UNSW | Built Environment | Computational Design Program ... · urban interaction design by teaching...

UNSW | Built Environment | Computational Design Program

YEAR 2 | SEMESTER 2 | 2015

© M. Haeusler Hank

Urban Interaction Design

CODE2230

1. Scan this QR code to be taken to the course UNSW Handbook site:

© Wolfgang Leeb

Week 6 – 10 Lectures: 9 – 10 am & 4 – 5 pm, Tuesdays and Fridays, Square House 103 (Tues) / 104 (Fri) Week 6 – 10 Tutorials: 10 – 1pm & 2 – 4 pm, Tuesdays and Fridays, Square House 103 (Tues) / 104 (Fri)



Table of Contents 1. Course Description 3

2. Course Staff and Contributors 3

3. Course Communication 3

4. Course Websites 4

5. Lectures 5

6. Design Project 9

7. Assessment 11

8. Assessment criteria and standards 14

9. Course assessment feedback strategy 20

10. Resources 20

11. Class requirements 25

12. Expectations 26

13. Learning experience and teaching strategies 26

14. OH&S and workshop training 27

15. Course aims 27

16. Learning outcomes 27

17. Parity Session 27

18. Course Graduate Attribute 29

19. Built Environment and UNSW Academic Policies 29

CODE2230 | Urban Interaction Design

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1. Course Description This course is part of the practice orientated teaching trajectory ‘Contextualising’ combining Stream 3: Smart and Ubiquitous Cities and Stream 4: Responsive Environments. It is run as an intensive 5 weeks course with two full-day classes per week.

The course will introduce students to urban interaction design by teaching principles of human interaction in the built environment using displays through a suite of sensors. This course will provide students with the conceptual understanding, technical skills and working methods needed to design a computer-mediated project that effectively explores a compelling spatial solution. Students will learn how to implement computational techniques to test and develop working design prototypes and situate these into the built environment. Theories and project themes will be developed around the two stream interests Stream 3: Smart and Ubiquitous Cities and Stream 4: Responsive Environments, with a specific focus on the decision making process of human and computational agents within the mediated environment.

There are two lectures each day that will introduce students to the topic. The lectures will relate to experiences and challenges in research and practice by presenting projects and investigations.

The design project is in cooperation with the Central Academic of Fine Arts (CAFA), Beijing. Students in Beijing have developed first design principles we will pick up and develop further in the course. The project will consequently look primarily into the design of the individual hardware component; how one can generate an object or urban installation out of the components; what kind of interactions are possible by understanding interaction design for urban settings better and gaining knowledge in what sensors and activators work best. Depending on the level of design resolution the project will be handed in as a VIVID entry for the Media Architecture Biennale 2016.

2. Course Staff and Contributors Course Convenor: Luke Hespanhol

Room: 2002

Email : [email protected]

Consultation times:

Directly before or after class, please contact tutor one day in advance per email to make a booking.

Teaching Staff : Nicole Gardner

Room: 2007


Consultation times:


Teaching Staff : Dr M. Hank Haeusler

Room: 4023


Consultation times:




3. Course Communication Most course related announcements are made in the lectures. It is essential that you attend the lectures to receive these announcements. In addition to these formal communication paths, online discussion forums will be available that will allow everyone to post questions and respond to other people’s questions. All students will be expected to participate in the online discussions in Moodle.

Individual student related communication, including the issue of assessment grades and feedback, will be via the Moodle. UNSW Student email will be used to communicate changes that occur with short notice. All students are assigned an e‐mail account on the University's e‐mail server, so that email address will be used as the primary means by which important correspondence is made. You must, therefore, get into the habit of checking your UNSW student email regularly.

Details on setting up your UNSW student email are provided at:

https://www.it.unsw.edu.au/students/index.html

To manage your UNSW account and password, use the IDM site:

https://idm.unsw.edu.au/idm/user/login.jsp

Questions that cannot wait until the next allocated class are best handled by posting a message on the online forums in Moodle. If there are important or urgent matters that require a personal meeting, you are able make an appointment with your course staff. See 3. Course Staff and Contributors for more information on how and when to communicate with course coordinator and tutors.

4. Course Websites Moodle – this is the UNSW wide online teaching platform and has many capabilities. You can access Moodle via: https://moodle.telt.unsw.edu.au/login/index.php

Use https://teaching.unsw.edu.au/moodle-orientation to familiarise yourself with Moodle. Please see section 7.1 Online Teaching for more information.

