Year Book 2009 - Master in Interaction Design

focus on Workshops

INTERACTION DESIGN YEARBOOK

http://www.domusacademy.com

focus on Workshops

INTERACTION DESIGN YEARBOOK

http://www.domusacademy.com

INTRO

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The 2009 Interaction Design Master Course of Domus Academy represents the highest synthesis of the mating between acclaimed Italian Product Design heritage and modern ITC solutions and platforms.

As an ongoing endeavour in the tradition of field-research and practice, the Interaction Design Master touched and investigated a wide variety of design topics.

Each time the programme tried to question existing “off-the-shelf” design solutions, actively seeking for emergent problems and novel challenges.

Challenges whose origins can be traced back to a variously compounded set of contexts.

Throughout the first part of the Master Course, there has been the constant effort to actualize the School’s motto: “Learning by Designing”. Students constantly tested their own and the newly acquired skills against briefs that encompassed fields of application ranging from personal equipment innovation (a familiar mass-design topic),

to custom-designed solutions for specific public settings (public-design); from design interventions to stir debate and reflection (affirmative-design), to enabling DIY platforms and toolkits for individuals and communities (personal-design).

Amidst skill based exercises, lectures, round-tables, and the 5 major workshops, the 15 international Interaction Design Students have been tackling issues pertaining community engagement and public spaces renovation, envisioning novel interaction modalities for public settings. Subsequently the class faced the challenge of bringing innovation in retail spaces while harnessing the potential of visual interfaces and dynamic information visualization.

The exploration of different design research resources and methodologies, was carried out within the overarching framework of an in-depth investigation of sound and aural interactions.

With the 4th workshop, the focus was eventually brought on the “make” factor.

focus

SKILL based WORKSHOPS

CROSSING DESIGN seminars

January

WS#02

WS#04

WS#01

February

WS#03

march

april

WS#05

may

june

The objective was devising and prototyping solutions for exhibition spaces, engaging potential visitors by means of digitally augmented interactions with the exhibits.

The last workshop laid itself to a more and systematic and strategic approach asking to envision solutions catering to the needs of such a complex and multi-layered event as the 2015 Expo.

The project aimed at deploying, for the city of Milan, a whole new set of services and lightweight infrastructures.

The yearbook wants to record an entire year of design challenges, of projects, proposals and quests for meaning in Design, Technology and Innovation. It also wants to witness the effort, of both students and faculty body, to explore always new territories to validate the effectiveness and the added values that the Interaction Design approach is capable to contribute to the largest debate within Design Disciplines.

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FINAL PROJECT

july

august

september

october

november

december

TIMELINE

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5<

WORKSHOPS

WS#05 VIA DI TERRA

WS#04 BRAVE NEW MUSEUMS

WS#03 SONIC’S

WS#02 V-TAIL

WS#01 LIGHTLIGHT

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http://projects.domusacademy.net/led_2009/

WS#01 LightLight

*project leader Stefano Cardini

*assistant Renzo Giusti

“I’m looking for the qualities that do not perform / in this human race / which loves watches / and does not know Time” Giovanni Lindo Ferretti

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(self)sustainability light Interaction behaviours/relationships

investigating the design qualities of light both as medium and as material of sensorial expression.

http://projects.domusacademy.net/led_2009/

*WORKSHOP brief

LightLight INTRO In times when light was a scarce resource, it was that scarcity itself to determine its value. Light had a practical but more symbolic function; people would gather, talk, exchanged experiences and opinions around a source of light; light required care, time, dedication, not just pressing a switch. Today light is an overflowing resource, and such abundance and ease of access cause a wastage of energy and a loss of meaning at once. Each of us can have as much light as we want, wherever and whenever we want, and switching on a light is more and more rarely accompanied by a symbolic meaning or a greater commitment than just pressing a button, or a sense of sharing a space or activity. In the next 5 weeks, we’ll be working on the hypothesis of reducing and focalizing light sources and the amount of energy used, in order to save resources and increase the symbolic value of light.

We’ll focus on the relationship between light and its interaction with the community enjoying it, and we’ll try to move the focus from the quality of the material base supporting the light to the quality of its performance.

SCALE The project is meant for public spaces in a large city; such use of light can be divided into two subcategories: 1) FIXED URBAN INSTALLATIONS - objects which, by their nature and modes of installation, are located in public or semi-public places, and are not removed after use.

2) PERSONAL/PORTABLE OBJECT - personal, portable or transportable objects, small in size and weight, which may take on a meaning or function for the individual owner, or perform additionals functions when used by several people, in public or semi-public spaces, possibly by putting together multiple objects, in order to obtain a sort of macro-object, temporary shared by a small community.

functions & sustainability The project is not about simple functional illuminating objects: it actually involves developing a

high performance, in terms of creating sense, relations, interaction between people and between the latter and the object designed. However, the theme of sustainability suggests that objects shouldn’t be designed as gadgets with limited use and duration, nor should they be “sleeping objects” waiting for special occasions to give sense to their existence for a few minutes (just think of the Christmas lights: stored somewhere for 11 months, just to be used for a few days).

The possibility coming up involves the creation of polymorphic objects that can be functional and emotional at different stages of their life-cycle, and shift from one use to the other, in order to respond to the stimuli coming from outside.

interaction & meaning Nowadays, our degree of interaction with light simply tends to be confined to the “turn-on/off” function, in some cases we may direct the light source or adjust its intensity, but never or hardly ever do we intentionally act on the symbolic value of light. Yet we all immediately do perceive and evaluate this meaning: a room lit by pale blue neon conveys a precise meaning, and so does a half-lit house, the light of a fireplace, a candlelit dinner, a street-lamp that is switched on and off in a rather dark street...

The project you are expected to work on should involve a high level of expressiveness, and interactivity, which - as well as being aimed at the use by a single individual - can be better designed for use and enjoyment by small and large groups of users.

OUTRO When talking about time, Giovanni Lindo Ferretti, wrote: “I’m looking for the qualities that do not perform / in this human race / which loves watches / and does not know Time” I think it’s a nice thought, which can also be applied to light.

Enjoy your work.

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http://tinyurl.com/pear-light

PEAR is an interactive light project focused on improving the character of public light throughout Milan. The project asks the community to capture light that expresses not only aesthetic preferences, but also places or experiences in Milan. Light is captured with PEAR lights distributed via vending machines. PEAR lights attach to modular mounts which negotiate interactions between lights and share solar and kinetic energy collected via attachments. The mounts allow diverse installations at public, semi-public, and private scales and help finance the project through sale to individuals.

Joshua Juneho Suh, LiYin Chiu, Nicholas Artis Wallen

Jung Hoon Lim; Lin Ying Kuo; Pinak Parekh

Vivid Leaf aims at creating a relationship between people and the environment. We chose the leaf to symbolize this new communication bond between people and light because like a real leaf our concept will react to environmental factors like natural light. To facilitate interaction with and people, our leaf also adjusts to bystenders and passersbysâ&#x20AC;&#x2122; actions. Depending on the situation, our multifunction street lamp system can serve as shelter, light and/or a seat.

In short, Vivid Leaf is an interactive system which changes itself for catering to peopleâ&#x20AC;&#x2122;s needs in public settings through its position and use of light.

Pear

Vivid Leaf

Moo Lamp is a system to provide a new way to interact with park through light. This system will be activated by the actions of the people in the park as opposed to the traditional poblic lighting system. Each lamp will respond to mainly three kinds of interaction: shaking, rotating and pushing. Through the system the people will be able to affect the quality of light in terms of colour and intensity of each lamp and of the overall system. Each lamp is connected to others through a luminous trail which shows the direction of the energy flow. The people can thus define the overall look of the park through colors.

Sheetal Ingolikar, Chen Lei, Carlo Zapponi

Moolamp

p. 13>>

Orion is a system that helps users navigate around the city by providing dynamic information about nearby services, institutions, areas of interest and special events through the use of luminous icons. In maritime navigation, light from the stars helped guide sailors through the oceans. Our goal is to have light once again be a source of information in aiding people in navigation. Orion will provide useful information to both visitors and locals in a universal format. Once this language of icons and lights is accepted we envision that this in turn could help reduce the pollution from existing signage, lights, and information.

Fennel Chang, Andrew Chao, Heonjae Jung

Orion

p. 12>>

I-Ball introduces new ways of decorating and illuminating the city.

Currently, public lights are fixed lighting fixtures that neither require nor encourage any interaction from the citizens. I-Ball aims at adding movable lights that, in turn, will lead people to gather around, create new energy in the city, and express their own identity and personality in public spaces. I-Ball introduces a lighting system with a behaviour that fosters new, unexpected and exciting methods of interaction with the light. This, in turn, will bring a new night-life to Milano.

Yu-Chang Chen, Yun Hye Choi, Ling Yang

I-Ball

http://projects.domusacademy.net/v-tail/

WS#02 V-tail Visual interfaces for surprising retail experiences

*project leaders Elena Pacenti, Chiara Diana

*assistants Renzo Giusti, Roberta Tassi

how to enhance the retail experience through digital augmentation of the visual elements in shopping environments.

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DIGITAL RETAIL User Experience Visual interaction Space augmentation

http://projects.domusacademy.net/v-tail/

*WORKSHOP brief

V-tail AIM The workshop aim is to learn skills and knowledge in visual design, information architecture and information visualization with particular respect to interface design. The course comprises two distinct threads of activity, to sharpen basic skills in GUI design the firsts and to develop a major project the seconds.

FRAMEWORK The shopping experience into retail spaces must be urgently reinvented up against some phenomena that are radically changing the relationship among consumers, brands and products.

01 the actual financial crisis and consumption cut downs that make people to evaluate purchase with a new sobriety and consciousness.

02 the exponential diffusion of internet services that finally introduced new effective ways to buy, comparing products and prices, proposing secure and convenient transactions 03 the diffusion of a confessional and connected culture through internet that is radically changing the relationship among consumers, brands and products, where people comment without filters, get informed in advance about products and discounts and coming collections, share ideas and opinions.

