to clean or filter out these primitive elements. While mostly the direct result of human habitation, these “subnatural forces” are nothing new. In fact, our ability to manage these forces has long defined the limits of civilized life. From its origins, architecture has been engaged in both fighting and embracing these so-called destructive forces. In Subnature, David Gissen, author of our critically acclaimed Big and Green, examines experimental work by today’s leading designers, scholars, philosophers, and biologists that rejects the idea that humans can somehow recreate a purely natural world, free of the untidy elements that actually constitute nature. Each chapter provides an examination of a particular form of subnature and its actualization in contemporary designpractice.The exhilarating and at times unsettling work featured in Subnature suggests an alternative view of natural processes and ecosystems and their relationships to human society and architecture. R&Sien’s Mosquito Bottleneck house in Trinidad uses a skin that actually attracts mosquitoes and moves them through the building, while keeping them separate from the occupants. In his building designs the architect Philippe Rahm draws the dank air from the earth and the gasses and moisture from our breath to define new forms of spatial experience. In his Underground House, Mollier House, and Omnisport Hall, Rahm forces us to consider the odor of soil and the emissionsfrom our body as the natural context of a future architecture. [Cero 9]’s design for the Magic Mountain captures excess heat emitted from a power generator in Ames, Iowa, to fuel a rose garden that embellishes the industrial site and creates a natural mountain rising above the city’s skyline. Subnature looks beyond LEED ratings, green roofs, and solar panels toward a progressive architecture based on a radical new conception of nature.

Interactive Architecture, Michael Fox, Miles Kemp, 2009

 

http://www.amazon.com/Interactive-Architecture-Michael-Fox/dp/1568988362/ref=pd_bxgy_b_img_c

Product Description

Every year, a bevy of new phones, games, televisions, and electronic reading devices ride into our lives on a tidal wave of interactive hype. These i-products, while handy, primarily confine their interactivity to the surfaces of screens. Not exactly the kind of “world-changing” transformation we’ve been promised. In Interactive Architecture, authors Michael Fox and Miles Kemp introduce us to a brave new world where design pioneers are busy creating environments that not only facilitate interaction between people, but also actively participate in their own right. These spacesable to reconfigure themselves in response to human stimuliwill literally change our worlds by addressing our ever-evolving individual, social, and environmental needs. In other words, it’s time to stop asking what architecture is and start asking what it can do.

Interactive Architecture is a processes-oriented guide to creating dynamic spaces and objects capable of performing a range of pragmatic and humanistic functions. These complex physical interactions are made possible by the creative fusion of embedded computation (intelligence) with a physical, tangible counterpart (kinetics). A uniquely twenty-first century toolbox and skill set virtual and physical modeling, sensor technology, CNC fabrication, prototyping, and roboticsnecessitates collaboration across many diverse scientific and art-based communities. Interactive Architecture includes contributions from the worlds of architecture, industrial design, computer programming, engineering, and physical computing. These remarkable projects run the gamut in size and complexity. Fullscale built examples include a house in Colorado that programs itself by observing the lifestyle of the inhabitants, and then learns to anticipate and accommodate their needs. Interactive Architecture examines this vanguard movement from all sides, including its sociological and psychological implications as well as its potentiallybeneficial environmental

Designing for the Digital Age: How to Create Human-Centered Products and Services, Kim Goodwin, 2009

http://www.amazon.com/Designing-Digital-Age-Human-Centered-Products/dp/0470229101

  • Chapter 10: Making Sense of Your Data: Modeling PP 201~
  • Chapter 23: Evaluating Your Design PP649~
    • Why, When, and What to Evaluate
      • Why: Purposes of Design evaluation
        • Persuading people there’s a problem
        • Improving design
        • Helping designers choose between two approaches
        • Demonstrating design’s effectiveness
        • Gathering kudos for marketing
      • When:
        • Formative 形成期の（形容詞）
          • helps you to know whether you’re on the right path
          • may focus on a single interaction
          • can do the evaluation anywhere along the way
        • Summative　要約期の
          • polish adds and ends
          • most effective when you have complete/nearly complete design
        • Comparative
          • two or more products or concepts against one another
          • could be either formative or summative
      • What:

Product Description
Whether you’re designing consumer electronics, medical devices, enterprise Web apps, or new ways to check out at the supermarket, today’s digitally-enabled products and services provide both great opportunities to deliver compelling user experiences and great risks of driving your customers crazy with complicated, confusing technology.Designing successful products and services in the digital age requires a multi-disciplinary team with expertise in interaction design, visual design, industrial design, and other disciplines. It also takes the ability to come up with the big ideas that make a desirable product or service, as well as the skill and perseverance to execute on the thousand small ideas that get your design into the hands of users. It requires expertise in project management, user research, and consensus-building. This comprehensive, full-color volume addresses all of these and more with detailed how-to information, real-life examples, and exercises. Topics include assembling a design team, planning and conducting user research, analyzing your data and turning it into personas, using scenarios to drive requirements definition and design, collaborating in design meetings, evaluating and iterating your design, and documenting finished design in a way that works for engineers and stakeholders alike.

“Kinetic lights” by WHITEvoid

“Kinetic lights” by WHITEvoid

 

“Kinetic lights” consists of a flexible arrangement of remote controllable cable winches with attached LED light modules. Each light module can be adjusted individually in height and luminance by the control software. By synchronizing position and light animation, complex shapes and light patterns can be generated within the array. Any number of winches can be arranged in any spacial configuration. Various LED modules can be attached to the system to form individual custom solutions. White, colored or full RGB LED modules can be attached to the flexible system to produce individual custom solutions.

kinetic lights is a product by WHITEvoid

http://www.kinetic-lights.com
http://www.whitevoid.com