Summer school 2013 – The Dresden Damascus Room – the right object at the wrong time and place" by Professur Mediengestaltung

13 - 18 October 2013

Summer School

«The Dresden Damascus Room – the right object at the wrong time and place»

13 - 18 October 2013

Summer School

«The Dresden Damascus Room – the right object at the wrong time and place»

editor: Chair for Media Design Institute for Software- and Mutlimedia Technology (TU Dresden) editorial team: Esther Lapczyna, Franziska HannĂ&#x; & Jan Wojdziak design: Esther Lapczyna Dresden, 2013

Summer School

13 October 2013 / Dresden

The Dresden Damascus Room and

Textile Furnishings from the Middle East

Exhibition by the Museum für Völkerkunde (Ethnographical Museum Dresden),

Japanisches Palais (Japanese Palais)

The first part of the new permanent exhibition at the Museum für Völkerkunde Dresden provides insights into the colourful and ornate interior décor of a Middle Eastern home. An essential feature of traditional homes in the Middle East is the multifunctional nature of the rooms, in which decorative architecture and textiles predominate. The latter, in particular, enabled the room to be rearranged to suit different purposes. Thus, a reception room could quickly be converted into a bedroom just by repositioning the textile items kept in it. The central exhibit in the two rooms of the exhibition is the Damascus Room. This reception room from a luxurious home in Damascus was used for welcoming guests. The richly decorated wall and ceiling panels are worked in the style known as Turkish Rococo. In addition to geometrical and floral ornaments there are painted bouquets of flowers and bowls of fruit, as well as stylised landscapes and city views. Several inscriptions reproduce the verses of a pious interdenominational poem. They also contain a date which corresponds to the year 1810 AD and probably documents the date when the room was created.

Karl Ernst Osthaus, the founder of the Folkwang-Museum in Essen, had ordered the room and it was brought from Damascus to Germany in 1899. He initially stored it in his house in Hagen. After Osthaus’s death the room was donated to the ethnographical museum in Dresden, but it was not until 1997 that it was finally given the attention it deserves. It turns out that the Damascus Room is one of the very few Ottoman rooms of comparable design that still exist in museums outside the Middle East. The time-consuming process of restoration has not quite been completed. However, its current appearance already gives an overall impression of the room.

The Damascus Room

As well as the Damascus Room, the exhibition also presents colourful textile furnishings from the Middle East. A great variety of materials, techniques and patterns from different regions and population groups are on display: “Suzani” – large silk embroidered fabrics from Central Asia, so-called Turkish Towels from the Ottoman Empire, knotted carpets from Eastern Anatolia and sequinned embroideries, a printed cotton fabric and fine wool embroideries from Persia.

The exhibition about the Dresden Damascus Room builds upon the collecting tradition represented by the “Türckische Cammer” in Dresden’s former royal palace, the Residenzschloss. There, an impressive exhibition can be admired which contains not only lavishly decorated weapons and garments, but also expertly carved and painted life-size horses and segments of magnificent Ottoman imperial tents. The admission ticket to the Residenzschloss (including the Türckische Cammer) entitles the holder to visit the Damascus Room in the Japanisches Palais free of charge. (Source SKD)

A British Official dining with the Kaymakam of Istanbul, Anonymous Greek artist (1809) / Victoria and Albert Museum, London

vernissage

Werkbank

Media Design, TU Dresden

Werkbank

Die Werkstatt

Media Design, TU Dresden

Die Werkstatt

Vernissage â&#x20AC;&#x201C; Summer School

13 October 2013 / Dresden

Werkstatt is an interdisciplinary project aimed to create interactive prototypes for a wide range of applications. Every Werkstatt is half a year of theoretical sessions and intense practical work. The development process is based on the production of interaction metaphors. Starting with a specific set of shapes, objects or places interaction potentials are identified. In a second step a given application scenario is analysed. The identified interactions and scenario are united in an interaction metaphor. Finally a prototype is built. The Werkbank is an installation that demonstrates the different kinds of scenarios in the Werkstatt projects.

Tangible Interfaces Die Werkstatt

Media Design, TU Dresden

Tangible Interfaces Die Werkstatt

Media Design, TU Dresden

Vernissage â&#x20AC;&#x201C; Summer School

13 October 2013 / Dresden

During Werkstatt II tangible interfaces to control a smart house or a smart car have been developed. The design method of metaphor generation was used as general development process. Basic geometric objects have been examined with a focus on their interaction properties. Dealing with two scenarios, smart house and smart car, a breakdown of the topics included compiling of scenarios and personas. The objects have been manipulated further and used as a device for controlling features of a smart house or car. The range of prototypes leads from an outdoor-car-remote to an indoor-house-controller based on tetris shaped cubes.

Depth Touch research Group Cogito

Media Design, TU Dresden

Depth Touch research Group Cogito

Media Design, TU Dresden

Vernissage – Summer School

13 October 2013 / Dresden

Elastic displays address a challenge that current tabletop systems are facing: the lack of differentiated haptic feedback. While a very direct and natural interaction with virtual objects is possible with standard rigid multi-touch surfaces, they only provide uniform feedback for the user’s hands. Elastic displays promise to remedy this lack of tactile experience. However, other than displays that can be permanently deformed, they also maintain a consistency of shape and thus provide a planar display when not interacted with. Hence, they automatically revert to a default state that enables viewing an interface in a standard and well established way. In addition, elastic displays exploit natural physics since valleys and ascending slopes can be used to collect and disperse objects in an intuitive manner. In summary, elastic displays do not only allow 2D interaction, but add a third dimension to touch. In contrast to gestures performed in free space, haptic feedback is maintained. Hence, a tangible and embodied “membrane between real and virtual space” is available for interaction.