The store cannot be a place for pure transaction and consumption anymore, it has to propose new service advantages and new reasons to go.

The new retail experience cannot either be just about entertainment and marketing seduction, but looks for meaningful service empowerment: competence about products, sense of community and belonging, actual personalisation and added value. The emotional and relational dimension of the experience must cohabit with service effectiveness, rational choice and transparency.

GOAL The seminar wants to investigate the potential of the new media and tools embedded into shops and department stores as a way for augmenting

the service experience within space and time.

V-TAIL is the digitally “augmented” retail space that visually interacts with customers during the shopping experience to provide innovative and meaningful performances. New media, visual displays and digital tools embedded into the shop are used as output of the interaction between users, the space and products. The interaction can be triggered by personal devices, personal id or by other kinds of input devices to be designed inside the shop, in combination with product and their packagings, elements already present within the retail space. The specific scope of the seminar is to focus on visual interfaces inside the store to positively interfere with the shopping experience. The big chains and department stores are the contexts where this kind of innovation can actually start: hosts of products and goods, wide product range, alternative and competitive choices, the volume of clients and visitors, self-service and semi-assisted selling models, make them an interesting test bed for “digitally augmented experience” interventions.

CONTEXT By the way, the shopping experience itself radically changes according to the kind of product you’re going to buy: the way we browse, we behave, we look at, we select, we choose and move are different. You will have to design the digitally augmented experience into 5 different retail types: fashion and accessories, food, consumer electronics, books and music, furniture and tablewear.

WHAT TO DO

STEP 0 / PHASE CHOICE Let’s choose a shopping experience phase. You’ll be working on this phase into the 5 different retail types first and then focus on one.

STEP 1 / 5x5 CONCEPT GENERATION Let’s develop an interaction concept for every retail types. Map today experiences, highlight opportunities, outline one concept per each retail type.

STEP 2 / 1 CONCEPT DEVELOPMENT Let’s develop only one of the outlined concepts by deeper exploring interaction details, elements of the system, visual interface as visible interaction elements.

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BOX

EXPERIENCE CYCLE Imagine to ideally describe the shopping experience as a whole in three big steps: PHASE 1 / ATTRACTION

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> TEMPTING AND SEDUCTION Consider how to enhance the way the shop attracts you as a potential customer.

The first moment of attraction can start from the outside: the facade, the window, the entrance, the welcome…

The moment of attraction continues while walking inside the shop, hanging around, exploring the space and browsing among the products.

The environment, the tools and products features become the means for keeping people interested and engaged. It becomes a seduction game in which expression capabilities and imagination become extremely important. An interaction based on communication dynamics whose objective is to keep high the interest of users. > ORIENTATION AND RECOMMENDING Consider how to enhance the way the shop orientates, proposes and gives suggestions among the offer.

The phase in which the user starts taking his own path into the offer/shop.

The store must tune the characteristics of the offer with user needs and expectations. The physical structure of the space and of the artefacts permits to establish a direct relation between presented products and digital information giving a body to the interaction with the information.

PHASE 2 / ENGAGEMENT > COMPREHENSION AND COMPARISON Consider how to enhance the way the shop supports the user’s choice.

A stage of experience in which people try to choose and evaluate the alternative opportunities they see in the complexity of the offer.

The Experience Space is an inspirational environment where the user can collect the elements for the personal experience, to confront different products and to access detailed information and descriptions.

According to different context and product types, the shop (the environment, the shop assistants, the tools, the product displays..) must be able to support the choice by providing and filtering information, showing and explaining features, advising, comparing products, suggesting combinations and variations. > TESTING AND EVALUATION Consider how to enhance the way the shop supports the moment of testing and the collection of feedbacks.

The phase of testing is an important moment of truth for brands and retailers: it is the situation in which the user touches the product and often easily expresses its opinion and thoughts. It’s the moment of testing the performance, the occasion in which to activate the senses, in which to express feed-back. It includes the action of testing (a suite, a pair of boots, a cap), manipulation of objects, demonstration (of the functionalities of a product), taste (food..), composition (of some variations or components).

PHASE 3 / EXTENSION > CARE AND SEDIMENTING Consider how to enhance the way the shop cares about and keep in touch with clients after shopping. Clients are not often cared about after buying and customer loyalty is not often rewarded into physical retail context. The retail experience can evolve in time creating the opportunity to establish a durable relationship. That’s why the store can actually design new ways to keep in touch and dialogue with the customer even after shopping. The care can be a simple gesture of attention and rewarding, as well as a more complex system to maintain the relationship through other media. It can involve the moment of paying for the product bought, the packaging of products, the waiting time.

p. 13>>

V-Fit addresses a particular situation, which is however common: doing purchases for people who are not in the store. V-Fit, hence, works to enhance the way the shop supports the moment of testing in fashion and accessories shops. The visual interface helps to describe a person in terms of height, width and overall body shape using different body languages and gestures. V-Fit thus provides an aid to chose and test garments in all those circumstances when actual testing is not directly possible. This provides an added value to the overall shopping experience by engaging the user and offering support in an innovative way.

Sheetal Ingolikar, Heonjae Jung, Yu-Chang Chen

Celine Yang, Pinak Parekh, Nicholas Wallen

Icon-aid focuses on enhancing customers’ effectiveness when browsing a large selection of laptops.

The system derives unique icons from customers’ laptop-selection priorities.

Each icon appears next to up to nine laptops on an interactive screen. The icon varies in size according to each machine’s fit with the priorities. Selected Icons based on similar sets of priorities are visual siblings providing quick visual filter Icons are also interface elements. When in front of a laptop a customer touches an adjacent icon to see an interactive visualization which compares the recommended machines associated with the icon and the current laptop.

V-Fit

Icon Aid

p. 12>>

The retail experience cycle is based on three steps: attraction, engagement and extension. V-Farm is a visual iterface for retail spaces which specifically works to enhance the extension phase, focusing on rewarding customers’ loyalty to establish durable relationships. The system reproduces a virtual farm in which customers can cultivate, share and harvest their own seedlings. After harvesting customers can exchange their virtual fruits for real products. In store interaction is based on touch screens placed at accessible positions in the retail space. Remote access is provided through a web site and an application for mobile phones.

Lin Ying Kuo, June Ho Suh, Carlo Zapponi

V-Farm

eKoo is an interface for creating a link between people and the music they like. eKoo engages people in unexpected music discoveries, as well as creating a supplementary outlet for shops. To have a taste of latest music releases, people will be able to interact with a dynamic shopping window display. The system connects the shop with its storefornt allowing people to exchange recommendations and suggestions.

Through Bluetooth pairing with digital players and mobile phones, passersby could also purchase the recommended tracks. eKoo will ultimately enable an easier access to music, leveraging on community building dynamics through informed suggestions.

Yen-Ling Chang, Li-Yin Chiu, Yun Hye Choi

Ekoo

Click! is a system for fashion stores that provides orientation and recommends products. The system first surprises the user by posting a candid photograph of the user on a nearby screen made to look like a mirror or poster. The user’s photo will be superimposed with a random selection of clothing from racks neighboring the visual interface.

The user will then be able to interact with the interface to browse through other recommendations.

The orientation aspect of the visual interface will be subtle encouraging the customer exploration of the store assortment without being too intrusive or prescriptive. In short, Click! enhances the exploratory shopping experience at fashion stores.

Andrew Chao, Chen Lei, Jung Hoon Lim

Click

http://projects.domusacademy.net/sonics/

WS#03 sonicâ&#x20AC;&#x2122;s Investigating by designing the expressive potential of sonic experience.

*project leader Claudio Moderini

*assistant Renzo Giusti

how to explore the expressive potential of aural stimuli, to develop sound-based interfaces hightlighting the complementarities of visual and aural expressions. > 16

Sound design Soundscape Phonic Interfaces Audio/VIsual Interplay

http://projects.domusacademy.net/sonics/

*WORKSHOP brief

Sonic’s INTRO Human beings are multi-sensorial entities by nature.

Mono-sensoriality is just a product of our culture that highlighted some physiological peculiarities of the different senses.

On this premise, then, arts have deepened a hiatus between the visual and the aural dimension.

A division which was further reinforced by the historic separation of training paths for the different disciplines.

Western culture has witnessed a predominance of sight above all other senses.

Aural sense, has also been explored and to some extent exploited, yet often in an isolated fashion, emphasizing its symbolic and aesthetic dimensions within the context of artistic expression – ie. music and movie –, but it has been rarely interested by integrated design interventions.

Aim of SONIC’S is to investigate by designing the communicative ad expressive potential of sonic experience.

SOUND IS Sound is a pervasive phenomenon it permeates the environment inhabited by humans. It can be as much an element which is taken for granted as it can be purposely designed for entertainment, for alarm, for …

Sound is a crucial “sensorial quality” that plays a key role in shaping the interactive experience with objects, spaces and services.

When dealing with acoustic media through technologiy, which are the emergent “ways of interaction”, which are the “materials” and the qualities of interactive phonic objects, aural services and sound spaces?

Sensorial qualities do play a key role in shaping the interactive experience. And of course sound has the means for enhancing and even radically changing the perception of a phenomenon Thus leading to unexpected levels of engegement.

UNDERSTAND | EXPERIMENT

AN AURAL QUEST Certain sounds are distinctive of an environment.

Certain sounds are purposefully chosen and even designed to create the mood, the soundscape of a place.

Places can have a distinctive aural identity.

Now embark on a journey discovering how different places sound. Investigate your surroundings. Collect evidence of the distinctive “sound” identities of places, buildings, events and even brands. Individual traits can be hidden in rhythms, noises, sound patterns and even more in music genres and playlists…

Examine your collections and by matching places with their sound patterns find the commonalities or the artificial mismatches between the ambiance, its distinctive qualities and how it is being populated with sounds.

Create an audio/visual mash-up.

Use the sounds you captured to provide a highlight, an emotional commentary, to render the athmosphere of a certain event context or space. Mix and match together audio samples working out a distinctive sonic language, which draws from the power of spoken word and codified music, yet as for RAP music, attains a new expressive power capable of reaching beyond the simple sum of its parts.

