I-Design YB09 Highres

8/14/2019 I-Design YB09 Highres

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mastercourse

prole

MASTE

RININTERACTION

DESIGN

TheMasterinIn

teractionDesign,combininginteractiondesignapproachwithacross-disciplinary

culture,offersth

epossibilityofgeneratinginteractiondesig

nconceptsandstrategies,interpreting

Informationand

CommunicationTechnology(ICT)potentia

lities,andintegratingdesignsensitivitywith

market-oriented

technologicalcompetence.

Thecourseaims

toprovidestudents/designerswithpracticalandconceptualskillstocarryoutaproblem

settingactivity

usingtheirimaginationtodevelopconcepts

,scenariosandstrategiesbasedonthe

introductionofInformation&CommunicationTechnologyintheeverydaylifeenvironment.

Theprogramme

preparesitsgraduatesforleadingrolesintheworldofInteractionDesign.Participants

willdevelopskillsandcompetencestogettodifferentdesign

andstrategicpositions,suchas:Interactio

n

Designer,UserE

xperienceDesigner,CreativeDirector,Stra

tegistandDesignDirector.


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TIMELI

INTRO

JANuARY FEBRuARY MARCh ApRIl MAY JuNE JulY AuGuST SEpTEMBER OCTOBER NOvEMBE

FINAl pROJECT

CROSSING DESIGNSEMINARS

WS#05WS#01 WS#03

SKIll BASED WORKShOpS WS#04WS#02

FOCuS

The 2009 Interaction Design Master Course o

Domus Academy represents the highest synthesis

o the mating between acclaimed Italian Product

Design heritage and modern ITC solutions and

platorms.

As an ongoing endeavour in the tradition o

eld-research and practice, the Interaction Design

Master touched and investigated a wide variety o

design topics.

Each time the programme tried to question exist-

ing o-the-shel design solutions, actively seek-

ing or emergent problems and novel challenges.

Challenges whose origins can be traced back to a

variously compounded set o contexts.

Throughout the rst part o the Master Course,

there has been the constant eort to a ctualize the

Schools motto: Learning by Designing. Stu-

dents constantly tested their own and the newly

acquired skills against bries that encompassed

elds o application ranging rom personal equip-

ment innovation (a amiliar mass-design topic),

to custom-designed solutions or specic public

settings (public-design); rom design interventions

to stir debate and refection (armative-design), to

enabling DIY platorms and toolkits or 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 is-

sues pertaining community engagement and public

spaces renovation, envisioning novel interaction

modalities or public settings. Subsequently the

class aced the challenge o bringing innovation in

retail spaces while harnessing the potential o visual

interaces and dynamic inormation visualization.

The exploration o dierent design research re-

sources and methodologies, was carried out within

the overarching ramework o an in-depth investi-

gation o sound and aural interactions.

With the 4th workshop, the ocus was eventually

brought on the make actor.

The objective was devising and prototyping solu-

tions or exhibition spaces, engaging potential

visitors by means o digitally augmented interac-

tions with the exhibits.

The last workshop laid itsel to a more and sys-

tematic and strategic approach asking to envision

solutions catering to the needs o such a complex

and multi-layered event as the 2015 Expo.

The project aimed at deploying, or the city o

Milan, a whole new set o services and light-

weight inrastructures.

The yearbook wants to record an entire year o

design challenges, o projects, proposals and

quests or meaning in Design, Technology and

Innovation. It also wants to witness the eort,

o both students and aculty body, to explore al-

ways new territories to validate the eectiveness

and the added values that the Interaction Design

approach is capable to contribute to the largest

debate within Design Disciplines.> 2


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WORKSHOPS


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INTROIn times when light was a scarce resource, it wasthat scarcity itsel to determine its value. Lighthad a practical but more symbolic unction;people would gather, talk, exchanged experi-ences and opinions around a source o light; lightrequired care, time, dedication, not just pressing

a switch. Today light is an overfowing resource,and such abundance and ease o access causea wastage o energy and a loss o meaning atonce. Each o us can have as much light as wewant, wherever and whenever we want, andswitching on a light is more and more rarely ac-companied by a symbolic meaning or a greatercommitment than just pressing a button, or asense o sharing a space or activity. In the next5 weeks, well be working on the hypothesis oreducing and ocalizing light sources and theamount o energy used, in order to save re-sources and increase the symbolic value o light.Well ocus on the relationship between light andits interaction with the community enjoying it,and well try to move the ocus rom the quality

o the material base supporting the light to thequality o its perormance.

SCAlEThe project is meant or public spaces in a largecity; such use o light can be divided into twosubcategories:1) FIXED URBAN INSTALLATIONS - objectswhich, by their nature and modes o installation,are located in public or semi- public places, andare not removed ater use.2) PERSONAL/PORTABLE OBJECT - personal,portable or transportable objects, small in sizeand weight, which may take on a meaning orunction or the individual owner, or perormadditionals unctions when used by severalpeople, in public or semi-public spaces, possibly

by putting together multiple objects, in order toobtain a sort o macro-object, temporary sharedby a small community.

FuNCTIONS & SuSTAINABIlITYThe project is not about simple unctional illumi-nating objects: it actually involves developing a

high perormance, in terms o crelations, interaction between peopthe latter and the object designe

the theme o sustainability suggeshouldnt be designed as gadgetsuse and duration, nor should theobjects waiting or special occassense to their existence or a ewthink o the Christmas lights: storor 11 months, just to be used oThe possibility coming up involvepolymorphic objects that can be emotional at dierent stages o tand shit rom one use to the othrespond to the stimuli coming ro

INTERACTION & MEANINGNowadays, our degree o interactsimply tends to be conned to th

unction, in some cases we may dsource or adjust its intensity, but ever do we intentionally act on thvalue o light. Yet we all immediaand evaluate this meaning: a rooblue neon conveys a precise meandoes a hal-lit house, the light o candlelit dinner, a street-lamp thaand o in a rather dark street...The project you are expected to winvolve a high level o e xpressivenactivity, which - as well as being ause by a single individual - can besigned or use and enjoyment by groups o users.

OuTRO

When talking about time, Giovanretti, wrote: Im looking or thedo not perorm / in this human rawatches / and does not know TimI think its a nice thought, which plied to light.Enjoy your work.

lIGhT

INTERACTION

BEhAvIOuRS/RElATIONShIpS

(SElF)SuSTAINABIlITY

Im looking for the qualities that do

not perform / in this human race /which loves watches / and does notknow Time

Giovanni Lindo Ferretti

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

*WORKShOp BRIEF

LightLight

investigating the designqualities of light both asmedium and as material

of sensorial expression.

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

WS#01 lIGhTlIGhTRenzo Giusti

*ASSISTANT*pROJECT lEADER

Stefano Cardini

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AIMThe workshop aim is to learn skills and knowl-edge in v isual design, inormation architectureand inormation visualization with particularrespect to interace design. The course comprisestwo distinct threads o activity, to sharpen basic

skills in GUI design the rsts and to develop amajor project the seconds.