Elastic Wall research Group Cogito

Media Design, TU Dresden

Elastic Wall research Group Cogito

Media Design, TU Dresden

Vernissage â&#x20AC;&#x201C; Summer School

13 October 2013 / Dresden

Focus plane example application

Interacting with a projector screen is usually based on the mouse, keyboard or some kind of gamepad. There are large multitouch displays, which merge the input (touch) and output (display) onto on plane. This creates a rigid interface with rigid and in that way limited haptic feedback. The concept for an interactive elastic wall has been developed to put an extra dimension in touch displays. With the elastic wall we improve the haptic feedback and introduce a three dimensional interaction space. Furthermore the data can be explored in a local or global manner, which extends the depth in interaction.

Focus plane example application

Glove-based Interaction Techniques

research Group Cogito

Media Design, TU Dresden

Vernissage â&#x20AC;&#x201C; Summer School

13 October 2013 / Dresden

Improved Sensor-Octopus

Sensor-Octopus to test sensors

With embedded systems on the rise, computers as monolithic units are less and less the norm. Those systems are being integrated into the environment and seem to vanish from our eyes, they appear ubiquitous. Computer systems become independent from static infrastructure and cables by means of wearable and mobile computers, which are tied to the user. Those digital additions to clothes can change almost every part of the body into input and output for computer systems. Some parts of the human body are better suited to be used as computer peripheral, especially with the focus on solving tasks. The human hand with its thumb is to be emphasized as a fast and accurate tool. Our research focusses on how to use the hand as an interaction device for the mobile and virtual context and evaluate which sensor technology should be used.

Improved Sensor-Octopus

Sensor-Octopus to test sensors

Virtual Reality research Group Cogito

Media Design, TU Dresden

Virtual Reality research Group Cogito

Media Design, TU Dresden

Vernissage â&#x20AC;&#x201C; Summer School

13 October 2013 / Dresden

Head-Mounted-Displays (HMDs) offer an immersive ride into the virtual. While they visually transfer you to the virtual world the rest of the senses stay in the real world, which may lead to concurring impressions and effects like motion sickness. Tracking systems try to correct that through transferring more sensory information like the head position, the whole body or even the keyboard and mouse for interaction. The question arises, how to interact with the virtual environment in a mobile context. Furthermore there are standardized visual metaphors on desktop systems, like the desktop or a pin board (mobiles). What metaphors are feasible for a three dimensional virtual reality?

Bill - an interactive application

for experimental computer graphics

Bildsprache LiveLab

Media Design, TU Dresden

Vernissage â&#x20AC;&#x201C; Summer School

13 October 2013 / Dresden

Research of novel visualizations in the context of three-dimensional computer graphics requires interactive computer systems. To this end, the software framework Bildsprache LiveLab (BiLL) is developed to realize independent implementation and combination of different kinds of depiction. Using BiLL as an experimental platform, our research is focused on the fields of Visual Analytics and NPR and applies the theory and methodology of designing 3D-interfaces of interactive systems. This includes conceptual aspects of application, construction, and composition of visual forms to provide optimal visual interaction between humans and technical systems, based on effective synergies of hardware and software.

Augment‘able Dipl.-Ing. Erik Steindecker

Industrial Design, TU Dresden

Augment‘able Dipl.-Ing. Erik Steindecker

Industrial Design, TU Dresden

Vernissage – Summer School

13 October 2013 / Dresden

When designing new products both physical and digital models will be used. On physical prototypes pro¬perties such as weight, shape and rough surface conditions can be evaluated. With virtual models design details and user functions can be visualized and varied quickly and easily. The AugmenT‘able combines the advantages of both models, and allows a more efficient evaluation of the future product. The use of a semi-transparent mirror allows the simultaneous view of a physical model and digital information. Using stereoscopic projection and special filter glasses the virtual model appears to be floating in the room. The combination of both models by current tracking technology enables the perception of a physical prototype and the virtual model at the same place.

Industrial Design, TU Dresden

Scan of the „Rathausmann“

Dr.-Ing. habil. Christine Schöne

Industrial Design, TU Dresden

Vernissage – Summer School

13 October 2013 / Dresden

The objective of this project was the application of reverse engineering in the restoration of the „Rathaumann“. For the capturing and measurement of the object 3D digitizing and subsequent processing of the 3D point information into a CAD models has been used. This data provided the basis for a new design of the supporting frame and outer shell.

The following process steps have been completed by us: Distance of the Town Hall man from the top of city hall Preparation of the model by fitting 600 reference marks and photogrammetric detection in one step Detailed measurement using fringe projection by using the HR system ATOS GOM implementation of 203 single measurements with a measuring field of 800x600mm

–– –– –– –– –– The implementation of the reconstruction was performed in two steps: the new production of the steel structure and adaptation as well as assembly of the outer shell made of copper.

Municipal Vehicle Concept Christian Angermann

Industrial Design, TU Dresden

Municipal Vehicle Concept Christian Angermann

Industrial Design, TU Dresden

Vernissage – Summer School

13 October 2013 / Dresden

The increasing demands on urban infrastructure require the rethinking of existing private and municipal mobility strategies. New technologies and the resulting drive and control concepts are therefore designed not only environmentally friendly (e.g. reduced air pollution, independence from fossil fuels) but are also use¬ful incorporated into the future traffic scenario. The new space concept for the passenger compartment, which offers the user great freedom of movement and multiple ways of vehicle control stays in the focus of the work. The resulting increased level of safety and comfort guarantee an optimized workflow. This was implemented through a fundamental redesign of the actuators for vehicle control and a sit-stand combination as an extended driver‘s workplace in cooperation with the ITD Brunswick and the „Dresden city cleaning GmbH“.

Venom Christoph Schreiber

Industrial Design, TU Dresden

Venom Christoph Schreiber

Industrial Design, TU Dresden

Vernissage – Summer School

13 October 2013 / Dresden

This scientific work describes the development of a combine to optimize the yield of corn on fields with low harvest. Because of its innovative folding cutter bar the thresher with a actual cutting width of 17.6 meters fulfils the statutory vehicle length of 18 for meters in road transport state. The cutter remains folded on the vehicle and save the time for connecting and disconnecting of a conventional cutter for transport. This shortens the time for marshalling in the work process. The coherent implementation of the innovative folding cutter bar with integrated ground contouring had been revised in detail. The necessary cabin accommodation for two by 180 ° turned process directions is taken into account by an additionally installed transport cabin at the rear of the combine.