EXPLORE | POTENTIALITIES

COLLECTING REFERENCES Collect references of artistic expression, projects, installations, public performances and even applications that are either originally exploring or cleverly harnessing the potential and the qualities of the sound/music domain.

RESOURCE TOOLS Maximize your efforts and participate in a common process of discovering and learinig. The department used twine [www.Twine.Com], a platform for sharing resources. You are invited to contribute to sonic’s twine, by signing up and adding your findings.

CLUSTERING AND BENCHMARKING Analyze your findings in light of the aspects that they contribute to elicit. Group any functional and technical similarity. Take into account all the relevant features that pertain aural qualities, point out how they are being used and which issues they are addressing.

POPULATING A TERRITORY With the data collected understand where each of the instances could be placed in relationship to all the others and to the main axes of the territory identified.

Consider how each item is balancing between its visual and aural component and how it manages to engage its users.

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CREATE | Two Directions

Sonic’s aims at highlighting the complementarities of visual and aural expressions. Sonic’s wants to investigate and possibly point out a balance between the aesthetic and the productive domain; between the theoretical and the experiential.

It therefore points towards 2 threads: SONIC’S STAGE Sound and music are intended as aesthetical and communicative experiences. Emphasis is placed on on entertainment and sociability. Both noise and sounds provide the baseline for a streaming “life soundtrack”.

Potential areas of application: entertainment, spatial navigation and orientation, aesthetical experience, awareness and monitoring, musical experience, sound therapy SONIC’S SCAPE Listening to the environment. Using the territory for sedimenting stories and narrations. Favouring active exploration. Fostering new location-based narrations. Innovating storytelling by waving together multiple audio-streams on top of a specific topographic framework.

Potential areas of application: information sharing, cultural experience, memories and narrations, travelling and tourism guides and orientation, local content and knowledge sharing, audio based fiction (ar), visually impaired, locative gaming, language learning.

SHARE | Findings > 18

OBJECTIVES Identify and describe general objectives with reference to the proposed framework as if you were to present them to a potential client/investor MOTIVATIONS AND KEY ISSUES Try to position the envisioned solutions within the proposed framework, explaining their relevance to the main indicators in the selected work context.

CONCEPT SCENARIO Describe the project scenario you developed in a synthetic and clear way. Try to describe it like a system, including description of the supported activity, functionalities of the tools, characteristics of the context, role of the actors involved, type and quality of the content, technological features, viable alternatives, other considerations, etc.

KEY VALUES Point out and highlight the intrinsic values of the proposal from the perspective of the different stakeholders involved: user, client, content providers, promoters, sponsors etc.

FEASIBILITY Define the feasibility with regard to the technological choices, paying attention to the integration between the different media.

Pixonic is an application for smart phones and other portable devices which transforms images to sounds. Using a camera to take real time pictures, the software can generate interesting sound loops by scanning parameters of the visual contents. The user can interact and manipulate the generated soundtrack through some graphics editing functions. Another level of interaction is based on direct sound control.

To further customize the resulting sounds, themes selected according to user’s location are provided.

Sounds can be shared and published on the web through a social networking platform.

DING investigates the role of aural qualities in shaping the interactive experience.

DING is an innovative sonic interface inspired by musical instruments to access audio information in public spaces. It has various functions such as browsing the categories of sound, controlling the sound qualities (volume, tone, speed and continuity) as well as adding additional sound effects. It consists of a speaker as a metaphor to attract attention, slider for browsing the content categories, strings for activating and controlling sound quality and pegs for adding sound effects.

p. 12>>

Celine Yang, Heonjae Jung, Pinak Parekh, Carlo Zapponi

Li Yin Chiu, June Ho Suh , Lei Chen, Sheetal Ingolikar

p. 13>>

Pixonic

Ding

SoniFi is a system that manages a user’s communication channels and alters surrounding sounds based on user selections. By consolidating all forms of audio communication, SoniFi allows a user to easily answer an incoming call from any channel and automatically updates their status on the other channels to let others know about user’s availability. Using sound, SoniFi can alter incoming and outgoing forms of communication. The system can morph background noise or add a soundtrack to fit a user’s mood or desired perception during audio communication.

Andrew Chao, Yun Hye Choi, Lin-Ying Kuo, Jung Hoon Lim

Sonifi

http://tinyurl.com/memoir-video

Sonic Memoir helps people use sound to preserve their memories. The project is based around an online sound archive filled with sounds recorded throughout one’s daily life. Capture is preformed with the Picker, which is a small Bluetooth microphone connected to a smartphone. The Picker may be operated manually or configured to record automatically. The smart phone is used to manage sounds on the Picker and send them to the online archive. In the home, the Sonic Memoir Drawer facilitates an intimate, tangible relationship with the sound archive by allowing a user to attach favorite sounds to objects and browse his/her archive by date.

Yen-LingChang, YuChang Chen, Nicholas Walleng

Sonic memoir

http://projects.domusacademy.net/bnm/

WS#04 BRAVE NEW MUSEUMs Interactive installation design for museums

*project leaders Massimo Banzi, Alexandra Deschamps Sonsino

*assistant Renzo Giusti

how to create and prototype innovative ways of interacting with contents and information of a museum exhibit to engage visitors. > 20

Tangible Interactions Prototyping Physical computing content management

http://projects.domusacademy.net/bnm/

*WORKSHOP brief

Brave new museums Museums are commonly perceived as the shrines of knowledge, the institutions that are meant to preserve and, at the same time, promote the knowledge on different aspects of human activity. When talking about museums, thought naturally points towards fine arts and, more generally, to the territory of art and design. Several museums however are operating in totally different domains, where the aesthetic quality of the exhibits might not be the primary driver for the audience.

Many of these museums, usually around areas of science and particularly childrenâ&#x20AC;&#x2122;s museums, have been recently setting new standards in exhibition set-up, providing unexpected experiences and highly engaging discoveries.

Using the framework of the Archeological Museum of Valle Sabbia, in Gavardo, 15 international students from the I-design course are asked to devise interactive solutions, capable of engaging and captivating the museum visitors.

The workshop is meant to stimulate the students to explore state of the art technologies and appreciate their creative potential, while really understanding the context of the museum. They will be asked to develope and hone skills which they will have then to apply to the creation of functional prototypes.

These prototypes are meant to communicate the conceived ideas in a more engaging and direct fashion than a simple mockup. Tinker.it! assists in leading the workshop by the involvement of the 2 founders Massimo Banzi and Alexandra Deschamps Sonsino.

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Objective The objective of the present workshop is to encourage the Interaction Design Students to investigate and create innovative ways of interacting with the contents and the information that a museum would likely be communicating.

Projects, therefore, must pay attention on the level of performance of the final solution.â&#x20AC;¨ Students are encouraged to create functional mock-ups and prototypes of their ideas as both active experimentation and proofing tools of their design choices.â&#x20AC;¨ Ultimately the final concept must be illustrated by means of a working prototype which will outline the main features of the interactive system devised.

BOX

PHYSICAL INTERACTION LABS Throughout the first semester, a series of two-day Labs introduce different tools & techniques in physical computing.

In the skill-based sessions, students work both in groups and individually to complete short assignments and exercises.

The first Lab is Lowtech Sensors & Actuators, where students are introduced to wired logic electronic principles.

The second introduces Keyboard Hacking as a way to interface with a computer.

The third Lab introduces the Arduino platform as a way to define behaviours of prototypes according to interactions. > 22

SENSORS AND ACTUATORS On Thursday February the 19th the Interaction Design Class 2009, had its first hands-on experience of what was earlier introduced as ìsketching with thechnology.

Under the supervision of Massimo Banzi, the students followed an entire day, fullimmersion, experience experimenting and hacking with common electronic gadgets and “cheesy” interactive toys.

The scope and the objectives of the activity have been illustrated by Massimo Banzi, whith a short presentation of instructive case histories. Banzi displayed how such an activity can have twofold beneficial outcomes. First of all, the module is meant to be an exploratory activity encouraging participants to observe carefully the objects, even the most mundane, present in their surroundings.

Attention is therefore directed towards discovering how these objects work. The examination stage aims at unveiling which are the technical solutions implemented to make such gadgets responsive and delivering a sensible interaction. The second stage of the activity pursues the creation of a higher and deeper confidence with electronics, therefore making students aware of how certain results are obtained and instilling a familiar attitude towards experimenting with technology.

Massimo Banzi, then showed how the simple components found in ordinary objects, can be recombined and connected together for building up complex and interesting interactive objects. The basic electronics, operating simple toys or basic household tools, can be used as building blocks to develop sketchy prototypes of interactive systems. These objects, in turn, would work reacting upon stimuli triggered either by peole’s presence, their motion or their direct intervention on knobs, buttons and levers.

I-Design students, hence, were encouraged to start using all the interesting components they found in the innards of the electronic toys they had at their disposal.

KEYBOARD HACKING The second instalment of the I-Design Labs sintroduced a more complex technique to link together events using other kinds of quick hacks.

Keybords chipsets can become easily modifiable controllers to start prototyping interesting ways to bridge the physical and the digital world. As an introduction, Massimo Banzi showed a collection of curious and clever projects that thanks to a cunning selection of triggers: light sensors, infrared sensors, tag readers, cameras etc... have succeded in creative engaging applications.

In day 1 students have to refresh their recently acquired familiarity with soldering and basic circuit bending for developing a basic system for controlling animations developed in Processing. In order to add more fun to this phase, the students will be free to chose one among the many Processing Monsters collected by Lukas Vojir and use a conveniently modified keyboard chip connected to a set of sensors to control their monster’s behaviour. On day 2 the activity takes a slightly more sarious twist. Students are encouraged to quickly prototype some of the interactions they are envisioning for the projects they are developing during the V-Tail Investigation on visual interfaces.

http://tinyurl.com/tangiblecalculator-prototype

Work-it! concept is built upon objects, techniques and daily life of ancient civilizations. Work-it! Mainly addresses school children to teach them about ancient cultures and civilizations. The installation uses visual animated stories and real time experiences to let the visitors explore which were the daily tasks of ancient civilizations. Workit! using a set of props, stages different scenes of ancient life, with characters engaged in their work.