FRAMEWORKThe shopping experience into retail spaces mustbe urgently reinvented up against somephenomena that are radically changing therelationship among consumers, brands andproducts.01 the actual nancial crisis and consumption cutdowns that make people to evaluate purchasewith a new sobriety and consciousness.02 the exponential diusion o internet servicesthat nally introduced new eective ways to buy,comparing products and prices, proposing secureand convenient transactions03 the diusion o a conessional and connectedculture through internet that is radically changingthe relationship among consumers, brands andproducts, where people comment without lters,get inormed in advance about products anddiscounts and coming collections, share ideasand opinions.The store cannot be a place or pure transactionand consumption anymore, it has to proposenew service advantages and new reasons to go.The new retail experience cannot either be justabout entertainment and marketing seduction,but looks or meaningul service empowerment:competence about products, sense o com-munity and belonging, actual personalisationand added value. The emotional and relationaldimension o the experience must cohabit with

service eectiveness, rational choice and trans-parency.

GOAlThe seminar wants to investigate the potential othe new media and tools embedded into shopsand department stores as a way or augmenting

the service experience within spaV-TAIL is the digitally augmentethat visually interacts with customshopping experience to provide inmeaningul perormances. New mplays and digital tools embeddedare used as output o the interacusers, the space and products. Thcan be triggered by personal devor by other kinds o input devicesinside the shop, in combination w

and their packagings, elements awithin the retail space. The specseminar is to ocus on visual interstore to positively interere with tperience. The big chains and depare the contexts where this kind ocan actually start: hosts o produwide product range, alternative ative choices, the volume o clientssel-service and semi-assisted sellmake them an interesting test beaugmented experience interven

CONTEXTBy the way, the shopping experiecally changes according to the kinyoure going to buy: the way we behave, we look at, we select, wemove are dierent. You will havedigitally augmented experience inretail types: fashion and accessconsumer electronics, books afurniture and tablewear.

WhAT TO DOSTEP 0 / PHASE CHOICE

Lets choose a shopping experienbe working on this phase into theretail types rst and then ocus oSTEP 1 / 5x5 CONCEPT GENERA

Lets develop an interaction concretail types. Map today experiencopportunities, outline one conce

retail type.STEP 2 / 1 CONCEPT DE VELOP

Lets develop only one o the outby deeper exploring interaction do the system, visual interace as vtion elements.

*WORKShOp BRIEF

V-tail

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

how to enhance the retailexperience through digitalaugmentation of the visualelements in shoppingenvironments.

uSER EXpERIENCE

vISuAl INTERACTION

SpACE AuGMENTATION

DIGITAl RETAIl

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

WS#02 v-TAIlRenzo Giusti,Roberta Tassi

*ASSISTANTS*pROJECT lEADERS

Elena Pacenti,Chiara Diana

Visual interfaces for surprisingretail experiences

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INTROHuman beings are multi-sensorial entities by

nature.Mono-sensoriality is just a product o our culturethat highlighted some physiological peculiaritieso the dierent senses.On this premise, then, arts have deepened a hia-tus between the visual and the aural dimension.A division which was urther reinorced by thehistoric separation o training paths or the di-erent disciplines.Western culture has witnessed a predominanceo sight above all other senses.Aural sense, has also been explored and to someextent exploited, yet oten in an isolated ashion,emphasizing its symbolic and aesthetic dimen-sions within the context o artistic expression ie. music and movie , but it has been rarelyinterested by integrated design interventions.

Aim o SONICS is to investigate by designing thecommunicative ad expressive potential o sonicexperience.

SOuND ISSound is a pervasive phenomenon it permeatesthe environment inhabited by humans. It can beas much an element which is taken or grantedas it can be purposely designed or entertain-ment, or alarm, or Sound is a crucial sensorial quality that playsa key role in shaping the interactive experiencewith objects, spaces and services.When dealing with acoustic media throughtechnologiy, which are the emergent ways ointeraction, which are the materials and the

qualities o interactive phonic objects, aural serv-ices and sound spaces?Sensorial qualities do play a key role in shapingthe interactive experience. And o course soundhas the means or enhancing and even radicallychanging the perception o a phenomenon Thusleading to unexpected levels o engegement.

uNDERSTAND | EXpERIMEAN AURAL QUEST

Certain sounds are distinctive o an enCertain sounds are purposeully chosensigned to create the mood, the sounds

Places can have a distinctive aural idenNow embark on a journey discovering places sound. Investigate your surrounevidence o the distinctive sound idebuildings, events and even brands. Indbe hidden in rhythms, noises, sound pamore in music genres and playlistsExamine your collections and by matchtheir sound patterns nd the commonaarticial mismatches between the ambtive qualities and how it is being popuCreate an audio/visual mash-up.Use the sounds you captured to providemotional commentary, to render the certain event context or space. Mix andaudio samples working out a distinctivwhich draws rom the power o spokened music, yet as or RAP music, attainpower capable o reaching beyond the

parts.

EXplORE | pOTENTIAlITIECOLLECTING REFERENCES

Collect reerences o artistic expressionlations, public perormances and even are either originally exploring or cleverpotential and the qualities o the sounRESOURCE TOOLS

Maximize your eorts and participate process o discovering and learinig. Thused twine [w ww.Twine.Com], a platoresources. You are invited to contributeby signing up and adding your ndingsCLUSTERING AND BENCHMARKING

Analyze your ndings in light o the ascontribute to elicit. Group any unctionsimilarity. Take into account all the relepertain aural qualities, point out how t

used and which issues they are addressPOPULATING A TERRITORY

With the data collected understand whinstances could be placed in relationshiand to the main axes o the territory idConsider how each item is balancing band aural component and how it manausers.

*WORKShOp BRIEF

Sonics

how to explore theexpressive potential ofaural stimuli, to developsound-based interfaceshightlighting thecomplementarities of v isualand aural expressions.

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

SOuNDSCApE

phONIC INTERFACES

AuDIO/vISuAl INTERplAY

SOuND DESIGN

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

WS#03 SONICSRenzo Giusti

*ASSISTANT*pROJECT lEADER

Claudio ModeriniInvestigating by designing the expressivepotential of sonic experience.

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Museums are commonly perceived as the shrineso knowledge, the institutions that are meantto preserve and, at the same time, promotethe knowledge on dierent aspects o humanactivity. When talking about museums, thoughtnaturally points towards ne arts and, moregenerally, to the territory o art and design. Sev -eral museums however are operating in totallydierent domains, where the aesthetic quality othe exhibits might not be the primary driver orthe audience.

Many o these museums, usually around areas oscience and particularly childrens museums, havebeen recently setting new standards in exhibitionset-up, providing unexpected experiences andhighly engaging discoveries.Using the ramework o the Archeological Muse-um o Valle Sabbia, in Gavardo, 15 internationalstudents rom the I-design course are asked todevise interactive solutions, capable o engagingand captivating the museum visitors.The workshop is meant to stimulate the studentsto explore state o the art technologies andappreciate their creative potential, while reallyunderstanding the context o the museum. Theywill be asked to develope and hone skills whichthey will have then to apply to the creation ounctional prototypes.These prototypes are meant to communicate theconceived ideas in a more engaging and directashion than a simple mockup. Tinker.it! assistsin leading the workshop by the involvement othe 2 ounders Massimo Banzi and AlexandraDeschamps Sonsino.