Note: There is the potential that your lectures will be automatically recorded under the echo 360 platform:

https://teaching.unsw.edu.au/unsw-lecture-recordings-process

All OH&S and workshop training courses are as well located on Moodle. Please follow the Moodle instructions to complete UNSW’s OH&S requirements.


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5. Lectures Studio will start in 1. September 2015 and end in 2. October 2015 and therefore be during the Mid Term break / non-teaching week which will therefore not apply to this course. Hence lectures and tutorials are on the following dates (9 – 5pm).

WEEK 6 WEEK 7 WEEK 8 WEEK 9 WEEK 10 Day 1 1.9.15

Day 2 4.9.15

Day 3 8.9.15

Day 4 15.9.15

Day 5 25.9.15

Day 6 2.10.15

Morning 9 - 12pm

Lec 1 Lec 3 Lec 5

Lec 7 Class Interim

Final

Class

Class

Class Midt.

Class

Afternoon 1 - 5pm Lec 2 Lec 4 Lec 6

Lec 8

Week 6 / Day 1 01.09.15 Morning Topic

Lecture 1 : Introduction / Welcome lecture This lecture introduces the field of Urban Interaction Design and how it has emerged from the confluence of Architecture, City Planning, Social Sciences, Computing, Arts and Design. It presents a historical overview of the field, its significance in the context of the increasing urbanisation of modern society, and discusses current practices, concerns, objectives, common issues and emerging trends.

Readings: Brynskov, M., Bermúdez, J. C. C., Fernández, M., Korsgaard, H., Mulder, I., Piskorek, K., . . . De Waal, M. (2014). Urban Interaction Design: Towards City Making. Retrieved from http://urbanixd.eu/s/UrbanIxD_towardsCityMaking.pdf Hill, D. (2008). Essay: The street as platform. Retrieved from http://www.cityofsound.com/blog/2008/02/the-street-as-p.html De Waal, M. (2013) The City as Interface. How New Media are Changing the City.

Tutorial activities: Course Project Brief. Presentation of design roles for project and assessment criteria. Work on course project: elaboration of two draft concepts for physical LED component.

Week 6 / Day 1 01.09.15 Evening Topic

Lecture 2: People, Place and Technology Media interventions in public spaces aim to use technology to redesign the relationships between people and the city around them. This lecture presents a series of case studies and discusses their common implementation goals as well as challenges in regards to strategies for engaging people, dealing with constraints imposed by urban locations and choosing between various technology options.

Readings: Dalsgaard, P., & Halskov, K. (2010). Designing Urban Media Façades: Cases and Challenges. In Proc. CHI 2010, Atlanta, GA, USA. ACM Press (2010). Hill, D. (2008). Sketchbook: Wi-fi structures and people shapes. Retrieved from http://www.cityofsound.com/blog/2008/11/wi-fi-



structure.html Schroeter, R., Foth, M., & Satchell, C. (2012). People, Content, Location: Sweet Spotting Urban Screens for Situated Engagement. Paper presented at the DIS'12, Newcastle, UK. Vande Moere, A., & Woulters, N. (2012). The Role of Context in Media Architecture. In Proc. PerDis 2012, Porto, Portugal. ACM Press (2012).


Lecture 3: Urban Prototyping and User-Centred Design User-centred design is a traditional approach arguing for direct end-user involvement in the design process. This lecture discusses user-centred approaches and techniques in the design of interactive concepts for urban spaces. In particular, it highlights the role of designers and researchers as facilitators in the active exploration of novel experiences in public places mediated by technology. It also discusses the importance of iterative prototyping in generating insights, anticipating issues and enabling the emergence of user-centred design solutions.

Readings: Brynskov, M., Dalsgaard, P., Ebsen, T., Fritsch, J., Halskov, K., and Nielsen, R. Staging urban interactions with media façades. In Proc. INTERACT 2009, Springer (2009), 154–167. Dalsgaard, P. (2010). Research in and through design: an interaction design research approach. In Proc. OzCHI'10, Brisbane, Australia. ACM Press (2010). Korsgaard, H., & Brynskov, M. (2014). City Bug Report: Urban prototyping as participatory process and practice. In Proc. MAB'14, Aarhus, Denmark. Hoggenmüller, M., & Wiethoff, A. (2014). LightSet: Enabling Urban Prototyping of Interactive Media Façades. In proc. DIS'14, June 21–25, 2014, Vancouver, Canada. ACM Press (2014). Vines, J., Clarke, R., Wright, P., McCarthy, J., & Olivier, P. (2013). Configuring Participation: On How We Involve People In Design. Paper presented at the CHI'13, Paris, France. ACM Press (2013).