Visitors will be asked to collaborate with the characters using the prop-tools to help them successfully achieve their goals.

Yen-Ling Chang, Shetal Ingolikar, Pinak Parekh

Workit

http://tinyurl.com/sweetvase-video

Sweet Vase O` mine is an interactive installation conceived for the Sabbia Valley Archeology Museum collection of pottery artifacts.

Sweet Vase O` mine can let people overcome the glass barrier between themselves and antiques. Once virtually beyond the glass, people can observe much more details concerning the exhibits. Sweet Vase O` mine presents people a realistic simulation of an archaeological discovery experience right inside the museum. The installation, by harnessing a library of digital contents can help optimize the exhibition real estate, managing contents, which could virtually be unlimited.

Li-Yin Chiu, Lin-Ying Kuo, Yu-Chang Chen

Sweet vase o’mine Echo Echo is a system that immerses users in an alternate reality game by bringing a museum’s collection to life through the use of sounds. By placing a “stethoscope”-shaped device in front of the artifacts, users can listen to different sound effects and to the narratives of characters from the past.

These characters will ask the user to participate in a variety of quests. VIsitors will then have to explore the museum and investigate different artifacts to solve these tasks. These individual quests are tied to an overarching story, which aims to lead users through the whole collection.

Andrew Chao, Nicholas Wallen, Carlo Zapponi

Echoecho

>> p.

13

MixMix is an interactive puzzle game which is meant to promote the discovery of the museum exhibits by means of engaging game dynamics.

The puzzle is made up of six square tiles on which images are projected.

Users by shuffling the pieces change the images appearing on the tiles.

Once the puzzle is correctly completed, MixMix will be showcasing mutimedia contents about the specific subject depicted in the puzzle. Through playing with the puzzle and piecing out the virtual fragments as archaeologists, the young museum visitors will gain knowledge and become interested in archaeology.

YunHye Choi, Ling Yang, Lei Chen

MixMix

p. 12>>

The inspiration for Loupe Table comes from the observation of people’s behavior while watching details on slides by using a magnifying lens. This system provides a visual & audio contents browsing solution for people to navigate large multimedia libraries.

Loupe Table system consists of two elements. The first is a physical table showcasing arrays of slides. The second element is a display, which reminds the shape of a loupe (magnifying glass). By moving the Loupe towards one slide and closing up on it, people can trigger an augmented reality view of the slide, accessing supplementary contents.

Heonjae Jung, Jung Hoon Lim, June Ho Suh

Loupe Table

http://projects.domusacademy.net/2015expopath/

WS#05 via di terra

*project leaders

*assistantS

Setsu Ito, Luca Buttafava, Paolo Cesaretti, Robert Le Quesne, Domenico Pisaturo

Camilo Ayala Garcia, Konrad Bobrzecki, Maria JosĂŠ Fabregat, Mauro Dâ&#x20AC;&#x2122;Alessandro

territory identity Path navigation public infrasctructure community reinforcing > 24

how to conceive the new public infrastructure for the Milan of the future, leveraging on the momentum of the 2015 Expo.

http://projects.domusacademy.net/2015expopath/

*WORKSHOP brief

Via di terra The Land Way project consists of a visitor and theme trail which connects a number of locations and buildings of special note, and which leads from the Darsena to the future Expo site, a symbol of tomorrow’s city of Milan. The route, about 22 km in length, will allow visitors to admire the historic parts of Milan (often not that well known but with plenty of interesting things to see) as well as the large new regeneration projects designed by internationally acclaimed architects.

This is an ambitious project which, once completed, will be able to continue even beyond the Expo. This route can be covered on foot, by bicycle, or in low environmental impact vehicles, and will include some of the infrastructure projects planned for the city. Construction of the route will also provide an opportunity to adopt a coherent system of street furniture, or, where this is not possible, to install removable items whose purpose is to indicate the way. A further aim will be to carry out renovation and enhancement works on building fronts along the route, or to activate substantial renewal programmes for some historic city places.

The Land Way aims to welcome Expo visitors who want to visit Milan and get to know the city’s cultural sites, its old and more recent historical locations, combining art and enjoyment, with shopping and gastronomy. The Land Way will also be a way of enabling everyone to enjoy the city and move around it at a leisurely pace.

The “Via di Terra” Project will see 4 different possible declinations of the general brief, each one proposing an original take on the design challenge proposed by the Municipality.

DESIGN DOMAINS The Project will deal with the design of custom conceived Route facilities and services. Support facilities for visitors will have to be designed and then placed along the Land Way within existing public areas due for redevelopment or planned regeneration.

BIKE - STATION The bike station is menat to be where visitors will access services enabling them to cover the

route. They will be able to rent bikes, tandems, rollers, skate boards, etc..., as well as accessories.

Visitors will also be able to make use of facilities such as rest rooms and luggage lockers. Bike Stations will be located near the main transport nodes to offer visitors a sustainable mobility option for moving around the city.

GATES These entry gates to the route will constitute the points of contact and direct transit between the main route and the secondary theme routes, signalled by art installations which will act as strong features of attraction and identity for these places.

NAVIGATORS The Navigators will be specially-equipped locations enabling visitors to access information about the routes. Here, visitors will find information about distances, location of amenities, and so on. WI-FI networks will enable visitors to obtain supplementary information about the route or to use the Internet to find out other nearby points of interest.

REST - AREAS These areas will provide visitors with comfortable places to take a break in the open air during their journey across the city. Some themes and sub-themes of the World Exposition can also be presented in these oases of comfort.

LOOK-OUTS (LANDMARKS) Certain spots will be selected as features of the Milan skyline which will also serve as points of reference for orientation along the route. At the time of the Expo visitors will be also be able to access some of the taller buildings normally not open to the public, to get a panoramic view of the city.

ZERO - EMISSION BUSES Lastly, the Land Way will be served by ecological, open-air shuttle buses, fitted with multimedia equipment that will enable Expo visitors to enjoy the city’s various trails in comfort. These vehicles will be hydrogen-fuelled to promote zero-emissions urban mobility.

25 <

BOX *WORKSHOP brief declination 1

INVISIBLE TERRITORIESIDENTIFIABLE TERRITORIES Luca Buttafava

> 26

The main challenge of “Via di Terra” Project is not to be able to design, but to understand WHAT to design, WHERE, and for WHOM, establishing what will happen, HOW it will happen, and WHEN and WHERE this or that strategy must be applied rather than any other.

There are various SITES on the territory that quite often have interesting but HIDDEN IDENTITIES, and yet, since they do not manage to COME OUT, they are not RECOUNTED. Yet there are people who DO KNOW about those SITES, but since no one asks them for their ADVICE, and since no one gives them any CREDIT as treasurers, this PRECIOUS KNOWLEDGE will be lost one day. It is first and foremost fundamental to visit the TERRITORY, to explore it, experience it, touch it, photograph it, film it, and know it; it must be recounted

for the aspects that each and every one of you, as a designer, finds interesting, by CAPTURING unexpected motivations, that can transform the sites into IDENTIFIABLE TERRITORIES Identify WHAT could RAISE INTEREST FOR CULTURAL EVENTS that concern the COMMUNITY and part of the city, its identity, memory, traditions. You can choose to focus on one or more of these aspects.

What is important is to choose what type of users you want your project to address, and to define the TARGET you intend to engage.

THE ROUTE that connects the various locations that you are investigating with one another, must STRESS this RELATION; it must narrate the PASSAGE from one point to the other, allowing thus anyone to perceive small clues, which together convey an IDENTIFIABLE message. Think about guerrilla marketing or street art with stickers. Students must find a rich narrative that has the ability to stress the COLLABORATION between the groups of visitors since they’re all connected to one another along the route. The goal of the project is to define a system of relations, spaces, objects and media that can improve the visibility of the SITES; they must be welcoming, and reflect the essence of Milan’s identity.

BOX *WORKSHOP brief declination 2

MAKING SENSE OF TIME AND SPACE

Domenico Pisaturo, Robert Le Quesne â&#x20AC;&#x153;Via di Terraâ&#x20AC;? will be a predefined trail to discover Milan experiencing the history through the qualities of the spaces along the path. While present fruition of historical info happens primarily through books or exhibition labels, there is a real experience of artefacts and spaces which is not commonly accessible or officially recognized as history. Every object, every architecture communicates. The artefacts become the means through which their own story unfolds. Each space provides us with sensory mnemonics that trigger unique reactions for each individual. The use of technology adds a way of understanding our surroundings through the use of metaphor and interaction.

DESIGN OBJECTIVES All the projects should aim at developing concepts and scenarios of artefacts, spaces, systems and services that will permit us:

- to explore the role of interactivity in our society by exploiting its potentialities, by making tangible the intangible.

- to enhance the experience of the visitor in the space; - to tell the history/story of the place through the creation of an emotional resonance in the visitor.

REQUIREMENTS The proposed solutions should fulfil the following requirements: OBJECTIVES: identify general objectives with reference to the proposed framework, as presenting them to a client/sponsor.

MOTIVATION AND KEY ISSUES: try to position the envisioned solutions within the proposed framework explaining the objectives relevance.

CONCEPT SCENARIO: describe it like a system, including description of the supported activity, functionalities of the tools, characteristics of the context, role of the actors.

KEY VALUES: identify and describe the values of the proposal from the perspective of the different actors involved.

FEASIBILITY: define the feasibility with regard to the technological choices, paying attention to the integration between the different media.

27 <

> 28

Milan, the capital of design, misses some spontaneity in its everyday life. The city is tough and would risk not to be welcoming tourists coming in for Expo 2015.

The whole city life, however, shifts during Aperitivo time, which is a typical Milanese ritual. Parasite uses this gathering as a platform to amplify the city throught a process and not a product, and allows visitors to understand it through personal experience. This event is mainly located in a small park called Parco delle Basiliche, known for the big amount of places serving Aperitivo.