Emerge-Concept Sebastian Lorenz

Industrial Design, TU Dresden

Emerge-Concept Sebastian Lorenz

Industrial Design, TU Dresden

Vernissage â&#x20AC;&#x201C; Summer School

13 October 2013 / Dresden

This conceptual design and development of an electric vehicle is about the central function of a technology demonstrator for the knowledge of materials and manufacturing process research in an electro-mobility research and development environment. The result represents the essence of a variety of approaches. The integration of active demonstrators in the test axis and the variable suspension geometry makes it a flexible test bench for various car categories and makes it a directly integrable contribution to the study and development of components and material samples. The compilation covers different technologies and forms of implementation. To support the hypothetical feasibility character components with appropriate load and complex structure requirements were preferred. The performance of the technology presentation is supplied by visible vehicle components.

Rapidfold Jรถrg Berthelmann

Industrial Design, TU Dresden

Rapidfold Jรถrg Berthelmann

Industrial Design, TU Dresden

Vernissage – Summer School

13 October 2013 / Dresden

As a flexible method of printing technology digital printing provides an efficient production of printed pro¬ducts in small and medium runs up to customisable individual products. Respective adaptable machines that processes the products into folding doesn‘t yet match the flexibility of digital printing. Together with the company KAMA a folder gluer has been developed which allows through optimization of set-up and tool strategies a flexible processing of the print. In addition to optimizing the setup strategies, the machine was designed with aesthetic and functional criteria. The main idea of the experience of technology and the integration in the field of packaging had been the basis for the formal design of the machine.

program

Sunday, 13 October 2013

4pm Introduction

introduction of the participating chairs and tour of the exhi-

bition – topic and task

6 pm Vernissage Prof. Rainer Groh + Prof. Hendrik Wahl

Official opening of the Summer School

Monday, 14 October 2013

Damascus Room – immerse in Damascus of the 19th century at the Dresden State Art Collections

8 - 9 am shared breakfast* schwarzmarktcafé (hauptstrasse 36)

8 - 9 am shared breakfast

guided tour „Welcome to a 19th century

Damascene home“ Margareta Bijvank

guided tour „Welcome to a 19th century

Damascene home“ Margareta Bijvank

The atmosphere of daily life in this middle-eastern urban

setting was imbued with the bustle of the bazaar, the fragrance

of courtyard gardens, the scents and flavours of home-cooked

food, and the warmth of hospitality. The rhythms of daily life in

affluent Damascene households were shaped by the excitement

of visiting guests – family members, business clients, or even reli-

gious scholars – interspersed with normal daily household duties.

The architecture and design of these private homes had evolved

over the centuries to serve all these purposes as well as to be

comfortable living spaces in a desert climate. This room provides

today’s visitors with a portal into the unique and welcoming ambi-

ance of a private Damascene home.

workshop „Elaborate decoration techniques and

luxurious furnishings of Damascene homes“

Dr. Anke Sharrahs

luxurious furnishings of Damascene homes“

Reception rooms for guests in 18th/19th centuries Dama-

scene houses were adorned and furnished with refined and luxuri-

Summer School

13 October 2013 / Dresden

ous materials and decorative techniques: Stone mosaics, painted

and gilded stone reliefs, tinted plaster, patterned paste-work, ela-

borately painted wood, murals, mother-of-pearl inlays and mirrors

were combined in ever varying and beautiful ways. Niches for

various purposes, wall closets, two types of windows, seating

areas and often a refreshing fountain were integral parts of these

interiors. Luxurious carpets, cushions, mattresses, small tables

and stands, and porcelain and metal objects d’art ensured that the

reception rooms were comfortable living spaces as well.

workshop „Sketching the Damascus Room“

Dipl.-Arch. Grit Koalick

workshop „Sketching the Damascus Room“

Dipl.-Arch. Grit Koalick

Sketching the Damascus Room means both sketching what

Sketching the Damascus Room means both sketching

can be seen and what can‘t be seen. We will tell the story of the

what can be seen and what can‘t be seen. We will tell the story of

famous room with the help of small scribbled visuals. They are

the famous room with the help of small scribbled visuals. They are

organized in more complex groups of pictures either simultaneous-

ly or sequentially. These scribbles can be annotated with text if

necessary. The workshop offers basics of perspective and isome-

tric drawing to the beginner and useful hints to the advanced dra-

wer. We will work in groups focussing on different scales: Damas-

cus Room, Damascus House and Damascus Street. Our common

goal is catching as much information about our subject as possible.

program

1 - 2 pm lunch break

talk „Activating the Dresdner Damascus room: Performativity of an Ottoman Meeting Space“

Prof. Woodman Taylor

talk „Activating the Dresdner Damascus room: Performativity of an Ottoman Meeting Space“

Prof. Woodman Taylor

Aiming to activate meanings of the Dresden Damascus

Room, in his presentation Dr. Taylor will consider the multiple

ways in which this reception room can best be understood th-

rough probing what activities were intended to be performed

here. As Gaston Bachelard suggested, the fuller resonance of

spaces can only be recovered by considering the activities that

take place within them. Built as a qa’a, or reception room, the Da-

mascus Room was designed as a space where family members

would meet and talk, be it with outsiders or among themselves.

Within communities from the larger world of Islam, this type of

discursive gathering is known as a majlis.