OBJECTIvEThe objective o the present worencourage the Interaction Designvestigate and create innovative wing with the contents and the inmuseum would likely be communProjects, thereore, must pay attelevel o perormance o the nal sStudents are encouraged to creat

mock-ups and prototypes o theiactive experimentation and prootheir design choices.Ultimately the nal concept mustby means o a working prototypeline the main eatures o the interdevised.

*WORKShOp BRIEF

Brave new museumhow to create and prototypeinnovative ways of interacting

with contents and informationof a museum exhibit to engage

visitors.

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

pROTOTYpING

phYSICAl COMpuTING

CONTENT MANAGEMENT

TANGIBlE INTERACTIONS

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

WS#04 BRAvE NEW MuSEuMSRenzo Giusti

*ASSISTANT*pROJECT lEADERS

Massimo Banzi, AlexandraDeschamps Sonsino

Interactive installation design for museums

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http://projects domusacademy net/2015expopath/


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The Land Way project consists o a visitor andtheme trail which connects a number o loca-tions and buildings o special note, and whichleads rom the Darsena to the uture Expo site,a symbol o tomorrows city o Milan. The route,about 22 km in length, will allow visitors toadmire the historic parts o Milan (oten not thatwell known but with plenty o interesting things

to see) as well as the large new regenerationprojects designed by internationally acclaimedarchitects.This is an ambitious project which, once com-pleted, will be able to continue even beyondthe Expo. This route can be covered on oot, bybicycle, or in low environmental impact vehi-cles, and will include some o the inrastructureprojects planned or the city. Construction o theroute will also provide an opportunity to adopta coherent system o street urniture, or, wherethis is not possible, to install removable itemswhose purpose is to indicate the way. A urtheraim will be to carry out renovation and enhance-ment works on building ronts along the route,or to activate substantial renewal programmes

or some historic city places.The Land Way aims to welcome Expo visitorswho want to visit Milan and get to know thecitys cultural sites, its old and more recent his-torical locations, combining art and enjoyment,with shopping and gastronomy. The Land Waywill also be a way o enabling everyone to enjoythe city and move around it at a leisurely pace.The Via di Terra Project will see 4 differentpossible declinations of the general brief, eachone proposing an original take on the designchallenge proposed by the Municipality.

DESIGN DOMAINSThe Project will deal with the design o customconceived Route acilities and services. Supportacilities or visitors will have to be designed and

then placed along the Land Way within existingpublic areas due or redevelopment or plannedregeneration.BIKE - STATION

The bike station is menat to be where visitorswill access services enabling them to cover the

route. They will be able to rent brollers, skate boards, etc..., as weVisitors will also be able to make such as rest rooms and luggage loStations will be located near the

nodes to oer visitors a sustainabtion or moving around the city.GATES

These entry gates to the route wthe points o contact and direct tthe main route and the secondarysignalled by art installations whicstrong eatures o attraction and these places.NAVIGATORS

The Navigators will be specially-etions enabling visitors to access inabout the routes. Here, visitors wtion about distances, location o so on. WI-FI networks will enabletain supplementary inormation a

or to use the Internet to nd out points o interest.REST - AREAS

These areas will provide visitors wable places to take a break in thetheir journey across the city. Somsub-themes o the World Expositpresented in these oases o comLOOK-OUTS (LANDMARKS)

Certain spots will be selected as Milan skyline which will also servreerence or orientation along thtime o the Expo visitors will be aaccess some o the taller buildingopen to the public, to get a panothe city.ZERO - EMISSION BUSES

Lastly, the Land Way will be serveopen-air shuttle buses, tted withequipment that will enable Expo the citys various trails in comortwill be hydrogen-uelled to promsions urban mobility.

how to conceive the newpublic infrastructurefor the Milan of thefuture, leveraging on themomentum of the 2015Expo.

pATh NAvIGATION

puBlIC INFRASCTRuCTuRE

COMMuNITY REINFORCING

TERRITORY IDENTITY

*WORKShOp BRIEF

Via di terra

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

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

WS#05 vIA DI TERRACamilo Ayala Garcia,

Konrad Bobrzecki, MariaJos Fabregat, MauroDAlessandro

*ASSISTANTS*pROJECT lEADERS

Setsu Ito, Luca Buttafava,Paolo Cesaretti, Robert LeQuesne, Domenico Pisaturo

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BOX

*WORKShOp BRIEF DEClINATION 1

INVISIBLETERRITORIES-IDENTIFIABLETERRITORIES

Luca Buttafava

The main challenge o Via di TerraProject is not to be able to design, butto understand WHAT to design, WHERE,

and or WHOM, establishing what willhappen, HOW it will happen, and WHENand WHERE this or that strategy must beapplied rather than any other.There are various SITES on the territorythat quite oten have interesting but HID-DEN IDENTITIES, and yet, since they donot manage to COME OUT, they are notRECOUNTED. Yet there are people whoDO KNOW about those SITES, but since noone asks them or their ADVICE, and sinceno one gives them any CREDIT as treasur-ers, this PRECIOUS KNOWLEDGE will belost one day. It is rst and oremost unda-mental to visit the TERRITORY, to exploreit, experience it, touch it, photograph it,lm it, and know it; it must be recounted

or the aspects that each and every oneo you, as a designer, nds interesting, byCAPTURING unexpected motivations, thatcan transorm the sites into IDENTIFIABLETERRITORIESIdentiy WHAT could RAISE INTEREST FORCULTURAL EVENTS that concern the COM-MUNITY and part o the city, its identity,memory, traditions. You can choose toocus on one or more o these aspects.What is important is to choose what typeo users you want your project to address,and to dene the TARGET you intend toengage.THE ROUTE that connects the various loca-tions that you are investigating with one

another, must STRESS this RELATION; itmust narrate the PASSAGE rom one pointto the other, allowing thus anyone to per-ceive small clues, which together conveyan IDENTIFIABLE message. Think aboutguerrilla marketing or street art with stick-ers. Students must nd a rich narrative thathas the ability to stress the COLLABORA-TION between the groups o visitors sincetheyre all connected to one another alongthe route. The goal o the project is to de-ne a system o relations, spaces, objectsand media that can improve the visibilityo the SITES; they must be welcoming, andrefect the essence o Milans identity.