Dicle Begum Arslan, Faten Baassiri, YuChang Cheng

Para_site

Turists and visitors often have difficulties taking a perfect picture of themselves in front of touristic venues or other landmarks.

Pico provides a system that enables people to take self-portraits at memorable sites. Several cameras are placed in various positions and the portraits are taken from different angles, therefore adding a special quality to the shots taken.

For the 2015 Expo, Pico cameras are thought to be set up at scenic spots along the “Via di Terra” allowing a full documentation of those who will decide to walk the whole path.

Oh my guide! is an augmented reality application that aims at guiding people in the city using people as guides rather than maps.

Oh my guide! is a service of collaborative guiding: the user selects on his mobile a destination and the guide (another subscriber) that she/he will be following. By panning the phone users going to the same direction will identify eachother with a visual tag. The user in need of direction agrees to follow the guide and the guide agrees to be followed. This service connects people in the city and promotes interaction between locals and visitors.

The service features social networking functions for tracking/rating. p. 13>>

Yen-Ling, Chang Ling, Shu-Yu Wu

Tuğçe Ayan, Vasundhara Parakh, Carlo Zapponi

p. 12>>

Pico

Oh my guide!

History is the most precious sedimentation of a community’s collective memory and there is no denying that memory always evokes emotions. Memo purposefully awakens the memory of episodes of the city’s history by means of site-specific installations.

Several of those episodes are now forgotten and obscure because of the lack of meaningful connections to the original events which marked, also emotiaonally, certain city locations.

Memo by using architectural projections and other landmarking solutions, honours the memory of Milan’s past during the event of Expo 2015.

Lin-Ying Kuo, Yoshihisa Shinagawa, Hao-Ting Sun

Memo

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Fennel Chang, Andrew Chao, Heonjae Jung

Portami

Teaser is an augmented reality viewer for public places. Its strong visual identity and its features are menat to invite visitors to discover hidden sights/ sides of Milan, overlaping images of the past to reality. It allows the user to go through the different eras of the city and to live its past history in the course of an interactive experience.

Teaser makes the city interesting to the visitors and shows how the community has grown in the past. It is an interactive and engaging way of living the cultural identity of Milanese people and for the visitors to have unforgettable memories and experience.

Andréa Chagnon, Pinak Parekh, Didem Sakipaga

Jin Woo Han, Daniele Claudio Silvestri, June Ho Suh

T3 is a system of resting areas and information points made for the Universal Exposition that Milan will host in 2015. T3 is composed of 3 units of different design, made to be placed in three specific places of touristic and cultural interest in Milan: Triennale museum, Largo Africa in front of City Life building site and Piazza Sempione. The concept derives from the idea that as a tree provides a natural shelter and resting feeling while giving also fruits, T3 provides shading and in the same time information that users can be pick and store using a provided “e-guide map”.

Teaser

T3

For Via di Terra, the city of Milan needs to enhance certain pathways that will reveal hidden territories, while providing comfort for those participating.

Vision, is a wayfinding project that marks certain routes throughout Milan’s “Creativity Area”. Vision will create a light infrastructure to communicate the pathway through subtle, but reiterated graphic signage. Vision comprises also elements of urban furniture and lighting systems which utilize existing objects and surfaces expanding them and marking their presence as pointers to potential points of interest.

Angela Kim Faison, Arim Kim, Jung Hoon Lim

Vision

> 30

Vitacletta tries to take advantage of the large amount of tourists that will arrive in Milan for the 2015 Expo as a resource to bring new energy to the city.

Vitacletta is an enhanced bike rental service that also harvest the kynetic energy produced by tourists and visitors while pedalling, to activate amenities and touristic facilities located along the Via di Terra.

Abandoned areas will be transformed into places for people to gather and contribute exchanging along with the bikes rented also small quantities of energy that they produced.

Andrew Chao, Li Yin Chiu, Ying-Ying Li

Vitacletta

“Milano” aims at changing the attitude of people towards the city of Milan and let people explore all the lovely places the city has to offer. “Milano” is comprised of temporary experiences as well as a permanent solutions. The temporary solutions are two; ‘stamp of love’ and ‘love in the air’. The permanent solution gave freedom to users to express their views in terms of likes and dislikes about the city and eventually people can get a token of love for expressing themselves. “Milano” provides a solution to real problems by triggering public involvement to trigger richer communitygenerated experiences.

Akanksha Bhandula, Sheetal Ingolikar, Chen Wang

Milano

Finding your way or a place to rest is currently difficult in Milan, which makes the city sometime a difficult place to be in. City city bang bang is about making the toursits feeling more welcome. To achive this goal, City city bang bang will help tourists providing directions, useful information and also places to rest.

City city bang bang uses objects and structures already excisting in the urban enviroment so it can be placed on the narrow sidewalks that can be found all around the city.

Han Gwe Ahn, Peter Andersson, Yun Hye Choi

CityCity BangBang

Zonaterra Davide Bot, Nicholas Artis Wallen, Kim-Ming Yap Via di Terra is a connection between landmarks and all defined routes connecting them. With over 29 million visitors estimated during Expo 2015, it is imperative that visitors spread across Via di Terra, are interested in what the route offers, and are able to orientate themselves between the connecting landmarks.

Zonaterra, proposes to reclaim neglected intersitial space to turn dead green spots connecting landmarks into actual centres of interest: encouraging exploration and social interaction along the Via di Terra.

Sociocity Pelin Dumlu, Heonjae Jung, Eshaa Samantha Venkatesh Networking has become a key part of our daily lives nowadays. socioCITY aims at satisfying the growing need of person to person interaction by creating a live and interactive journal for an individual. socioCITY provides two systems, one catering to people who decide to walk and explore the city and the second for people who use the Bike Mi bicycle rental. In the first case a software application will create a live online journal for the user, which will update itself according to the users movements across the city. The second layer of the system will help people to navigate through the city by bike while keeping a data log of their journeys..

project leaders Massimo Banzi

> 32

Massimo Banzi is the co-founder of the Arduino project and has worked on many interaction design project for clients like: Prada, Artemide, Persol, Whirlpool, V&A Museum and Adidas. He spent 4 years at the Interaction Design Institue Ivrea as Associate Professor. Massimo has taught workshop and presented at institutions like: Architectural Association - London, Hochschule für Gestaltung und Kunst Basel, Hochschule für Gestaltung Schwäbisch Gmünd, FH Potsdam, Domus Academy, Medialab Madrid, Escola Superior de Disseny Barcelona, ARS Electronica Linz, Mediamatic Amsterdam, Doors of Perception Amsterdam. Before joining IDII he was CTO for the Seat Ventures incubator. He spent many years working as a software architect, both in Milan and London, on projects for clients like Italia Online, Sapient, Labour Party, BT, MCI World- Com, SmithKlineBeecham, Storagetek, BSkyB and boo.com.

Luca Buttafava Luca Buttafava received a degree in architecture at the Polytechnic University of Milan. In 1996, he attended the Interaction Design Course at the Domus Academy in Milan. He worked there for ten years, after traveling for work in Korea and Japan. He worked at Domus Academy, at DARC (Domus Academy Research and Consulting) as a senior researcher, and then began teaching and working as supervisor of Masters programs. Buttafava also teaches in other Italian and international institutes, and since 2001 he has worked extensively with the Polytechnic University of Milan, in the Design Department as a professor of Communication and Media Integration. In 2008, he become a member of NABA (Nuova Accademia di Belle Arti) as a Special Programs Coordinator in Milan, managing programs in the International Department. A partner of Id-Lab, his most recent team project is Venezia [exhibition] Architecture Biennale.

Paolo Cesaretti Paolo Cesaretti (1963), architect. After a short period at the Amsterdam based UnStudio, in 1998 Paolo Cesaretti becomes co-partner of vc a in Milan, specialising in exhibit and experience design. Among the most recent

achievements the studio has been selected for the ADI Design Index - years 2004 and 2008 - and invited to take part in the collective exhibition “VuotoXPieno / Temporary Architecture in Italy”. Today vc a is designing the new retail identity for leading Italian hypermarkets brand Ipercoop. Regular lecturer at SPD and guest professor at Politecnico di Milano and Domus Academy, Paolo Cesaretti is currently working as a design consultant and art director exploring the concept of designed space as a communication tool.

Stefano Cardini After obtaining a degree in architecture -in 1996- with a thesis about an innovative system integrating car pooling and car sharing, he decides that architecture is a good hobby. He spent 8 years working at Domus Academy on EU funded research projects (Presence, LiMe, MATS, Pogo); as art director at Domus Academy Research and Consulting he was responsible for DA brand identity and for several projects for DARC clients. In 2005 he moved to trivioquadrivio, working on projects bridging visual identity and organizational development consultancy.

He’s been teaching at DA, both in workshops and short courses, and since 2000 he’s teaching at Politecnico di Milano. He’s interested in the relationship between new and old media (and believes that they cannot be split, at the moment), and spends most of his efforts trying to represent complicate concepts in a simple way.

Alexandra Deschamps Sonsino Alexandra is an industrial and interaction designer. She attended the Interaction Design Institute Ivrea where she met the other founders of Tinker.it!. She has been involved in projects for clients such as Nokia, Motorola, Droog design, Thinglink, Jaiku, Blast Radius, fo.am and Blyk bringing creative and strategic leadership to multidisciplinary teams. She is an active speaker on the next generation of technology-aided product design and heads Tinker.it!’s operations from London.

Chiara Diana Communication and interaction designer, with a degree in Design at the Polytechnic University of Milan and a

master in I-Design - Interactive objects, spaces and services - at Domus Academy, Chiara Diana is Domus Academy Art Director. In 2003 she joined Domus Academy Research and Consulting Department (DARC), where she is responsible for communication and interaction design.

In January 2006 she has been appointed to Domus Academy Art Direction. She participated in the development of concepts, interaction design model and interfaces for MILK: MULTIMEDIA INTERACTION FOR LEARNING AND KNOWING and CARE!CREA projects. She has been responsible of the concept and design of signage system and environmental identity, in RCSMediaGroup building, ended in 2005. In collaboration with D.COM - communication design department of Polytechnic University of Milan - she designed the new face of EDIZIONI POLIDESIGN, academic publishing house.Since 2005 she is Adjoint Professor at the Faculty of Industrial Design at the Polytechnic University of Milan and at Arsnova Digital Arts Academy of Siena.

