Keywords120303 Design Management and Studio and Professional Practice
120304 Digital and Interaction Design
Art Gallery Interventions
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Abstract<strong>Project Background and Impact</strong> This project was designed with the support of Marvel Studios, Los Angeles and installed at the Gallery of Modern Art (GOMA), Brisbane between May 22 and September 3, 2017. The exhibition called, ‘Marvel: Creating the Cinematic Universe’, became the most successful event in GOMAs’ history with over 15,000 visitors recorded in a single day. The exhibition included displays of some of the most iconic artefacts from popular Marvel films as well as props that came directly from film sets still in production and had not yet been seen in cinemas. In October 2016, Deb Polson was approached to pitch new interactive works to be installed at the exhibition that both displayed the Marvel brand and provided a unique visitor experience with the museum context. After pitching and refining six very different concepts, the MCU mobile project became one of three projects selected and funded for development and installation. Main deliverable considerations for this project were that it • Be aesthetically and mechanically polished • Be rigorous enough to withstand thousands of interactions a day • Is able to withstand the scrutiny of hardcore fans and Marvel experts • inspires interest in the Marvel Universe from non-fans • represents both the Marvel brand and GOMA community • be a colourful and playful experience for the younger visitors On the busiest days between May 23 and September 3 in 2017 there were over 15,000 visitors to the exhibition. Each day there were individuals and groups engaging with the MCU Mobile project. Most people who began the experience did not complete all nodes. The gallery staff observed that many of the visitors normally got distracted by the many other artefacts and installations throughout the In the month of August there was only 2917 completed run-throughs of the project and 15689 results leading to a possible compromise to Universe stability and 7647 towards creating a renewed stability to the Universe (see the Project Report for images). Not surprisingly, many of the GOMA curators and gallery members recognized and discussed the potential for this kind of experience to be used in similar ways for other exhibitions. Total Funding for this project was $66,000 (includes funding for other interactive displays developed for GOMA such as the Hero Mirrors and Mobile Experience) <strong>The Marvel Mixed Reality Mobile Experience</strong> To participate, visitors follow mission clues on their mobiles to find specific artifacts from across the MCU exhibition. The visitors are rewarded at the artefacts with a scene from the film in which the artefacts first appear. This is the prime linking moment when the mobile interface merges the artefact on site with a clip from the cinematic world. The design team observed moments of sheer delight as visitors recalled and relived important scenes relating to the origins of important artefacts and often in the hands of their beloved heroes and villains. The proximity to the artefact both in the fantasy world and physical one places the visitor directly in the middle of the intersecting realities. Consequently, when placed in the intersections of two realities, the visitor is transformed into an inhabitant of a mixed reality. Even more so, they are the site, the core the origin of that mixed reality. A secondary consequence is that the characters and artefacts of the fictional world are brought directly into the space in which the visitor occupies and imagines. The most immersive of experiences have the potential to resonate and transform a visitors’ personal relationship with the mundane everyday space in a continuing way rooted by the creation of new valued memories. There are nine missions in total and at the end of each the visitor is challenged with moral questions such as ‘In the Marvel Universe temporal manipulations can create branches in time. Would you manipulate time to save lives'? By selecting one of three possible answers the results are processed and an overall 'balance of power' is revealed at the end of the adventure. The stability of the universe is either stabalised by your decisions or compromised. This was designed to create a communal outcome to an otherwise personal activity. This project was explicitly designed in response to contextual research into the intended audience, partner needs and technological limitations. A <strong>Matrix of Extreme Stakeholders</strong> was developed as a guide to understanding the assumed and observed interactions that were designed and resulted from the intervention of this project in the museum space. <strong>Project Contributions</strong> When designing interventions for museum spaces it is inevitable that there will be interest and investment in the product by a variety of stakeholders from within the organization and from those associated with them such as exhibition sponsors. This investment goes beyond financial and includes criteria around pedagogical, social, cultural, technical and spatial dimensions and contingencies. It is important for the designer to incorporate as much of the broader and orbiting concerns of everyone involved that represents certain aspects of the museum experience. This is always to be balanced with the primary requirement of the design lead to complete the work within the agreed brief, budget and time. The project lead, Deb Polson, documented the key activities, resources and findings of the challenges of collaboration within the Museum context and with international industry co-operation. The Project Report (Polson 2017) presents key strategies for ongoing collaborations and leading design interventions in such contexts. Design and Implementation methods and models were also articulated, applied and refined to contribute to the formation of an interaction design strategy for mixed reality experience design. To assure visitors are able to participate in an effective located mobile experience a specific order of orientation, interaction, identification and expression was identified. Each level builds exponentially to expedite the level of the visitors’ participation from a simple tangible encounter to a complex creative contribution. Most significantly, a new model for understanding and achieving visitor Immersion Levels was also developed and presented in the Project Report (Polson 2017). This model can be applied to other related projects that intend to transform peoples experiences with other related Mixed Reality, Augmented Reality and Virtual Reality technologies.