BOX

*WORKShOp BRIEF DEClINATION 2

MAKING SENSE OFTIME AND SPACE

Domenico Pisaturo, Robert Le Quesne

Via di Terra will be a predened trailto discover Milan experiencing the his-tory through the qualities o the spacesalong the path. While present ruition ohistorical ino happens primarily throughbooks or exhibition labels, there is a realexperience o arteacts and spaces whichis not commonly accessible or ociallyrecognized as history. Every object, everyarchitecture communicates. The arteactsbecome the means through which theirown story unolds. Each space providesus with sensory mnemonics that triggerunique reactions or each individual. The

use o technology adds a way o under-standing our surroundings through the useo metaphor and interaction.DESIGN OBJECTIVES

All the projects should aim at develop-ing concepts and scenarios o arteacts,spaces, systems and services that willpermit us:

- to explore the role o interactivity in oursociety by exploiting its potentialities, bymaking tangible the intangible.- to enhance the experience o the visitor

in the space;- to tell the history/story o the placethrough the creation o an emotional reso-nance in the visitor.REQUIREMENTS

The proposed solutions should ull theollowing requirements:OBJECTIVES: identiy general objectiveswith reerence to the proposed ramework,as presenting them to a client/sponsor.MOTIVATION AND KEY ISSUES: try toposition the envisioned solutions withinthe proposed ramework explaining theobjectives relevance.CONCEPT SCENARIO: describe it like asystem, including description o the sup-ported activity, unctionalities o the tools,characteristics o the context, role o theactors.

KEY VALUES: identiy and describe thevalues o the proposal rom the perspec-tive o the dierent actors involved.FEASIBILITY: dene the easibility withregard to the technological choices, payingattention to the integration between thedierent media.

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pROjEcTLEadERs

MASSIMO BANZIMassimo Banzi is the co-ounder o the Arduino projectand has worked on many interaction design project orclients like: Prada, Artemide, Persol, Whirlpool, V&AMuseum and Adidas. He spent 4 years at the InteractionDesign Institue Ivrea as Associate Proessor. Massimohas taught workshop and presented at institutions like:Architectural Association - London, Hochschule rGestaltung und Kunst Basel, Hochschule r GestaltungSchwbisch Gmnd, FH Potsdam, Domus Academy,Medialab Madrid, Escola Superior de Disseny Barcelona,ARS Electronica Linz, Mediamatic Amsterdam, Doorso Perception Amsterdam. Beore joining IDII he wasCTO or the Seat Ventures incubator. He spent manyyears working as a sotware architect, both in Milan andLondon, on projects or clients like Italia Online, Sapient,Labour Party, BT, MCI World- Com, SmithKlineBeecham,Storagetek, BSkyB and boo.com.

LUCA BUTTAFAVALuca Buttaava received a degree in architecture at thePolytechnic University o Milan. In 1996, he attendedthe Interaction Design Course at the Domus Academy inMilan. He worked there or ten years, ater traveling orwork in Korea and Japan. He worked at Domus Acad-emy, at DARC (Domus Academy Research and Consult-ing) as a senior researcher, and then began teaching andworking as supervisor o Masters programs. Buttaavaalso teaches in other Italian and international institutes,and since 2001 he has worked extensively with the Poly-technic University o Milan, in the Design Department asa proessor o Communication and Media Integration. In2008, he become a member o NABA (Nuova Accademiadi Belle Arti) as a Special Programs Coordinator in Milan,managing programs in the International Department. Apartner o Id-Lab, his most recent team project is Venezia[exhibition] Architecture Biennale.

PAOLO CESARETTIPaolo Cesaretti (1963), architect. Ater a short period atthe Amsterdam based UnStudio, in 1998 Paolo Cesarettibecomes co-partner o vc a in Milan, specialising inexhibit and experience design. Among the most recent

master in I-Design - Interactive objects, spaces and serv-ices - at Domus Academy, Chiara Diana is Domus Acad-emy Art Director. In 2003 she joined Domus AcademyResearch and Consulting Department (DARC), where sheis responsible or communication and interaction design.In January 2006 she has been appointed to Domus Acad-emy Art Direction. She participated in the developmento concepts, interaction design model and interacesor MILK: MULTIMEDIA INTERACTION FOR LEARNINGAND KNOWING and CARE!CREA projects. She has beenresponsible o the concept and design o signage systemand environmental identity, in RCSMediaGroup building,ended in 2005. In collaboration with D.COM - com-munication design department o Polytechnic Univer-sity o Milan - she designed the new ace o EDIZIONIPOLIDESIGN, academic publishing house.Since 2005 she

is Adjoint Proessor at the Faculty o Industrial Design atthe Polytechnic University o Milan and at Arsnova DigitalArts Academy o Siena.

SETSU ITODesigner and Architect. Ater graduating in Japan atTsukuba University, in 1989 he moved to Milan whererst he worked or Studio Alchimia and then collabo-rated with Angelo Mangiarotti. Since 1995 he has beenworking between Milan and Tokyo in partnership withShinobu Ito as a consultant or important companiessuch as De Padova, Edra, Sawaya&Moroni, PoltronaFrau,Dupont Corian, elicerossi, Guzzini, Nava, Richard Ginori,Colle-Vilca, Swarovski, Tiany, Sony CP Laboratories, Hi-tachi, Sharp, Toshiba, Canon, Yamaha, Mitsubishi, TDK,Cassina Ixc and Toyo Kitchen&Living.He is also a VisitingLecturer in Milan at the Milano Politecnico and at theDomus 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 Europeand Japan and has received several awards. Some piecesare part o the permanent collection at the museum oContemporary Art in Munich.

ROBERT LE QUESNE39 years old. Born in London, England, Robert studiedPhotography, Film and Video at the University o West-minster beore becoming a ounding member o mul-timedia design collective Antirom. Antirom pushed theboundaries o multimedia and interactivity and becameinternationally acclaimed working with clients such asLevi-Strauss, BBC Worldwide, and the Science Museum.Ater leading the production teams o major Londonaccounts such as Natwest and Banca Mediolanum at theglobal internet company Razorsh, Rob became head oproduction at the newly ormed oce in Milan. It washere that he developed the strategy Digital Retail Space,looking at ways o transorming the ways people interact

with brands in physical retail spaces. He co-oundedthebigspace to develop these ideas into workable clientsolutions. Since setting up thebigspace in 2002, he hasdeveloped cutting-edge experience design solutions orclients such as Levi-Strauss, Art, Polo Ralph Lauren, LeCoq Sporti, Ala Romeo, JC Penney and Replay Jeans.

achievements the studio has been selected or the ADIDesign Index - years 2004 and 2008 - and invited to takepart in the collective exhibition VuotoXPieno / Tempo-rary Architecture in Italy. Today vc a is designing thenew retail identity or leading Italian hypermarkets brandIpercoop. Regular lecturer at SPD and guest proessorat Politecnico di Milano and Domus Academy, PaoloCesaretti is currently working as a design consultant andart director exploring the concept o designed space as acommunication tool.

STEFANO CARDINIAter obtaining a degree in architecture -in 1996- with athesis about an innovative system integrating car poolingand car sharing, he decides that architecture is a goodhobby. He spent 8 years working at Domus Academyon EU unded research projects (Presence, LiMe, MATS,Pogo); as art director at Domus Academy Research andConsulting he was responsible or DA brand identity andor several projects or DARC clients. In 2005 he movedto trivioquadrivio, working on projects bridging visualidentity and organizational development consultancy.Hes been teaching at DA, both in workshops and shortcourses, and since 2000 hes teaching at Politecnico diMilano. Hes interested in the relationship between newand old media (and believes that they cannot be split, atthe moment), and spends most o his eorts trying torepresent complicate concepts in a simple way.