Setsu Ito Designer and Architect. After graduating in Japan at Tsukuba University, in 1989 he moved to Milan where first he worked for Studio Alchimia and then collaborated with Angelo Mangiarotti. Since 1995 he has been working between Milan and Tokyo in partnership with Shinobu Ito as a consultant for important companies such as De Padova, Edra, Sawaya&Moroni, PoltronaFrau, Dupont Corian, felicerossi, Guzzini, Nava, Richard Ginori, Colle-Vilca, Swarovski, Tiffany, Sony CP Laboratories, Hitachi, Sharp, Toshiba, Canon, Yamaha, Mitsubishi, TDK, Cassina Ixc and Toyo Kitchen&Living.He is also a Visiting Lecturer in Milan at the Milano Politecnico and at the Domus Academy and at the Istituto Europeo di Design, and in Tokyo at the Tama Art University and Tsukuba University. His work has been exhibited throught Europe and Japan and has received several awards. Some pieces are part of the permanent collection at the museum of Contemporary Art in Munich.

Claudio Moderini Born in 1965, interaction designer, he is director of the Master Programme in Interaction Design at Domus Academy. Since 1995 he is member of the research staff at DARC (Domus Academy Research and Consulting) and since 2000 responsible of the interaction and media design research activity. He has worked in several projects on interaction design and multimedia, developing concepts related to telecommunication, media spaces and graphical interfaces. He taught New Media Theories and Techniques at the Faculty of Communication Science of the University of Siena and Visual Communication in the Industrial Design Course at the Faculty of Industrial Design of the Politecnico di Milano. He lectured at Domus Academy, the Politecnico of Milano, Royal College of Art, University of Siena and University of Milano Bicocca, focusing on interaction design in enhanced media, art installations and network environments.

Elena Pacenti Graduated in architecture and PhD in Industrial Design, Elena Pacenti deals with the design of services, design of service interfaces and design of new media for everyday use. Since her graduation at the Polytechnic University of Milan, she investigated on service design theory and tools to be applied both in traditional sectors, from commercial to social services, and with respect to telecom and web–related services. Since 1996, she is part of the Domus Academy Research and Consulting (DARC), where she’s coordinating research activity on service design. As service and interaction designer at DARC, she developed projects for the European Union and advised for governmental and private agencies in Italy. She has coordinated the activities of DARC for the “Presence” and the “Campiello” projects, within the EU Esprit-I3 (Connected Communities) and “Milk” project. Since 1998 she is Adjoint Professor at the Faculty of Industrial Design at the Polytechnic University of Milan, where she teaches service design. Since 2002 she’s the director of Domus Academy Research and Consulting (DARC).

Robert Le Quesne 39 years old. Born in London, England, Robert studied Photography, Film and Video at the University of Westminster before becoming a founding member of multimedia design collective Antirom. Antirom pushed the boundaries of multimedia and interactivity and became internationally acclaimed working with clients such as Levi-Strauss, BBC Worldwide, and the Science Museum.

After leading the production teams of major London accounts such as Natwest and Banca Mediolanum at the global internet company Razorfish, Rob became head of production at the newly formed office in Milan. It was here that he developed the strategy ‘Digital Retail Space’, looking at ways of transforming the ways people interact with brands in physical retail spaces. He co-founded thebigspace to develop these ideas into workable client solutions. Since setting up thebigspace in 2002, he has developed cutting-edge experience design solutions for clients such as Levi-Strauss, Artè, Polo Ralph Lauren, Le Coq Sportif, Alfa Romeo, JC Penney and Replay Jeans.

DOMENICO PISATURO Born in Salerno in 1975, moved to Milan to study Business Administration at the University “Cattolica del Sacro Cuore”. In 1997 he begins his collaborations with Domus Academy taking part in the research projects “Lime”; “Presence” and “Campiello”, within the research programme of the European Community i3 under the direction of Marco Susani and Claudio Moderini. Still with Domus Academy, worked as an Interaction Designer on several commercial projects. In 2000 joined Razorfish as a Senior Interaction Designer and founded together with Rob Le Quesne (former Antirom) the department of Digital Retail Space, a research laboratory aiming at creating new concepts for technology integration within point of sales and exhibiting spaces in order to enhance the users involvement. At the same time he lectures in several Italian universities on User Experience and CRM. Visiting professor for the I-Design master course of Domus Academy, is an Associate Partner of Creative Communications since January 2002.

33 <

PROJECTS

PRJ#10 Pico

PRJ#09 Oh my guide

PRJ#08 MixMix

PRJ#07 Loupe Table

PRJ#06 Pixonic

PRJ#05 Ding

PRJ#04 V-Fit

PRJ#03 V-Farm

PRJ#02 Orion

PRJ#01 I-Ball

35 <

> 36

WS#01 I-Ball Orion Moolamp Pear Vivid Leaf WS#02 Click Ekoo V-Farm V-Fit Icon aid WS#03 PIXONIC Sonifi Sonic memoir Ding

37 <

WS#04 Loupe Table MixMix Echoecho Sweet vase oâ&#x20AC;&#x2122;mine Workit WS#05 Portami Memo Para_site Oh my guide! pico Milano Vitacletta Vision Teaser T3 Zonaterra Sociocity CityCity BangBang

http://projects.domusacademy.net/led_2009/?page_id=190

PRJ#01

*Team members Alix Chen, Yun Hye Choi, Celine Yang

WS#01 << p.

06

*brief LightLight

*project leader Stefano Cardini

*project title

I-Ball what is it?

> 38

‘I-Ball’ is a lighting solution based on movable spheres of light that leads people to gather around, create new lively spots in the city, and express identity and personality in public space. ‘I-Ball’ shows a new behavior for lighting system that triggers unexpected playful and exciting methods of interaction with light.

Each ‘I-Ball’ is 1.8 meters in diameter. The surface of the ball is semi-transparent PVC, which can protect the LEDs inside.

Meanwhile, the LEDs give off soft glows through the PVC surface. The surface is constructed with LED panels. In the centre of the lights, there is a system, which produces and transfers power to the lights and other activities.

HOW IT WORKS? The ‘I-Balls’ have many functions. First of all, they are urban lighting fixtures, which can be put in streets, parks and other public spaces to brighten the Second, ‘I-Balls’ are decorative elements that populate the cityscape and landscape with graffiti made of light. The ‘I-Ball’s’ surface is composed of touch screens that are connected to a sensor in the center.

Being ‘I-Ball’ a digital platform for self expression and creativity, people can alter the light’s color and brightness, change the pen’s pixel and color to simulate painting, and even stamp it with

some customized icons.

The spherical shape of ‘I-Balls’ permits to users to easily and dynamically arrange the lights in the environment, by simply pushing and rolling them.

‘I-Balls’ display different light effects on the basis both of people interaction and of reciprocal proximity.

For instance, people can play some kind of race games or matching games with other I-Balls, and during the interaction process the balls will show different reactions that have the scope to introduce some elements of variability within the game, stimulate people to gather and interact in a playful way.

value and potential In conclusion, I-Balls are integrating in one solution lighting and interaction. They aren’t just moveable lights. They promote a meaningful re-appropriation of public spaces, through selfexpression and playfulness.

Users will be able to elicit diverse feedbacks as soon as they use them. Hopefully I-Balls will encourage people to cooperate and share together efforts and ideas to beautify and decorate the town. For Milan, I-Ball will bring in a great opportunity to have a shinier and livelier nightlife.

39 <

http://projects.domusacademy.net/led_2009/?page_id=195

PRJ#02

*Team members Fennel Chang, Andrew Chao, Heonjae Jung

WS#01 << p.

*brief

06

LightLight

*project leader Stefano Cardini

*project title

Orion what is it?

> 40

‘Orion’ is a system of dynamic signage that uses light expressivity in order to help users navigate around the city by providing dynamic information about nearby services, institutions, areas of interest and special events through the use of icons and light. Orion will provide useful information to both visitors and locals in a universal format.

HOW IT WORKS? Being a fixed physical infrastructure that provides dynamic information about a location, ‘Orion’ will be situated on street corners as well as other strategic locations if necessary. The units will be positioned at a proper height so that people can spot ‘Orion’ from a fair distance and can quickly survey an intersection for available services, attractions, etc.

‘Orion’ structure is based on four panels with an “L” shape format. The angle of the “L”, so as the size and number of panels may differ depending on the actual location. On the panel is displayed the name of the street with an arrow that indicates the direction of the listed street as well as the direction of the services and areas of interest shown on that particular panel.

The top lit icon is for public transportation - buses, trams, and trolleys, so as for indicating pedestrian paths. The

transportation icon scrolls for displaying the different transportation units available in the area, showing also related information like estimated arrival time of a bus, distance and walking time to reach the nearest bus/taxi stop and so on.

Below the “transportation icon” other “lit icons” inform people about services, events and areas of interest along the street. A number next to icons indicates i.e.. the number of similar services currently open. The user can use a vertical touch-pad for scrolling through the listing of similar services to see the exact location of desired service and its relative distance from the current ‘Orion’ unit. Furthermore, some dynamic information about the service may also be shown. For example, if there are more restaurants along a street, the user can select restaurants and in the detailed info box they can see the type of cuisine as well as if the restaurant is busy or not.

value and potential As mentioned before, Orion can provide some real-time information. This can also include special events and/or emergencies. Orion also saves users time because one can quickly see what is available on adjacent streets without crossing the street or even walking down the street.

In the future, adding iconshaped lights in front of shops to correspond with the icons on Orion will make locating shops that much easier for visitors and locals. By spreading Orion’s “language” of icon and lights we could potentially reduce the existing mishmash of signs.

Each individual Orion unit, which is aware of its own streets, could potentially communicate with nearby units to further aid users by expanding the area it covers.

Orion could potentially guide users to services and destinations blocks away or further.