A longer history of how majalis operate is incorporated into

the earliest of narratives from the Arab world, which were initially

recited and later written, often illustrated in manuscripts. In the

13th century Al Hariri’s Maqamat, a word which means assem-

blies, recounts in fifty episodes how a kniver named Abu Zayd

addressed gatherings, most often within a majlis setting. In his

autobiographical Risala the 14th century, Moroccan traveler Ibn

Summer School

13 October 2013 / Dresden

Battuta often recounts addressing people he visited with throug-

hout the Islamic world in their majlis gatherings within a reception

room. The popular German poet Friedrich Ruckert translated Al

Hariri’s Maqamat, publishing Hariris Makamen in 1822. Could the

collector Karl Ernst Osthaus have read Rukert’s translation and

had it in his mind when he decided to purchase the Damascus

Room in 1899, when he was only 25 years old and newly married?

After his travels to Asia, did Osthaus intend to recreate a majlis

setting when returning to his house in Hagen?

Through an anthropology of current majalis practices that

continue in the United Arab Emirates, can we recreate the perfor-

matives that may have traditionally activated the Damascus Room

in its initial setting within the urban texture of a cosmopolitan cen-

ter in Syria? Would the etiquette of serving guests coffee or tea

with snacks such as dates that continues in Dubai, have preceded

and even activated further discussions between local inhabitants

with visiting guests? Would listening to music performances to-

gether also have been an activity that took place in the Damascus

Room?

Room? Constructed as a raised area with cushioned seating on

Constructed as a raised area with cushioned seating on

three sides, the space of the qa’a from Damascus is conducive for

discussion, whether talking to those facing you, or others sitting

next to or diagonally from you. Shelves and cupboards built into

the room’s walls could contain objects used or activated in the

gatherings. Coffee pots and cups stored on the shelves would

hospitality in the Islamic world. Manuscripts kept on the shelves,

particularly of poetry, may have been recited within the gathering.

Inscriptions of poetry on panels in the room cue us to the sounds

of performed recitation.

Taking our shoes off, stepping up into the seating area of

the Damascus Reception Room, while relaxing on cushions and

sipping Turkish coffee, can we – contemporary visitors – further

discussions that not only interrogate the poetics of an Ottoman

past in Damascus from our present situation in Dresden, but also

initiate dialogues between communities that currently inhabit the-

se two different places? In this exceptional space, designed for

program

discussions between insiders and outsiders, can Dresden finally

‘speak’ with Damascus? Through activating the performatives of

an Ottoman meeting space, can the Dresden Damascus Room

be transformed into the right object at the right time and place?

workshop „Collective Idea Escalation“

Dipl.-Arch. Sebastian Wiesenhütter ,

Jun.-Prof. Jörg Rainer Noennig

The escalator starts from specific observations of the Da-

mascus Room to be shared among the participants. Observations

may be contextual, sensual, intellectual, semantic, or else. They are

to be further amplified by free association into juxtaposed extreme

scenarios. Thus we attempt to uncover the subconscious knowled-

ge of the group, and bring in the noise into the creative process.

8 pm

shared dinner

Tuesday, 15 October 2013

Impulse and Context

9 - 10 am

Tuesday, 15 October 2013

shared breakfast

Summer School

13 October 2013 / Dresden

talk “The Virtual Vermeer”

Prof. Rainer Groh

For a museum education project of the Old Masters Pic-

ture Gallery in Dresden the spatial situation in Vermeers painting

»letter-reading girl at the open window« was reconstructed.

The aim was to win very exact measurements for a life-si-

ze model of the painted scene. The visitors of the exhibition can

examine and manipulate the planned model including a dressed

up doll in an installation, they can take the position of the painter,

vary and verify, in the end, the visual impression of the painting

(see fig. 3)

The reconstruction of measurements from a picture can

succeed only if a suitable geometrical projection forms the basis

of the picture. Nevertheless, Vermeer‘s painting offers for a re-

program

construction of the perspective comparatively a few and also not

very exact clues. To be able to make very exact declarations, the

possibilities of traditional reconstruction methods („reverse“ Pa-

vimento method) were extended by 3D-software and interactive

components. Numerous other paintings of Vermeer were used by

way of comparison. Before constructing the full-size space model

the ascertained dimensions were checked in a virtual 3D-scene

The image-geometry is shown in fig 5. The painting »let-

ter-reading girl at the open window« has an off centre principle

vanishing point .

The investigations are based on results of the research

of Dr. Uta Neidhardt and Dr. Christoph Schölzel of the Staatliche

Kunstsammlungen Dresden.

talk „Augmentation and Picture“ Dr. Hendrik Wahl

Augmentation and picture - two terms, meant to be precise

detonations of two concrete ideas? Considering the context, set

by this Workshop / Seminar, these two terms can be understood

as items of concentrated meaning - as entities, incorporating the

matter they refer to. Therefor a sentence as: „Due to augmenta-

tion, using a multimodal-interface, two- dimensional visualization

of objects become obsolete.“ ... can easily formulate to express

the interdependencies between augmentation and picture.

Summer School

13 October 2013 / Dresden

If I could agree with this postulation, there would be no

need for any further deliberation, and no justification for the exis-

tence of this abstract. But, a sentence like this generates a cont-

radiction to some of my fundamental beliefs about pictures. And

this contradiction generates an interaction - that aims to find more

aspects of these two terms, to discover uncommon connections

and to detect sublime interweaving relationships in this field.

PICTURE 2D

Starting with the picture, with a visualization, the result of

what Paul Klee called making visible; a prominent feature of the

picture will be focused first, its two dimensionality. It seems to

be quite obvious, considering a picture as two dimensional. From

a syntactic point of view, the denial of the pictureâ&#x20AC;&#x2DC;s Z dimension,

appears to be helpful in reducing complexity, toward something

more essential. A two dimensional picture seems to be more

handy in reality but also in mind. Ignoring the wood, the paper,

the layered paint does not really limit out perception and use of

the term picture. Moreover, the omnipotence of the featureless

media-screens even enhances the impression of the picture as

something materialness, which needs to be in two dimension to

become perceived. A two dimensional thing is more easily fra-

med and stored in folders, as a hardcopy and also in the desktop

metaphor (?).