ALExANDRA DESCHAMPS SONSINOAlexandra is an industrial and interaction designer. Sheattended the Interaction Design Institute Ivrea whereshe met the other ounders o Tinker.it!. She has beeninvolved in projects or clients such as Nokia, Motorola,Droog design, Thinglink, Jaiku, Blast Radius, o.am andBlyk bringing creative and strategic leadership to multi-disciplinary teams. She is an active speaker on the nextgeneration o technology-aided product design andheads Tinker.it!s operations rom London.

CHIARA DIANACommunication and interaction designer, with a degreein Design at the Polytechnic University o Milan and a

CLAUDIO MODERINIBorn in 1965, interaction designer, he the Master Programme in Interaction DAcademy. Since 1995 he is member o at DARC (Domus Academy Research asince 2000 responsible o the interactiosign research activity. He has worked ion interaction design and multimedia, cepts related to telecommunication, mgraphical interaces. He taught New MTechniques at the Faculty o Communithe University o Siena and Visual ComIndustrial Design Course at the Facultysign o the Politecnico di Milano. He leAcademy, the Politecnico o Milano, RoArt, University o Siena and University

ocusing on interaction design in enhainstallations and network environment

ELENA PACENTIGraduated in architecture and PhD in IElena Pacenti deals with the design o service interaces and design o new muse. Since her graduation at the Polyteo Milan, she investigated on service dtools to be applied both in traditional smercial to social services, and with respand webrelated services. Since 1996, the Domus Academy Research and Conwhere shes coordinating research actidesign. As service and interaction desigdeveloped projects or the European Uor governmental and private agencies coordinated the activities o DARC or and the Campiello projects, within t

(Connected Communities) and Milk 1998 she is Adjoint Proessor at the FacDesign at the Polytechnic University oteaches service design. Since 2002 sheDomus Academy Research and Consul

DOMENICO PISATUROBorn in Salerno in 1975, moved to Milaness Administration at the University Sacro Cuore. In 1997 he begins his coDomus Academy taking part in the resLime; Presence and Campiello, programme o the European Communrection o Marco Susani and Claudio MDomus Academy, worked as an Interacseveral commercial projects. In 2000 joa Senior Interaction Designer and ounRob Le Quesne (ormer Antirom) the dital Retail Space, a research laboratory

new concepts or technology integratiosales and exhibiting spaces in order to involvement. At the same time he lectuItalian universities on User Experience aproessor or the I-Design master coursemy, is an Associate Partner o Creativesince January 2002.

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PRJ#01I-Ba

PRJ#06pixonic

PRJ#02Orion

PRJ#07loeTabe

PRJ#03v-Farm

PRJ#08MixMix

Ding

PRJ#05

PRJ#04v-Fit

PRJ#09Omygide

PRO

JECTS

1 l N p R F 2 K O M T D 3 C FI R G 4 E X O E T 5 M

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WS#01

I-BAll

ORION

MOOlAMp

pEAR

vIvIDlEAF

WS#02

ClICK

EKOO

v-FARM

v-FIT

ICONAID

WS#03

pIXONIC

SONIF

SONICMEMOIR

DING

WS#04

lOupETABlE

MIXMIX

EChOEChO

SWEETvASEOMINE

WORKIT

WS#05

pORTAM

MEMO

pARA_

SITE

OhMYGuIDE

pICO

MIlANO

vITAClETTA

vISION

TEASER

> 36

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HOW IT WORKS?

The I-Balls have many unctions. Firsto all, they are urban lighting x tures,

which can be put in streets, parks andother public spaces to brighten theSecond, I-Balls are decorative elements

that populate the cityscape and land-scape with grati made o light. The

I-Balls surace is composed o touch

screens that are connected to a sensor inthe center.Being I-Ball a digital platorm or selexpression and creativity, people can

alter the lights color and brightness,change the pens pixel and color to simu-

late painting, and even stamp it with

some customized icons.

The spherical shape o I-Balls permits tousers to easily and dynamically arrange

the lights in the environment, by simplypushing and rolling them.I-Balls display dierent light eects on

the basis both o people interaction ando reciprocal proximity.

For instance, people can play some kind

o race games or matching games withother I-Balls, and during the interactionprocess the balls will sh ow dierent re-actions that have the scope to introduce

some elements o variability within thegame, stimulate people to gather and

interact in a playul way.

vAluE AND pOTENTIAlIn conclusion, I-Balls are inte-grating in one solution lightingand interaction. They arent justmoveable lights. They promotea meaningul re-appropriation

o public spaces, through sel-expression and playulness.Users will be able to elicit diverseeedbacks as soon as they usethem. Hopeully I-Balls will en-courage people to cooperate andshare together eorts and ideasto beautiy and decorate thetown. For Milan, I-Ball will bringin a great opportunity to have ashinier and livelier nightlie.

*pROJECT TITlE

I-BallWhAT IS IT?

I-Ball is a lighting solution based on movable spheres olight that leads people to gather around, create new livelyspots in the city, and express identity and personality in pub-lic space. I-Ball shows a new behavior or lighting systemthat triggers unexpected playul and exciting methods ointeraction with light.

Each I-Ball is 1.8 meters in diameter. The surace o the ballis semi-transparent PVC, which can protect the LEDs inside.Meanwhile, the LEDs give o sot glows through the PVCsurace. The surace is constructed with LED panels. In thecentre o the lights, there is a system, which produces andtransers power to the lights and other activities.

*TEAM MEMBERS *BRIEF *pROJECT lEADER

Stefano Cardini 38

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*pROJECT TITlE

OrionWhAT IS IT?

Orion is a system o dynamic signage that uses light ex-pressivity in order to help users navigate around the city byproviding dynamic inormation about nearby services, insti-tutions, areas o interest and special events through the useo icons and light. Orion will provide useul inormation toboth visitors and locals in a universal ormat.

hOW IT WORKS?Being a xed physical inrastructure thatprovides dynamic inormation about

a location, Orion will be situated onstreet corners as well as other strategiclocations i necessary. The units will

be positioned at a proper height sothat people can spot Orion rom a

air distance and can quickly survey anintersection or available services, attrac-

tions, etc.Orion structure is based on our panelswith an L shape ormat. The angle

o the L, so as the size and number opanels may dier depending on the ac-

tual location. On the panel is displayedthe name o the street with an arrow

that indicates the direction o the listedstreet as well as the direction o theservices and areas o interest shown on

that particular panel.The top lit icon is or public transporta-

tion - buses, trams, and trolleys, so asor indicating pedestrian paths. The

transportation icon scrolls or displaying

the dierent transportation units avail-able in the area, showing also related in-ormation like estimated arrival time o a

bus, distance and walking time to reachthe nearest bus/taxi stop and so on.