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http://projects.domusacademy.net/v-tail/?page_id=180

PRJ#03

*Team members Lin Ying Kuo, June Ho Suh, Carlo Zapponi

WS#02 << p.

*brief

10

V-tail

*project leaders Elena Pacenti, Chiara Diana

*project title

> 42

V-farm what is it?

‘V-farm’ is a virtual reproduction of a real farm in which customers can cultivate, share and harvest their own seedlings placed in public places and accessible also remotely. After harvesting, customers can exchange their virtual fruits for real products. In-store interaction is based on touch screens placed at accessible points in the retail space. Remote access is provided through a web site and an application for mobile phones.

HOW IT WORKS? The system consists of four main tools: a membership green card, the ‘V-farm’ lounge, kiosks, a web-site and a mobile phones application. When buying ecosustainable and bio-products customers collect points by way of their membership card. After collecting a certain amount of points they can use them for planting new seeds in the virtual-farm.

The card is the main tool for logging into the virtual farm, which is installed inside a lounge (in case of big stores) or in kiosks placed in strategic positions chosen in order to enhance post-buying experience.

Interaction in the ‘V-farm’ lounge is

provided by large scale touch screens through which users can manage, seed and share their fruits with other users.

The software serves tools for managing and sharing the seedlings.

‘V-farm’ access is also available through a website that gives each user a way to observe other user’s harvest and propose exchange and trade of cultivated products. A mobile application is supplied to users who want to have an overview of their own farm through their mobile phones and check exchange proposals.

The system cycle ends when fruits are ready for the harvesting and then they are exchanged for real products.

VALUE AND POTENTIAL The V-Farm system allows retail stores to improve the way they care about and keep in touch with their clients after shopping through a rewarding system that can educate people to a more sustainable “shopping style”.

Communities based on sharing and exchanging can be born around the virtual farm. Possibilities of interactions between people around the v-farm are endless.

Simple possible developments could be related to widen the set of activities and products in the virtual farming experience (i.e. bees, animals, etc.). A more structural potential development could be the installation of a real garden inside the shop where people can grow and share their real products through the help of a “green customer service”.

http://tinyurl.com/vfarm-prototype http://tinyurl.com/vfarm-scenario

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PRJ#04

*Team members Sheetal Ingolikar, Heonjae Jung, Alix Chen

WS#02 << p.

10

*brief V-tail

*project leaders Elena Pacenti, Chiara Diana

*project title

> 44

V-fit what is it?

The focus of ‘V-fit’ is to reinvent the shopping experience into retail spaces through visual interfaces to create a meaningful interaction between users, the space and products.

The specific scope of the project is to enhance the way the shop supports the moment of testing in fashion and accessories shops. The scenario of ‘V-fit’ implies a client that wants to buy a gift for somebody else. In this context it is very useful to visualize the person, who is not present in the shop, and choose the correct size of clothes for him.

The visual interface helps to describe a person in terms of height, width and overall body shape by way of body language and gestures.

HOW IT WORKS? ‘V-fit’ system is based on human gesture recognition technology that combines a set of technologies, such as infrared rays led array, camera-based recognition and capacity sensor-based recognition. In the standby mode the interface displays different images from the visual library and the users can choose the image which closely resembles the person to

be described. The interface reacts to the gestures and hand movement and enables the user to modify the image to suit his requirement. It is possible to modify the image in terms of height, width and overall body shape in the front and side profile. After completing the image description the system gives the recommendation for a suitable size of clothes for the person described.

value and potential The visual interface enhances the overall shopping experience driven by consideration of moments of engagement between people and space.

It helps to add a certain value to the moment of testing and provide a new entertainment to the user within the retail environment. The solution, V-fit, serves as a high adaptive interface for variable fashion stores.

Further potential development would be a printable version of the interface feedback which people can take away as a souvenir of their experience.

http://tinyurl.com/vfit-prototype http://tinyurl.com/vfit-scenario

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http://projects.domusacademy.net/sonics/?page_id=79

PRJ#05

*Team members Li Yin Chiu, June ho Suh, Lei Chen, Sheetal Ingolikar

WS#03 << p.

*brief

14

Sonic’s

*project leader Claudio Moderini

*project title

Ding what is it?

> 46

The focus of ‘Ding’ project is to investigate the role of aural qualities in shaping the interactive experience. The sonic interface of ‘Ding’ is inspired by string musical instruments, representing an innovative way to play audio information in public spaces. The system addresses four types of information such as sounds of the city (environmental sounds), stories and narrations, news and languages. It has various functions such as browsing the categories of sound, controlling the sound qualities like volume, tone, speed and continuity as well as adding additional sound effects. Ding is a new approach towards sonic interfaces to enhance the sonic experience through contribution and sharing.

HOW IT WORKS? ‘Ding’ is a series of interactive sonic urban artifacts consisting in a pole, a frame structure that contains the strings, a slider and a loudspeaker. Both the strings and the speaker are treated like 3D icons and have the scope to physically represent the main functionality that is playing with sounds and listening.

The slider mounted on the side of the frame is used for browsing and selecting the different functions, the string for activating, playing and controlling the sound quality and the pegs for adding sound effects.

By sliding up and down the slider it is possible to select the different audio

modalities, such as news, audio stories and narrations and translations into different languages, the access to different level of details within the same category is activated by rotating the slider along the vertical axes. The pegs serve the function of selecting the language options for news and narrations and for adding additional sound effects.

Brushing the strings activates the sound information, plucking harder increases the volume and plucking the upper and lower extremes of the string produces a variation of the tonality of the sound. In this way it enables the user to interact completely with the audio information and manipulate the audio qualities.

value and potential The sonic interface, Ding is a new and innovative approach towards audio interfaces and information.

It has more attractive and metaphorical appearance for public spaces in the urban context. It gives the opportunity to actively interact with audio information enabling contribution and sharing. In a way the sonic interface has the means for enhancing and even radically changing the perception of audio information.

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http://projects.domusacademy.net/sonics/?page_id=87

PRJ#06

*Team members Celine Yang, Heonjae Jung, Pinak Parekh, Carlo Zapponi

WS#03 << p.

14

*brief Sonic’s

*project leader Claudio Moderini

*project title

Pixonic what is it?

> 48

‘Pixonic’ is an application for smart phones and other portable devices, which transforms real time images into sounds creating a personalized, contextual soundtrack. Using a camera to take real time pictures, the software can generate pleasant sounds by scanning the visual contents. The user can interact and manipulate sounds through some simple graphics editing functions. Another level of interaction is based on direct sound control. Themes are provided to customize sounds and they can also be suggested by geo-location. Sounds can be shared and published on the web through social networking.

HOW IT WORKS? The application works in two modalities: exploration and expressive modes.

In the exploration mode, the software recognizes visual elements and translates them into sounds through an object detection algorithm. The camera embedded in the portable device catches real-time pictures to be analyzed and directly transforms them into pleasant sounds the user can listen to, and decide whether to save them or not.

In this modality the user can affect image properties by changing some basic parameters as brightness, zoom and contrast, this way the user can assist the software to investigate the visual elements and create new sounds.

In the expressive mode it is possible to directly interact with sounds, playing

with both visual and interactive elements.

The main idea is to give the user an interface to move sound scanners that detects meaningful spots in the taken picture, each spot represents a specific object based on shape and color.

Sound spots can be added, removed and moved inside the picture to define unique sounds. A wide range of themes are available to customize sounds, they are based on different instruments, rhythm and melodies from various music and countries.

A geo-location system provides suggestions based on the location the user has taken the picture from. As final step the user can save his/her sound and share it with other people through publishing it to the web and social networks.

value and potential Pixonic gives people, a chance to investigate reality in an unusual way: through sound. We believe that this application could change the passive attitude of the user and make him/her more active and discover the surrounding space in engaging ways, answering the question: “Maybe this sounds nice!”.

Increasing the creativity towards sound in terms of fun is not the only aim of this project, we also expect Pixonic to help the users to create memories of places and moments and share them with others. This last goal might be achieved with the adoption of themes, which will provide different musical experiences based on locations.

http://tinyurl.com/pixonic-scenario

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http://projects.domusacademy.net/bnm/?page_id=1023

PRJ#07

*Team members Heonjae Jung, Jung Hoon Lim, Joshua Juneho Suh

WS#04 << p.

*brief

18

Brave new museums

*project leaders Massimo Banzi, A. Deschamps Sonsino

*project title

Loupe Table what is it? > 50

‘Loupe Table’ is a low-cost augmented reality museums display for searching, browsing and displaying multimedia contents. By means of a small monitor mounted on a mechanic arm, the user can visually navigate through the detailed multimedia information related to the slides showcased on the light-table.

HOW IT WORKS? Loupe Table’s concept draws momentum from the assumption that often museums have large and unused collections of documentary materials, such as diapositives slides. Loupe Table brings these objects to the forefront, making them the vehicles through which actively engaging visitors and disseminating fresh contents.

Loupe Table consists of two main elements, an LED backlit light table, showcasing different arrays of slides, and a mechanic-arm mounted, movable LCD display, in its form factors reminiscent of a magnifying glass (or Loupe).

Users can move the display hovering it over the slides array. Stopping on top of one diapositive and closing up on it, will trigger a choice of multimedia contents associated with the underlying slide. A dial on the display side will allow selecting among the contents available.

On the technical side, Loupe Table slides cover several arrays of reed sensors. Every sensor, when triggered by a magnet placed behind the LCD display, activates the multimedia contents related to the overlying slide. The low range of the reed sensors caters to activating the supplementary contents only when the display is conveniently close.

The display constantly calculates its height from the light-table surface by means of an infrared sensor placed on its back part. This allows to accurately apply a zoom in effect when closing-up on the slides.

VALUE AND POTENTIAL The concept behind Loupe Table has been inspired by the action of analyzing diapositives on a light table with a precision magnifying lens. The intention was to harness an iconic act in order to establish a communication short-circuit. Loupe Table builds upon the resemblance with a familiar looking tool to suggest the system affordances and beguile visitors curiosity.