From a semantic perspective the two dimensionally of a

picture also has something charming too. So, the position and the

extent of everything that is considered to be a sign, of something

seen, to be the origin for a perceived meaning, can be easily de-

scribed in discrete values. The distinction between picture, frame

and non picture in 2D can be done just by a ruler and the idea

of the picture as an insubstantial image-program, consisting of

meaningless elements, combined in a certain manner, able to ex-

press anything, is also does not depend on the third or any higher

dimension. A confrontation with the 2D picture seems to be more

convenient, because there is already a flat front.

Also from a pragmatic position a two dimensional picture

is most attractive in handling, hanging it on a flat wall (gallery),

program

putting it in front of the audience (cinema), setting up a clear spa-

tial situation (signage).

Actually, the two dimensional picture / picture-program is

a nice concept, everything is in a single layer, clear to distingu-

ish, close to something essential ... and most obsolete, if we talk

about augmentation.

The reason for this is: the two dimensionality of a picture

is in the same way relevant, as the well known (never seen) back

of rice somewhere in China. Seeing a picture as a picture is so-

mething totally deferent from seeing the Mona Lisa, a motion pic-

ture, an advertisement or a presentation. Slicing a picture into di-

screte portions of information, as e.g. size, format, color, semiotic

references and so on, might contribute to the amount of formal

knowledge in this world, but will dissolve the picture itself. Who

would consider a black painted 79 by 79 cm square of canvas as

something meaningful, if it wouldn‘t be known as the Black Squa-

re by Kasimir Malevich?

To understand something about a picture - interaction

matters. The manner of interaction, the duration, the spatial rela-

tions the knowledge base, and also the spectator‘s mood making

the picture become reality and relevant. And this cannot take pla-

ce in a 2D World.

Considering the human - picture interaction shows that it

is not so different from an ordinary human - world interaction. It

is dynamic, highly movement and body related and quite less a

matter of pure logic based on „Res cognita“ deliberations. Pictu-

res are able to generate pleasure, fear, excitement, sadness,...but

only during the interaction (which can be productive or receptive).

Pictures are neither space-wise nor time-wise stable things. A

static view focusing a picture would fail to see anything. Only a

moving eye is able to recognize, and movement is already defined

to be function of space and time. Pictures are unable to exist in-

dependent from the human mind.

Considering this, a picture can be understood a something

between the reality of things and the reality of mind as an in- bet-

ween-reality, also known as Interface.

Summer School

13 October 2013 / Dresden

AUGMENTATION

After interrogating the term „picture“ now augmentation

gets into the focus. Knowing what happens, googleing this term

and searching for pictures reveals the urgent need of a context, to

use this word in a substantial way. If this context is given by the

topic Augmented Reality and all the connotations coming from

this side, augmentation seems to be an idea, aiming to render

itself imperceivable.

A consideration of the HMI development, shows a tenden-

cy of dematerialization and obliterating discrete boundaries. From

cards of Jacquard‘s loom, over the command-line in MS_DOS,

the distinguished double click on a well-framed icon to the whip

on an i-pad - towards something multimodal, like an i-Plug on a

head ́s backside or to 802.11.ac i-Fi, the interfaces are about to

disappear, to become obsolete in the same way as the 2D visua-

lization of an object.

Thinking through „augmentation“, to the very end, not only

the interface will disappear in multi-modality. In a total augmented

world, which is the actual promise of this term, everything is not

on your fingertips, but on your synapses ́endings. There would

be no visual overlay, showing a building‘s name or the best deal

within a radius of 150 m. We would know the building‘s name (if

we want to or not), we would have already transmitted our credit

card number (regardless of the deal) and we would be unable to

know what is caused by augmentation and what is the un-aug-

mented reality. More over, we would not be able to know about

the un-augmented world - and because of the indistinguishability,

augmentation also would not exist.

SUBLIME DISPATCHMENT

Just before we get lost in an ideology of augmentation -

we may consider Roland Barthes idea of sublime dispatchment in

front of this backdrop. Doing this unbiased and in conviction that

human being and augmentation are not alternative, it becomes

clear that an augmented world don‘t need to be necessarily weird,

dark and controlled be an evil mastermind.

program

Because

someone

the

program

subject

Because

sublime

someone

the

subject

sublime

dispatchment, perception must be possible. Reviewing the idea

of sublime dispachment critically, reveals it is nothing that comes

from above by superior authority. Sublime dispachment is an

essential factor in visual communication. It is an inevitable and

deeply interwoven part of our visual perception and in this way

it is part of our methods of making visible. Everything we create

pictorially, appeals sublimely to pre- and subconsciousness. Here,

we may move a step further. If we consider perception as pos-

sible within an augmented reality, this perception will be strongly

influenced by pre- and subconscious judgments. To control or to

augment pre- and subconsciousness in a rational, planed or pre

determined (designed) way is something, which I cannot consider

to be possible. Despite this I believe in design, which can realize

on pre- and subconscious levels, to lead or to guide someone‘s

perception in a certain way, to achieve the best possible results

in interaction with a product, an artwork, an interface, .... This

design can be pictorial, topographical, procedural, and is always

something man-made which will perceived in this way.

1 - 2 pmlunch break

talk “Boudary objects – gaming science.”

Jun.-Prof. Jens Krzywinski

talk “Boudary objects – gaming science.”

Jun.-Prof. Jens Krzywinski

Design was longtime mainly focusing on creating artifacts.

During the last decade the focus shifts back form the artifact to

the user and his experience. Beside this interaction design and

virtual environments seem to even foster this reunciation from

real world objects. Instead of being purely virtual these objects

get a new quality as boundary objects between different people

and contrary disciplines as communication catalysts. Playing pro-

ductively with these objects needs rules and specific scenarios.

This unavoidable leads to game like setups and processes if ex-

ploratory used. And design becomes game changing through its

capability of defining concrete frameworks and physical elements

to play with.