Below the transportation icon otherlit icons inorm people about services,

events and areas o interest along thestreet. A number next to icons indicatesi.e.. the number o similar services

currently open. The user can use avertical touch-pad or scrolling through

the listing o similar services to see theexact location o desired service and its

relative distance rom the current Orionunit. Furthermore, some dynamic

inormation about the service may alsobe shown. For example, i there aremore restaurants along a street, the

user can select restaurants and in thedetailed ino box they can see the type

o cuisine as well as i the restaurant isbusy or not.

vAluE AND pOTENTIAlAs mentioned beore, Orion can

provide some real-time inorma-tion. This can also include special

events and/or emergencies. Orionalso saves users time because one

can quickly see what is available

on adjacent streets without cross-ing the street or even walking

down the street.In the uture, adding icon-

shaped lights in ront o shopsto correspond with the icons on

Orion will make locating shopsthat much easier or visitors andlocals. By spreading Orions

language o icon and lights wecould potentially reduce the exist-

ing mishmash o signs.Each individual Orion unit, which

is aware o its own streets, couldpotentially communicate with

nearby units to urther aid usersby expanding the area it covers.Orion could potentially guide

users to services and destinationsblocks away or urther.


Stefano Cardini 40

pRJ#03

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WS#02


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*pROJECT TITlE

V-farmWhAT IS IT?

V-arm is a virtual reproduction o a real arm in which cus-tomers can cultivate, share and harvest their own seedlingsplaced in public places and accessible also remotely. Aterharvesting, customers can exchange their virtual ruits or realproducts. In-store interaction is based on touch screens placedat accessible points in the retail space. Remote access is provid-ed through a web site and an application or mobile phones.

HOW IT WORKS?The system consists o our main tools:

a membership green card, the V-armlounge, kiosks, a web-site and a mobile

phones application. Wh en buying eco-sustainable and bio-products customerscollect points by way o their member-

ship card. Ater collecting a certainamount o points they can use them or

planting new seeds in the virtual-arm.

The card is the main tool or logginginto the virtual arm, which is installedinside a lounge (in case o big stores)

or in kiosks placed in strategic positionschosen in order to enhance post-buyingexperience.

Interaction in the V-arm lounge is

provided by large scale touch screensthrough which users can manage, seed

and share their ruits with other users.The sotware serves tools or managing

and sharing the seedlings.V-arm access is also available througha website that gives each user a way

to observe other users harvest andpropose exchange and trade o culti-

vated products. A mobile application

is supplied to users who want to havean overview o their own arm throughtheir mobile phones and check ex-

change proposals.The system cycle ends when ruits areready or the harvesting and then they

are exchanged or real products.

VALUE AND POTENTIAL

The V-Farm system allows retail

stores to improve the way theycare about and keep in touch

with their clients ater shoppingthrough a rewarding system that

can educate people to a moresustainable shopping style.

Communities based on sharingand exchanging ca n be born

around the virtual arm. Pos-sibilities o interactions betweenpeople around the v-arm are

endless.Simple possible developments

could be related to widen theset o activities and products in

the virtual arming experience(i.e. bees, animals, etc.). A morestructural potential development

could be the installation o a real

garden inside the shop wherepeople can grow and share theirreal products through the help o

a green customer service.

tt://tinyr.com/farm-rototye

tt://tinyr.com/farm-scenario

*TEAM MEMBERS *BRIEF


42

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hOW IT WORKS?V-t system is based on human gesture

recognition technology that combines a

set o technologies, such as inrared raysled array, camera-based recognition and

capacity sensor-based recognition. Inthe standby mode the interace displays

dierent images rom the visual libraryand the users can choose the image

which closely resembles the person to

be described. The interace reacts to thegestures and hand movement and ena-bles the user to modiy the image to suit

his requirement. It is possible to modiythe image in terms o height, width

and overall body shape in the ront andside prole. Ater completing the image

description the system gives the recom-mendation or a suitable size o clothesor the person described.

vAluE AND pOTENTIAlThe visual interace enhances

the overall shopping experiencedriven by consideration o mo-

ments o engagement betweenpeople and space.It helps to add a certain value

to the moment o testing andprovide a new entertainment to

the user within the retail environ-ment. The solution, V-t, serves

as a high adaptive interace orvariable ashion stores.Further potential development

would be a printable version othe interace eedback which

people can take away as a souve-nir o their experience.

*pROJECT TITlE

V-ftWhAT IS IT?

The ocus o V-t is to reinvent the shopping experienceinto retail spaces through visual interaces to create a mean-ingul interaction between users, the space and products.The specic scope o the project is to enhance the way theshop supports the moment o testing in ashion and ac-cessories shops. The scenario o V-t implies a client thatwants to buy a git or somebody else. In this context it isvery useul to visualize the person, who is not present inthe shop, and choose the correct size o clothes or him.The visual interace helps to describe a person in terms oheight, width and overall body shape by way o body lan-guage and gestures.

tt://tinyr.com/t-rototye

tt://tinyr.com/t-scenario

*TEAM MEMBERS *BRIEF *pROJECT lEADERS


V-tail

WS#02Sheetal Ingolikar, HeonjaeJung, Alix Chen

pRJ#04 44


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

WS#03pRJ#05


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hOW IT WORKS?Ding is a series o interactive sonic

urban artiacts consisting in a pole, arame structure that contains the strings,

a slider and a loudspeaker. Both thestrings and the speaker are treated like3D icons and have the scope to physi-

cally represent the main unctionalitythat is playing with sounds and listening.

The slider mounted on the side o the

rame is used or browsing and selectingthe dierent unctions, the string oractivating, playing and controlling thesound quality and the pegs or adding

sound eects.By sliding up and down the slider it is

possible to select the dierent audio

modalities, such as news, audio storiesand narrations and translations into di-erent languages, the access to dierent

level o details within the same categoryis activated by rotating the slider along

the vertical axes. The pegs serve theunction o selecting the language

options or news and narrations andor adding additional sound eects.Brushing the strings activates the sound

inormation, plucking harder increasesthe volume and plucking the upper and

lower extremes o the string produces avariation o the tonality o the sound. In

this way it enables the user to interactcompletely with the audio inormation

and manipulate the audio qualities.

vAluE AND pOTENTIAlThe sonic interace, Ding is a new

and innovative approach towardsaudio interaces and inormation.

It has more attractive and meta-phorical appearance or public

spaces in the urban context. Itgives the opportunity to actively

interact with audio inormationenabling contribution and shar-ing. In a way the sonic interace

has the means or enhancing andeven radically changing the per-

ception o audio inormation.

*pROJECT TITlE

DingWhAT IS IT?

The ocus o Ding project is to investigate the role o auralqualities in shaping the interactive experience. The sonicinterace o Ding is inspired by string musical instruments,representing an innovative way to play audio inormationin public spaces. The system addresses our types o inor-mation such as sounds o the city (environmental sounds),stories and narrations, news and languages. It has variousunctions such as browsing the categories o sound, control-ling the sound qualities like volume, tone, speed and con-tinuity as well as adding additional sound eects. Ding is anew approach towards sonic interaces to enhance the sonicexperience through contribution and sharing.