Copyright/License2017 [Please consult the author]
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LIQUID METAL TEMPERATURE MEASUREMENT (SODIUM) STATE-OF-THE-ART-STUDY.United States. Department of Energy.; Hochheiser, J.S. (Atomics International, Canoga Park, Calif. Liquid Metal Engineering Center, 1968-01-01)
Kaupapa Māori [visual communication] design
Investigating ‘visual communication design by Māori, for
Māori’, through practice, process and theoryGardner, Tracey (2014-11-10)This work examines the field of Māori graphic design, and more specifically, kaupapa Māori visual communication design and process. Initially this research was conceptualised through a health communication project, and was extended to include experiences from practising Māori designers and an examination of print material in order to highlight apparent differences in process and practice when design is undertaken from a kaupapa Māori perspective. The research topic was chosen as a response to kaupapa Māori initiatives and Māori renaissance strategies of the twenty first century. The research is presented from a kaupapa Māori perspective and uses a post-structuralist method of enquiry. A ‘by Māori, for Māori’ or kaupapa Māori cultural framework is considered as differing from the current design academy in New Zealand. In order to examine and identify Māori cultural frameworks within a design process, four practicing designers were interviewed. When analysed these interviews offered valuable insight into personal experiences, values, beliefs, practices and processes, which is not necessarily identified in the current literature reviewed. Throughout the thesis, a recurring underlying theme presented itself concerned with the interaction of two world-views, that is, design and Māori epistemologies. It is the synthesis of both world-views and the space where these two intersect and meet that the thesis is specifically interested in. The investigation of kaupapa Māori design is limited to visual communication design; however, the process and specifications documented in this thesis are presented as dynamic and complimentary to other areas of Māori design and creative fields. The thesis also engages with wider discourses and practices through the analysis of practising designers’ narratives, design examples and literature reviewed. Kaupapa Māori design processes link intrinsically and directly with existing cultural protocols held within te ao Māori. These methods and procedures have been re-articulated within design discourse due to a need for cultural understanding when handling and using Māori cultural referents and knowledge. The increased demand for Māori iconography within industries both locally and globally has also initiated recognition of the need for clearer guidelines necessary to maintain the integrity and intent of the visual forms. The powerful and symbolic nature of Māori objects and artwork has instigated an articulation of tino rangatiratanga in order to construct and specify culturally appropriate methods and uses of Indigenous taonga in design industry.
The Electronic design studio : architectural knowledge and media in the computer eraMIT Press; International Conference on Computer Aided Architectural Design Futures (3rd : 1989 : Cambridge, Mass.); McCullough, Malcolm; Mitchell, William J. (William John), 1944-2010; Purcell, Patrick (Cambridge, Mass. : MIT Press, 1990-01-01)For centuries architects have carried out shape computations by hand, using informal procedures and the simplest of tools. Over the last two decades, however, they have made increasing use of more formal procedures executed by computers, a development that raises challenging questions of architectural theory and perplexing issues for those concerned with the future of architectural education. In four parts - theoretical foundations, electronic media in the design studio, information delivery systems for design, and knowledge based design systems - this book frames those issues and provides a diversity of perspectives on them.The Electronic Design Studio contains over thirty extensively illustrated contributions that discuss the experiences of universities in the United States, Europe, Japan, Israel, Canada, and Australia with computer-aided architectural (CAAD) design, articulate current theoretical and practical concerns, provide criticism of media and methods, and suggest directions for the future. Architectural educators and architects concerned with the effect of computer technology on the design process will find this book an indispensable reference. As a current review of the state of the art of CAAD and an overview of the major issues, this is the most comprehensive source available.