Summer School

13 October 2013 / Dresden

talk “Architectural Modelling of Cognitive Processes ”

Jun.-Prof. Jörg Rainer Noennig

talk “Architectural Modelling of Cognitive Processes ”

Jun.-Prof. Jörg Rainer Noennig

If we can represent design ideas, we can also design

ideas<< - this is the core assumption of the talk. As specific re-

presentations of design ideas we introduce architectural means

and instruments, such as three-dimensional concept models, dia-

grammatic graphs, or simple sketches. As these representations

are used for the manipulation of concepts and ideas throughout

an architectural design process, we suggest they are capable also

of the manipulation of ideas which are not related to architectural

design. If systematically applied, they may turn into engines of

idea engineering.

free research

program

Wednesday, 16 October 2013

Methods and Prototyping

9 - 10 am shared breakfast

workshop “Making Ideas Interactive”

Dipl.-Medieninf. Brian Eschrich

workshop “Making Ideas Interactive”

Dipl.-Medieninf. Brian Eschrich

When presenting interface ideas, intelligent rooms or pro-

totypes encourage the understanding of these concepts. Inter-

active prototypes focus on the feasibility of the idea and not on

appearance.

The workshop provides tools and knowledge to make your

ideas interactive by using an Arduino and control actuators and

sensors. A starter-kit is presented for fast prototyping. Further-

more discussions on how to make your idea interactive will be

part of the workshop as well.

workshop “Idea Models ”

Jun.-Prof. Jörg Rainer Nönnig

Summer School

13 October 2013 / Dresden

The objective of our workshop is to support the description and

creation of ideas through physical externalizations of thinking,

and their subsequent translation into design algorithms. Through

different types of tangible idea models derived from architectural

design practice, we develop spatial representations for the evo-

lution of concepts. Our approach refers to Embodied Thinking

as an additional quality to verbal and visual thinking - a form of

design thinking that supports group work and interaction.

workshop “Concepts, Mood-& Storyboards”

Dipl.-Ing. Sebastian Lorenz

First ideas are often complex constructs of thougts and

relations that need to be transformed into significant information

and impressions through detailed analysis. For the communica-

tion of these concepts in the first and early stages of a creative

process an abstracted and clear presentation in the context of the

briefed task is particularly important.

Introducing the idea of a design concept as well as the

development of mood- and storyboards this workshop gives an

insight into basic communication and visualization methods of

creative work and provides guidance for the systematic elaborati-

on and preparation of creative approaches.

supervised work

program

1 - 2 pm lunch break

program

1 - 2 pm lunch break

supervised work

Thursday, 17 October 2013

Work and Culture

9 - 10 am shared breakfast

free work

1 - 2 pm lunch break

free work

1 - 2 pm lunch break

2 pm

cultural programme

2 pm

cultural programme

„Blaues Wunder“ – suspension railway (powerstadion) –

boat trip with paddle steamer

Friday, 18 October 2013

Finissage

9 - 10 am shared breakfast

free work

1 - 2 pm lunch break

free work

1 - 2 pm lunch break

free work

4 pm

internal presentation

4 pm

internal presentation

7 pm

public finissage

7 pm

public finissage

official goodbye of the Summer School

participants

Students

Lukas Bueschel (Media Design, TU Dresden)

After the university-entrance diploma in 2008 and the community service I started a vocational training as a graphic design assistant. All my life I liked art, design and architecture. At this stage my passion for design and typography increased. Like an architect has to accommodate form and functionality, even a designer has to create structures serving people. So since October 2011, I have studied media computer science at TU Dresden. Since May 2013, I have worked for Junior Professorship in Software Engineering of Ubiquitous Systems. I hope I can make an easier future possible - with the aid of design.

Fanny Hauser (Industrial Design, TUD)

Born 1990 in Dresden, Fanny Hauser started among the first year of newly founded Salzmannschule Schnepfenthal – Staatl. Spezialgymnasium für Sprachen (special school for languages) in 2001. After receiving scholarship for scientifically talented pupils from the Stiftung Bildung für Thüringen, she decided to complement her language focused education by studying Mechanical Engineering at Dresden University of Technology in 2009, with the aim of specializing in Industrial Design from the very beginning. Besides her studies she assits in public relations of the Faculty of Mechanical Science and Engineering since 2012.

Amna Jawad

(School of Architecture, Art & Design AUD)

I am an ambitious 21-year old Emirati woman from Dubai. At the American University in Dubai, I study Graphic

Summer School

13 October 2013 / Dresden

Design and have also completed a minor in architecture. My passions are design, art, history and literature. I love travelling and exploring new things, as I believe it is one of the best ways to expand one’s knowledge and horizon. I am enthusiastic about my upcoming travel to the respected Dresden University of Technology, and honored to be part of the creative team, which includes members from various fields and a combination of science, art, history and architecture tasked to uncover a vast and honored cultural artifact like the Damascus Room. Additionally, I am very excited to visit the phenomenal historical and cultural city of Dresden.

Franziska Kern (Industrial Design, TU Dresden)

Franziska Kern, geb. 1990, immatrikulierte 2009 an der TU Dresden und vertiefte sich in ihrem Maschinenbaustudium im Bereich Technisches Design. Die gebürtige Dortmunderin hat bereits eine Vielzahl naturwissenschaftlicher Wettbewerbe u.a. Mathematikolympiaden und Jugend-forscht erfolgreich bestritten und war Stipendiatin der Studienstiftung des deutschen Volkes. In ihrer Freizeit widmet sie sich dem Traditionssegeln sowie dem Klettersport. Die Betreuung von Kinder- und Jugendklettergruppen sowie das Ausbilden in Sicherungstechnik im Sportklettern sind Teil ihrer Arbeit in einer Dresdener Kletterhalle.

Maria Klemm (Industrial Design, TU Dresden)

Maria Klemm grew up in Leipzig where she was born in 1989. In 2006 she took part in a student exchange program with the Nanjing Foreign Language School in China. In the summer of 2007 she finished her A-levels, and left Germany afterwards to do farmwork in Norway for half a year. After returning home, she had done her mandatory Internship at „Polygrafischer Maschinenbau Schkeuditz“ be-

Students

fore starting to study Technical Engineering at TU Dresden in fall 2008. Right now she is taking her major in the fields of product development and industrial design. Besides studying she is doing illustrations at the chair of measuring and automation technology and takes part in the creation of graphics for the TUD excellence initiative.