Claudio Moderini 46


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hOW IT WORKS?The application works in two modalities:exploration and expressive modes.In the exploration mode, the sotware

recognizes visual elements and trans-lates them into sounds through an

object detection algorithm. The cameraembedded in the portable device

catches real-time pictures to be analyzedand directly transorms them into pleas-ant sounds the user can listen to, and

decide whether to save them or not.In this modality the user can aect im-

age properties by changing some basicparameters as brightness, zoom and

contrast, this way the user can assist thesotware to investigate the visual ele-ments and create new sounds.

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

with both visual and interactive ele-ments.

The main idea is to give the user aninterace to move sound scanners that

detects meaningul spots in the takenpicture, each spot represents a spe-

cic object based on shape and color.Sound spots can be added, removedand moved inside the picture to dene

unique sounds. A wide range o themesare available to customize sounds, they

are based on dierent instruments,rhythm and melodies rom various music

and countries.A geo-location system provides sugges-tions based on the location the user has

taken the picture rom. As nal step theuser can save his/her sound and share it

with other people through publishing itto the web and social networks.

vAluE AND pOTENTIAlPixonic gives people, a chance to

investigate reality in an unusualway: through sound. We believe

that this application could changethe passive attitude o the userand make him/her more active

and discover the surroundingspace in engaging ways, answer-

ing the question: Maybe thissounds nice!.

Increasing the creativity towardssound in terms o un is not theonly aim o this project, we also

expect Pixonic to help the usersto create memories o places and

moments and share them withothers. This last goal might be

achieved with the adoption othemes, which will provide dier-

ent musical experiences based onlocations.

*pROJECT TITlE

PixonicWhAT IS IT?

Pixonic is an application or smart phones and other portabledevices, which transorms real time images into sounds creat-ing a personalized, contextual soundtrack. Using a camera totake real time pictures, the sotware can generate pleasantsounds by scanning the visual contents. The user can interactand manipulate sounds through some simple graphics editingunctions. Another level o interaction is based on direct sound

control. Themes are provided to customize sounds and theycan also be suggested by geo-location. Sounds can be sharedand published on the web through social networking.

http://tinyurl.com/pixonic-scenario

*TEAM MEMBERS *BRIEF

Claudio Moderini

*pROJECT lEADER

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HOW IT WORKS?Loupe Tables concept draws momen-tum rom the assumption that otenmuseums have large and unused collec-tions o documentary materials, such asdiapositives slides. Loupe Table bringsthese objects to the oreront, makingthem the vehicles through which activelyengaging visitors and disseminating reshcontents.Loupe Table consists o two mainelements, an LED backlit light table,showcasing dierent arrays o slides, anda mechanic-arm mounted, movable LCDdisplay, in its orm actors reminiscent oa magniying glass (or Loupe).

Users can move the display hovering itover the slides array. Stopping on top oone diapositive and closing up on it, willtrigger a choice o multimedia contentsassociated with the underlying slide. Adial on the display side will allow s elect-ing among the contents available.

On the technical side, Loupe Tableslides cover several arrays o reed sen-sors. Every sensor, when triggered by amagnet placed behind the LCD display,activates the multimedia contents relatedto the overlying slide. The low range othe reed sensors caters to activating thesupplementary contents only when thedisplay is conveniently close.The display constantly calculates itsheight rom the light-table surace bymeans o an inrared sensor placed on itsback part. This allows to accurately applya zoom in eect when closing-up on theslides.

VALUE AND POTENTIALThe concept behind Loupe Tablehas been inspired by the actiono analyzing diapositives on alight table with a precision mag-niying lens. The intention wasto harness an iconic act in orderto establish a communicationshort-circuit. Loupe Table buildsupon the resemblance with a a-miliar looking tool to suggest thesystem aordances and beguilevisitors curiosity.Loupe Table tries also to makethe most o documentary archivematerials that oten lie unused inmost museums. Quite ordinaryobjects such as slides are turnedinto real attention grabbers byaccurate display layout and lightset-up. Then the consistent useo a clear mental model makesthem an eective digital contentbrowsing solution.

*pROJECT TITlE

Loupe TableWhAT IS IT?

Loupe Table is a low-cost augmented reality museums dis-play or searching, browsing and displaying multimedia con-tents. By means o a small monitor mounted on a mechanicarm, the user can visually navigate through the detailed

multimedia inormation related to the slides showcased onthe light-table.

tt://tinyr.com/oetabe-rototye

Brave newmuseums

TEAM MEMBERS BRIEF pROJECT lEADERS

Massimo Banzi, A.Deschamps Sonsino

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HOW IT WORKS?MixMix primary interace are six squaredpieces every one o which is a cuboido 12 by 12 by 3cm whose surace isused as a small projection screen. Thepieces sit on an 80cm by 80cm squaretable with a semi-translucent surace.A video-projector is positioned perpen-dicularly on top o the table in orderto project on the tiles. Underneath thetable an inrared camera tracks theposition o the tiles. Each puzzle pieceis identied by a ducial ID, allowingthe correct positioning o the portion oimage associated to it.MixMix game dynamic is simple andstraightorward: users have to re-

compose correctly the image projectedon the tiles surace. At the beginningo the game, ragments o an outlinedmuseum item appear on the top o thecuboids. Shufing the puzzle pieces onthe table, will change the subject o the

puzzle. Stopping or 2 seconds on oneo the outlined objects will select it asthe object to be recomposed. A sound,then, will set start to the puzzle game.Users, then, will have to match correctlythe 6 tiles. At the completion o thepuzzle, MixMix will trigger selected mul-timedia contents revealing details o theobject shown on the puzzle. The Videocontent, or instance, can illustrate thestory o the object discovery or alterna-tively o its restoration.

VALUE AND POTENTIAL

MixMix most remarkable resultis that it adds engagement and

interactivity to a museum visit.Furthermore it enables dealingwith educational contents in an

amusing and entertaining way.This allows MixMix to be particu-

larly tting or the target audi-ence o the museum considered.

MixMix game dynamic alsoappears to be suitable to thecontext o an archaeology mu-

seum, as it connects the elemento discovery through manipula-

tion to the archaeologists work.Piecing out the virtual ragments,

children can experience whatit eels like to be an archaeolo-

gist. Thereore MixMix can beexploited to make education inan archaeology museum a un

activity.

*pROJECT TITlE

MixMixWhAT IS IT?MixMix context o use is a small archaeology museumwhose main visitors are primary school students. MixMixproject is a mixed reality puzzle game made up o six tileswhose manipulation triggers the projections o artiactsimages drawn rom the museum collection. Scope o thegame is to correctly match the puzzle pieces in order toobtain the picture o an artiact. This, in turn, gives access tomultimedia contents about the artiacts story. A new gameis started each time the pieces on the table are shufed.Through playing with the puzzle game and piecing out thevirtual ragments as archaeologists, the young visitors will

gain knowledge about archaeology in an engaging ashion.

tt://tinyr.com/mixmix-rototye

Brave newmuseums

TEAM MEMBERS BRIEF pROJECT lEADERS

52


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HOW IT WORKS?The system creates a layer o augmented

reality between the real world and theuser by collecting and dispatching statusmessage updates.