Loupe Table tries also to make the most of documentary archive materials that often lie unused in most museums. Quite ordinary objects such as slides are turned into real attention grabbers by accurate display layout and light set-up. Then the consistent use of a clear “mental model” makes them an effective digital content browsing solution.

http://tinyurl.com/loupetable-prototype

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PRJ#08

*Team members Yun Hye Choi, Celine Yang, Lei Chen

WS#04 << p.

*brief

18

Brave new museums

*project leaders Massimo Banzi, A. Deschamps Sonsino

*project title

MixMix what is it?

> 52

MixMix context of use is a small archaeology museum whose main visitors are primary school students. MixMix project is a mixed reality puzzle game made up of six tiles whose manipulation triggers the projections of artifacts images drawn from the museum collection. Scope of the game is to correctly match the puzzle pieces in order to obtain the picture of an artifact. This, in turn, gives access to multimedia contents about the artifact’s story. A new game is started each time the pieces on the table are shuffled.

Through playing with the puzzle game and piecing out the virtual fragments as archaeologists, the young visitors will gain knowledge about archaeology in an engaging fashion.

HOW IT WORKS? MixMix primary interface are six squared pieces every one of which is a cuboid of 12 by 12 by 3cm whose surface is used as a small projection screen. The pieces sit on an 80cm by 80cm square table with a semi-translucent surface.

A video-projector is positioned perpendicularly on top of the table in order to project on the tiles. Underneath the table an infrared camera tracks the position of the tiles. Each puzzle piece is identified by a fiducial ID, allowing the correct positioning of the portion of image associated to it.

MixMix game dynamic is simple and straightforward: users have to recompose correctly the image projected on the tiles surface. At the beginning of the game, fragments of an outlined museum item appear on the top of the cuboids. Shuffling the puzzle pieces on the table, will change the subject of the

puzzle. Stopping for 2 seconds on one of the outlined objects will select it as the object to be recomposed. A sound, then, will set start to the puzzle game.

Users, then, will have to match correctly the 6 tiles. At the completion of the puzzle, MixMix will trigger selected multimedia contents revealing details of the object shown on the puzzle. The Video content, for instance, can illustrate the story of the object discovery or alternatively of its restoration.

VALUE AND POTENTIAL MixMix most remarkable result is that it adds engagement and interactivity to a museum visit.

Furthermore it enables dealing with educational contents in an amusing and entertaining way.

This allows MixMix to be particularly fitting for the target audience of the museum considered.

MixMix game dynamic also appears to be suitable to the context of an archaeology museum, as it connects the element of discovery through manipulation to the archaeologists work.

Piecing out the virtual fragments, children can experience what it feels like to be an archaeologist. Therefore MixMix can be exploited to make education in an archaeology museum a fun activity.

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http://projects.domusacademy.net/2015expopath/?page_id=130

PRJ#09

*Team members Tuğçe Ayan, Vasundhara Parakh, Carlo Zapponi

WS#05 << p.

*brief

22

Via di terra

*project leader Domenico Pisaturo, Robert Le Quesne

*project title

Oh my guide! what is it?

‘Oh my guide!’ is is a service of collaborative guiding based on the interaction between two kinds of users: the guide and the follower. The follower is the one who is looking for guidance and direction and the guide is the one who offers to guide followers to their destination. > 54

HOW IT WORKS? The system creates a layer of augmented reality between the real world and the user by collecting and dispatching status message updates.

A follower in need to find out a guide, activates the software and pans his phone scanning his view-field. In real time, bubbles are overlaid above people who are going towards the same or a neighbouring destination.

The follower asks to trail the guide and eventually the guide agrees to be pursued.

Upon accepting to guide a follower, guide and follower are grouped together by the system. In the augmented reality application the guide will be then marked with a flag icon above his head while the follower will sport a sheep icon, therefore being recognizable to other ‘Oh my guide!’ users. Groups moving towards different directions will be color-coded, thus avoiding potential confusion.

Groups can be custom-created depending on featured citywide events or depending on users interests. Potential followers can get further information about the event the guide is bound for,

before deciding to create a group.

Followers can rate the guide, therefore creating an informal trust-network for other people to find out reliable guides or one that can speak a certain language.

‘Oh my guide!’ features functionality similar to any social network as – status, wall messages, groups, messaging, ratings and subscriber profiles.

The system supports alternative modalities of use: 1) Default modality, which caters to looking for and providing direction.

2) Game modality, in which users or associations can use ‘Oh my guide!’functionalities to set up urban games and alternate reality quests.

3) Volunteer modality, in which during the Expo the organization can spread volunteers around the city to help people in giving directions and providing support in different languages.

4) Bread crumbs modality: this is a modality in which users can drop geolocated, location-specific messages around the city, for sharing suggestions about shortcut directions, entertainment, amenities, restaurants, and hidden places.

value and potential ‘Oh my guide!’ provides an agile infrastructure for connecting people in the city. ‘Oh my guide!’ builds upon the social/virtual paradigm, translating it into the real world. The service potentially increases also the chances for interaction between locals and visitors/newcomers.

‘Oh my guide!’ can be used worldwide and potentially strengthens the city’s social fabric, making it more tourist friendly. Users can see the city through local people and can get first-hand insights on sites and places.

‘Oh my guide!’ featured ‘Bread crumb modality’ is potentially a huge area of development as it is a way of customizing the city through virtual location-based tagging.

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PRJ#10

*Team members Yen Ling Chang, Ling Yang, Shuyu Wu

WS#05 << p.

22

*brief Via di terra

*project leader Luca Buttafava

*project title

Pico what is it?

> 56

Tourists have often a hard time at taking a perfect picture by themselves, let alone taking shots from particularly scenographic angles. Pico tackles these and other similar situations providing an infrastructure of high-res digital cameras located in relevant sites around the city, to help tourists and visitors take self-portraits.

Pico will give the possibility of shooting photographs from a variety of different angles, engaging the users in discovering funny and cheerful poses. After the pictures are taken, Pico will take care of saving them, either forwarding them to the visitor’s email or storing them on the service community homepage. The photos can later be edited before sharing them on other social networks or they can be printed in an actual photo album.

HOW IT WORKS? Before starting to use Pico, users will need to subscribe to the service online or at one of several tourists information centre in town. After registering, users will be able to download Pico smart phone client application. A map of Pico’s virtual photo-sets locations will be available to subscribers to let them locate all the points of interests where the service is available. Several Pico cameras will be installed along major touristic routes, such as during the Expo the “Via di Terra”. Cameras will mostly be located at remarkable scenic spots, or in their vicinity. A number of devices will also be installed in curious locations enabling visitors to take funny pictures

from unconventional perspectives.Pico’s shooting sites will be made easily recognizable through an identifiable signage.

Pico Cameras installed in different positions are equipped with a variety of sensors in order to provide appropriate feedback before photographing the users. Shutters of cameras will be triggered upon detecting that the visitors are performing certain actions.

Certain, conveniently located, cameras will facilitate taking ‘candid-style’ pictures enhancing the unexpected factor.

After the shooting, users can immediately add their comments by sending the system a text message. The photo will then be saved to their email or on the Pico homepage for further editing.

VALUE AND POTENTIAL Pico provides an imaginative solutions to several inconveniences people experience while taking self-portraits. Pico takes high quality pictures from the most notable touristic points of interest. Pico provides users a special and cheerful experience by simplifying the process of taking realistic-looking candid-shots on particularly scenographic sites.

Pico’s system architecture is modular and scalable, allowing multiple solutions for its installation on different sites. Within the framework of the Expo 2015 initiatives, being placed at strategic locations along the Via di Terra, Pico will provide a valuable aid for capturing and sharing images of memorable moments experienced in Milan.

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LECTURERS

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Massimo Banzi / Franco zi / Gianluca Brugnoli Buttafava / Stefano Ca / Riccardo Castaldi / P Christiansen / Silvio De schamps-Sonsino / Chia kis / Francisco Gomez-Pa / Setsu Ito / Eugenia Lag Robert Le Quesne / Daria Manzini / Claudio Moderini / Simone Muscolino / Elen Pisaturo / Claudia Raimon bio Sergio / Francesca T res / Pietro Turi / Jan-Ch

Bolelli / Andrea Bran/ Ampelio Bucci / Luca ardini / Philippe Casens Paolo Cesaretti / Line De Ponte / Alexandra Deara Diana / Jozeph Foraaz / Gualtiero Harrison ghezza / Giovanni Lauda / a Loi / Eliana Lorena / Ezio erini / Francesco Morace lena Pacenti / Domenico imondo / Gabi Scardi / FaTassistro / Rodrigo TorChristoph Zoels.

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domus academy Domus Academy was created in Milan in 1982 as an open project around Italian experiences in design and fashion. Over the years DA has developed two major areas of specialisation, each enriched by mutual exchange with the other: the institution has established itself both as an international centre for postgraduate training and as a laboratory for research and consulting in the fields of design and innovation.

The Master In Interaction Design Domus Academy - Interaction Design Department Head of Department - Master Course Director Claudio Moderini Coordinator - Tutor Renzo Giusti Course Information Susanna Gualazzini info@domusacademy.it PH +39 0242414001 Admission and Registration Carmela Bongermino Loredana Lunasco admissions@domusacademy.it Art direction and graphic design: Chiara Diana, Francesca ValadĂŠ.

master course profile

MASTER IN INTERACTION DESIGN

The Master in Interaction Design, combining interaction design approach with a cross-disciplinary culture, offers the possibility of generating interaction design concepts and strategies, interpreting Information and Communication Technology (ICT) potentialities, and integrating design sensitivity with market-oriented technological competence.

The course aims to provide students/designers with practical and conceptual skills to carry out a â&#x20AC;&#x2DC;problem settingâ&#x20AC;&#x2122; activity using their imagination to develop concepts, scenarios and strategies based on the introduction of Information & Communication Technology in the everyday life environment.

The programme prepares its graduates for leading roles in the world of Interaction Design. Participants will develop skills and competences to get to different design and strategic positions, such as: Interaction Designer, User Experience Designer, Creative Director, Strategist and Design Director.