Michelle Panesa

Students

Michelle Panesa

(School of Architecture, Art & Design AUD)

Michelle is a Digital Media artist currently in her senior year as a Visual Communications undergraduate student at the American University in Dubai. Her interest in the relationship between viewer and art largely influences her work, but when she stops thinking and works from her heart she develops digital paintings or illustrates anime-styled characters. She has taken part in the local art scene in Dubai participating in the earliest custom toy ‘MEGA’ events and has exhibited artwork at the Middle East Film & Comic Convention for the past two years.

Gabriela Purri Rosas Gomes

(School of Architecture, Art & Design AUD)

Gabriela is originally from Brazil and currently a senior Digital Media student at the American University in Dubai. She comes from a diverse and multicultural background, having lived in 8 cities and 5 different countries so far. Before moving to Dubai, Gabriela spent two years in Australia studying at a film school, where she grew even more passionate about post-production, computers and technology. Since 2010, she has been dedicating herself to learning to use technology to communicate ideas, and to also understanding human interaction with technology itself. She likes to think of herself as a visual artist, technology lover and aspiring multimedia storyteller.

Summer School

13 October 2013 / Dresden

Thomas Schmalenberger (Media Design, TU Dresden)

Thomas Schmalenberger solved a training program in an international media company in Berlin and graduated as a publishing assistant in 2008. Since then he is studying media computer science and communication science at the Technische Universität Dresden and has spent two semester at the Universitetet i Agder in Norway. The focus of his work lies in Usability and Interface Design in different scenarios. Together with a group of fellow students, he developed the digital media concept for the art-exhibition „Will Grohmann im Netzwerk der Moderne“ of the Staatliche Kunstsammlungen Dresden in 2012.

Albert Steinmetz (Media Design, TU Dresden)

Albert Steinmetz was born 1988 in Weimar and grew up near Frankfurt am Main. Following high school graduation in 2007 he moved to Dresden and started studying mechatronics. After taking lessons in mechanical and electrical engineering for four semesters, he decided to cancel mechatronic in favor to his interests in computer graphics. Since 2010 Albert is studying media informatics with a special interest in interface design and data visualization. He has some professional experience in IT services and web design. For leisure he likes mountaineering, photography and rowing.

Matouš Stieber (Knowledge Architecture, TU Dresden)

Matouš Stieber is student of Architecture at TU Dresden since 2010. He took part in the “3rd LIXIL International University Architectural Competition” as well as the “5th Architectural Competition TUDALIT 2013“. He is coming from Liberec, Czech Republic, where he visited the Highschool „F. X. Šaldy” . He enjoys Judo, Drawing, Books and playing Cello.

Students

Adam Urban (Knowledge Architecture, TU Dresden)

Adam Urban is student of Architecture at TU Dresden since 2010. He took part in the “3rd LIXIL International University Architectural Competition” as well as the “5th Architectural Competition TUDALIT 2013“. During the summer of 2009 and 2010 he lived in Taipei, R.O.C. Originally he is coming from Prague, Czech Republic, where he visited the “Deutsche Schule Prag”. He is practicing Martial Arts (Kendo), loves Photography and Arts and Design.

Lecturers

Margareta Bijvank (Museum für Völkerkunde Dresden)

Margareta Bijvank belongs to the Staatliche Kunstsammlungen Dresden as a member of the section museums education. Feel what you see is one kind to make things visible in another way than only by watching. So we invite mainly young visitors to imagine living in the orient in 18th and 19th century by using all senses.

Dipl.-Medieninf. Brian Eschrich (Media Design, TU Dresden)

Brian Eschrich is working as research associate at the Chair of Media Design, Faculty of Computer Science, TU Dresden. He supervises the Werkstatt in which techniques on creating interactive prototypes in different application contexts are teached. He is also a member of the open creative group KAZOOSH! and participating with interactive installations and workshops on festivals.

Prof. Dr.-Ing. Rainer Groh (Media Design, TU Dresden)

Rainer Groh graduated from Technische Universität Ilmenau with a degree in scientific instrumentation and from the University of Art and Design Halle with a degree in industrial design. He received his doctor‘s degree at TU Ilmenau and is currently professor for media design at Technische Universität Dresden. The group of Rainer Groh in Dresden has 10 years of experience in teaching and researching interaction design. Research efforts are concentrated on extending the repertoire of methodical tools and rules of design by taking multi-sensory interaction channels into account. Rainer Groh organized national workshops, for instance under the umbrella of the German Informatics Society

Summer School

13 October 2013 / Dresden

(Gesellschaft für Informatik e.V. (GI)) and its special interest group on Human-computer Interaction. Rainer Groh is co-founder of the section on Tangible Interaction in this German special interest group. A strong connection is established with art and science museums in Dresden, resulting in various collaborations and participations in exhibitions. He is currently developing a postgraduate degree program in cooperation with the Dresden Academy of Fine Arts, which fuses art, science, and technology.

Dipl.-Ing. Arch. Grit Koalick (Media Design, TU Dresden)

Grit Koalick studied Architecture at the Brandenburg University of Technology Cottbus and specialized in presentation methods, illustrations and storytelling. She gained practice at the visualization office of Willem van den Hoed in Delft, NL. After her studies Grit Koalick taught in the field of Architectural Visualization: She worked as research assistant at the Chair of Visualization, TU Dresden. Additionally she had lectureships at the Chair of Visualization, TU Dortmund, and at the Chair of Theory of Architecture, BTU Cottbus. Since 2011 she is a research assistant at the Chair of Media Design, TU Dresden. Since 2008 Grit Koalick has also drawn by order of clients – mostly in the fields of Architecture and Knowledge Transfer. Throw a glance at her free and her commercial illustrations at www.visuranto.de – the fine site of Grit Koalick.