A ollower in need to nd out a guide,activates the sotware and pans his

phone scanning his view-eld. In realtime, bubbles are overlaid above people

who are going towards the same or aneighbouring destination.The ollower asks to trail the guide

and eventually the guide agrees to bepursued.

Upon accepting to guide a ollower,guide and ollower are grouped to-

gether by the system. In the augmentedreality application the guide will be thenmarked with a fag icon above his head

while the ollower will sport a sheepicon, thereore being recognizable to

other Oh my guide! users. Groupsmoving towards dierent directions will

be color-coded, thus avoiding potentialconusion.Groups can be custom-created depend-

ing on eatured citywide events ordepending on users interests. Potential

ollowers can get urther inormationabout the event the guide is bound or,

beore deciding to create a group.Followers can rate the guide, thereore

creating an inormal trust-networkor other people to nd out reliableguides or one that can speak a certain

language.Oh my guide! eatures unctionality

similar to any social network as status,wall messages, groups, messaging, rat-

ings and subscriber proles.The system supports alternativemodalities o use:

1) Deault modality, which caters tolooking or and providing direction.

2) Game modality, in which us-ers or associations can use Oh my

guide!unctionalities to set up urbangames and alternate reality quests.3) Volunteer modality, in which during

the Expo the organization can spreadvolunteers around the city to help peo-

ple in giving directions and providingsupport in dierent languages.

4) Bread crumbs modality: this is amodality in which users can drop geo-located, location-specic messages

around the city, or sharing suggestionsabout shortcut directions, entertain-

ment, amenities, restaurants, and hid-den places.

vAluE AND pOTENTIAlOh my guide! provides an agileinrastructure or connectingpeople in the city. Oh my guide!builds upon the social/virtualparadigm, translating it into the

real world. The service potentiallyincreases also the chances orinteraction between locals andvisitors/newcomers.Oh my guide! can be usedworldwide and potentiallystrengthens the citys socialabric, making it more touristriendly. Users can see the citythrough local people and can getrst-hand insights on sites andplaces.Oh my guide! eatured Breadcrumb modality is potentially ahuge area o development as itis a way o customizing the citythrough virtual location-basedtagging.

*pROJECT TITlE

Oh my guide!WhAT IS IT?

Oh my guide! is is a service o collaborative guiding basedon the interaction between two kinds o users: the guideand the ollower. The ollower is the one who is looking orguidance and direction and the guide is the one who oersto guide ollowers to their destination.

Domenico Pisaturo,Robert Le Quesne

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VALUE AND POTENTIALPico provides an imaginative solu-tions to several inconveniencespeople experience while takingsel-portraits. Pico takes highquality pictures rom the mostnotable touristic points o inter-

est. Pico provides users a specialand cheerul experience bysimpliying the process o takingrealistic-looking candid-shots onparticularly scenographic sites.Picos system architecture ismodular and scalable, allowingmultiple solutions or its installa-tion on dierent sites. Within theramework o the Expo 2015 ini-tiatives, being placed at strategiclocations along the Via di Terra,Pico will provide a valuable aidor capturing and sharing imageso memorable moments experi-enced in Milan.

HOW IT WORKS?Beore starting to use Pico, users willneed to subscribe to the service onlineor at one o several tourists inorma-tion centre in town. Ater registering,users will be able to download Picosmart phone client application. A mapo Picos virtual photo-sets locations willbe available to subscribers to let themlocate all the points o interests wherethe service is available. Several Pico

cameras will be installed along majortouristic routes, such as during the Expothe Via di Terra. Cameras will mostlybe located at remarkable scenic spots,or in their vicinity. A number o deviceswill also be installed in curious locationsenabling visitors to take unny pictures

rom unconventional perspectives.Picosshooting sites will be made easily recog-nizable through an identiable signage.Pico Cameras installed in dierentpositions are equipped with a varietyo sensors in order to provide appropri-ate eedback beore photographing theusers. Shutters o cameras will be trig-gered upon detecting that the visitorsare perorming certain actions.Certain, conveniently located, cameras

will acilitate taking candid-style pic-tures enhancing the unexpected actor.Ater the shooting, users can immedi-ately add their comments by sending thesystem a text message. The photo willthen be saved to their email or on thePico homepage or urther editing.

*pROJECT TITlE

PicoWhAT IS IT?

Tourists have oten a hard time at taking a perect picture bythemselves, let alone taking shots rom particularly sceno-graphic angles. Pico tackles these and other similar situa-tions providing an inrastructure o high-res digital cameraslocated in relevant sites around the city, to help tourists andvisitors take sel-portraits.Pico will give the possibility o shooting photographs roma variety o dierent angles, engaging the users in discover-ing unny and cheerul poses. Ater the pictures are taken,

Pico will take care o saving them, either orwarding them tothe visitors email or storing them on the service communityhomepage. The photos can later be edited beore sharingthem on other social networks or they can be printed in anactual photo album.

Luca Buttafava 56


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> 58

LEcTURERs


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LEcTURERsMassIMO BaNzI / FRaNcO BOLELLI / aNdREa BRazI / GIaNLUca BRUGNOLI / aMpELIO BUccI / LU

BUTTaFava / sTEFaNO caRdINI / phILIppE casE/ RIccaRdO casTaLdI / paOLO cEsaRETTI / LchRIsTIaNsEN / sILvIO dE pONTE / aLExaNdRa schaMps-sONsINO / chIaRa dIaNa / jOzEph FOkIs / FRaNcIscO GOMEz-paz / GUaLTIERO haRRIs

/ sETsU ITO / EUGENIa LaGhEzza / GIOvaNNI LaUROBERT LE QUEsNE / daRIa LOI / ELIaNa LORENa / EMaNzINI / cLaUdIO MOdERINI / FRaNcEscO MORa/ sIMONE MUscOLINO / ELENa pacENTI / dOMENpIsaTURO / cLaUdIa RaIMONdO / GaBI scaRdI /

BIO sERGIO / FRaNcEsca TassIsTRO / ROdRIGO TREs / pIETRO TURI / jaN-chRIsTOph zOELs.

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DOMuS ACADEMY

Domus Academy was created in Milan in 1982as an open project around Italian experiencesin design and fashion. Over the years DA has

developed two major areas of specialisation, eachenriched by mutual exchange with t he other:the institution has established itself both as aninternational centre for postgraduate training andas a laboratory for research and consulting in theelds of design and innovation.

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The Master In Interaction DesignDomus Academy - Interaction Design Department

Head of Department - Master Course Director

Claudio Moderini

Coordinator - Tutor

Renzo Giusti

Course Information

Susanna Gualazzini

[email protected]

PH +39 0242414001

Admission and Registration

Carmela Bongermino

Loredana Lunasco

[email protected]

Art direction and graphic design: Chiara Diana, Francesca Valad.

I-Design YB09 Highres

Documents

Transcript of I-Design YB09 Highres