Jun.-Prof. Jens Krzywinski (Industrial Design, TU Dresden)

Jens Krzywinski studied Industrial Design Engineering at the Technische Universität Dresden and at the Burg Giebichenstein University of Art and Design (1997-2004). Working as research assistant at the Institute of Machine Elements and Machine Design at the TU Dresden (2005– 2012) he was responsible for different design courses in

Lecturers

and outside university as well as research projects from regional industry to European institutions. He completed his PhD thesis on concept generation in transportation and industrial design in 2011. He was appointed as Junior Professor of Industrial Design Engineering at the Faculty of Mechanical Science and Engineering, Technische Universität Dresden, in 2012

Dipl.-Ing. Sebastian Lorenz (Industrial Design, TU Dresden)

Until 2013 Sebastian Lorenz studied mechanical engineering with a specialization in Industrial Design at the Dresden University of Technology. During this time he served an internship at the Audi Ag where he worked on his interdisciplinary project with the theme „Design and styling of an Audi A1compatible full-LED headlamp.“ He also supervised the tutorial „Skizzierkurs“ over several semesters. He graduated with his thesis „Study of a lightweight vehicle as a demonstrator of a research project“. While still a student, he took part in the 2012 Summer School „Dresden Design Hub“.

Prof. Dr.-Ing. Jörg Rainer Noennig

(Knowledge Architecture, TU Dresden)

Jörg Rainer Noenning (*1973) is Junior Professor for Knowledge Architecture at TU Dresden. He has studied at Bauhaus University Weimar, University of Technology Cracow, and Waseda University Tokyo. Between 1996 and 2001 he has worked in Japan, among others with Osamu Ishiyama and Arata Isozaki in Tokyo. In 2001 he joined TU Dresden as a Research Associate. He taught and lectured at several universities in Europe, Asia, USA and Africa. His doctorate was accomplished in 2007 at Bauhaus University Weimar. Since 2006, he is ERASMUS visiting professor at Universita degli Studi dell l´Aquila (Italy). Publications include the books “Shaking the foundations – Japanese Architects in Dialogue” (1999), the series “PAO: Experi-

Summer School

13 October 2013 / Dresden

mental Architecture” (2007-12), the edition “Arata Isozaki – Welten und Gegenwelten” (2010) and more than 50 papers and articles.

Dr. Anke Scharrahs (conservator)

Anke Scharrahs is a conservator specializing in polychrome wooden surfaces with a special interest in Islamic art and has recently completed her PhD from the Academy of Fine Arts in Dresden, Germany. She has been engaged in research and conservation of Syrian-Ottoman interiors for 15 years, both in museum collections and in historic houses in Germany, USA, and Syria. Major examination and conservation project were related to the Dresden Damascus Room, Ethnological Museum, the Aleppo Room in the Museum of Islamic Art in Berlin and the Damascus Room at the Metropolitan Museum of Art, New York.

Prof. Dr. Woodman Taylor (Art History, AUD)

Woodman Taylor studies visual cultures of the Islamic world and South Asia. He has taught at the University of Chicago, the University of Illinois and, as a Fulbright Visiting Professor, at Jawaharlal Nehru University’s School of Arts and Aesthetics in New Delhi, teaching a graduate seminar on ‘Critical Approaches to Visual Culture.’ Dr. Taylor publishes on a wide variety of topics, from the ritual status of Buddha images to the poetics of Bollywood cinema. As a curator, Dr. Taylor has extensive experience organizing exhibitions and training museum professionals, initially at Harvard’s Fogg Art Museum and subsequently at Boston’s Museum of Fine Arts. He currently teaches Art History and Ethnomusicology at the American University in Dubai, where he curates the AUD Visual Cultures Forum.

Lecturers

Dr. Hendrik Wahl (Digital Media, AUD)

Dr. Hendrik Wahl was born and grown up in Germany. After graduating the “Burg Giebichenstein”, University of Art and Design, Halle as “Diplomdesigner” he has been employed as Digital Artist, Team-leading Supervisor and Creative/Art Director in the Media-Industry where he gathered a broad range of experience being in charge with various major CGI and IA-Media projects in Germany and overseas. Dr. Hendrik Wahl joined AUD in August 2012. Being a “visual person”, the intellectual focus of Henrik Wahl is not only narrowed to the practical aspects of visual design and animation, but also theoretical implications arising from the interdependency between the phenomena of the visual mind and the traditional philosophical ideas of picture and image marks a field of his intellectual engagement. In 2000 he became faculty member at HFF, Film and Television University in Potsdam-Babelsberg at the department of Animation. From 2006 till 2009, Dr. Wahl has been engaged in the development of a graduate school in Seoul. Living in the Republic of Korea for 3 years, he widened his horizon in the field of international collaboration in higher education. Being a chief researcher and assistant professor, he was able to conduct his independent research in the field of visual studies - in order to achieve the academic grade “Doktor der Philosophie” in 2010, commissioned by the department of media studies of the HFF, Film and Television University in Potsdam-Babelsberg and the department of Philosophy of the Ruhr - University Bochum. Beside his professional work, he likes outdoor activities as sailing, hiking and biking. He is widespread interested in visual arts, design, history, philosophy as well as in time-based media.

Summer School

13 October 2013 / Dresden

Dipl.-Ing. Arch. Sebastian Wiesenhütter (Knowledge Architecture, TU Dresden)

Dipl.-Ing. Sebastian Wiesenhuetter (*1980) is Graduate Research Assistant and tutor at faculty of Architecture, TU Dresden since 2012. From 2011 to 2012 he lived in Toulouse, France. He graduated in 2011 at TU Dresden in Architecture. He is interested in “Parametric Design” on which he taught several workshops at TU Dresden, as well as working as freelancer in architectural design and visualization. He enjoys practicing and teaching Yoga.

Dipl.-Ing. Arch. Sebastian Wiesenhütter (Knowledge Architecture, TU Dresden)