Tutorial activities: Definition of user journeys and experience maps. Elaboration of prototyping strategies for testing the physical and content solutions to the course project.


Lecture 4: Design Principles I : Spatial Layout and Social Interaction Designing for interaction with media architecture poses challenges in regard to ways of addressing different spatial layouts, the large-scale of the augmented architecture and the placement of interactive spaces. This lecture will explore how spatial and visual properties may impact social usability, movement activity and, consequently, the interactions between citizens, mediated by technology.

Readings: Hespanhol, L., Tomitsch, M., Bown, O., & Young, M. (2014). Using Embodied Audio-Visual Interaction to Promote Social Encounters Around Large Media Façades. In Proc. DIS'14, Vancouver, BC, Canada. ACM Press (2014). Fatah gen. Schieck, A., Al-Sayed, K., Kostopoulou, E., Behrens, M., Motta, W. (2013) Networked architectural interfaces: exploring the effect of spatial configuration on urban screen placement. In Proc. 9th International Space Syntax Symposium. Seoul, South Korea. Fischer, P. T., & Hornecker, E. (2012). Urban HCI: Spatial Aspects in


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the Design of Shared Encounters for Media Façades. In Proc. CHI 2012, Austin, Texas, USA. ACM Press (2012). Whyte, W.H. (1980) The Social Life of Small Urban Spaces, Project for Public Spaces Inc., pp. 125.


Lecture 5: Deborah Turnbull Til lman, New Media Curation Ms Turnbull Tillman will discuss electronic art curatorial aspects and factors involved in interactive installations for public spaces.

Readings: Turnbull D. and Connell, M. (2011). Prototyping Places: the museum. Book chapter in Interacting: Art, Research and the Creative Practitioner. (Eds) Linda Candy and Ernest Edmonds. Libri Publications, UK: 2011. p. 79-93.

Tutorial activities: Midterm presentations. Presentation of Assignment 1 (Group) to panel – see Assignment 1 below for hand in criteria. That will be followed by presentations of initial ideas for Assignment 3 (Individual). Students will get feedback on their design concepts in order to continue working on Assignments 2 and 3.

Presentation of Assignment 1 (Group): 10am – 11am Presentation of initial interaction concepts (Individual): 11am – 5pm


Lecture 6: Design Principles I I : Social Interaction Design Patterns Designing for intuitive interaction in public spaces differs from traditional digital applications due to the inherently fluid social nature and often large-scale character of urban interventions. This lecture discusses the design of a variety of urban interactive scenarios, with particular emphasis on how they have influenced modes of social behaviour. From that, recurrent patterns are identified for designing and employing media architecture to influence social interaction.

Readings: Hespanhol, L., & Dalsgaard, P. (2015). Social Interaction Design Patterns For Urban Media Architecture. In Proc. INTERACT’15, September 14-18, 2015, Bamberg, Germany. ACM Press (2015). Hespanhol, L., & Tomitsch, M. (2015). Strategies for Intuitive Interaction in Public Urban Spaces. Interacting with Computers. doi: 10.1093/iwc/iwu051 Hillier, B., & Hanson, J. (1984). The Social Logic of Space: Cambridge University Press.


Lecture 7: Media Facades – History, Technology, Content Media facades have been the topic of extended research in regards to the history, the technology used and the content displayed on them. The lecture gives an overview about what one needs to know when designing a media façade as well discusses their history and gives an overview about technologies used for designing them.

Readings: Haeusler, M. H. (2009) ‘Media Facades – History, Technology, Content’, avedition, Ludwigsburg, Germany.

Tutorial activities: Elaboration of three interactive content concepts applicable to the project brief utilising the different feedback strategies. Work on the low-fi prototypes in preparation for interim presentations.



Week 8 / Day 4 15.09.15 Evening Topic Readings:

Lecture 8: New Media Facades – a global survey Media Facades are no longer a novelty but has been regarded as one of the twelve ecologies of the architectural envelop in the 2014 Venice Architecture Biennale. Hence the lecture will present an overview of media facades designed around the globe and discusses cultural differences in how media facades where designed in different continents. Haeusler, M. H.; Tomitsch, M.; Tscherteu, G. (2012) ‘New Media Facades – A Global Survey’, avedition, Ludwigsburg, Germany. Koolhaas, R. (2014). Fundamentals: 14th International Architecture Exhibition – La Biennale di Venezia (exh. cat), Venice: Marsilio, 2014, p.193.

Week 9 / Day 5 25.09.15

Interim presentation

Readings: None

Tutorial activities: Interim presentation of Assignments 2 (Group) and 3 (Individual). Students will get feedback on their design concepts in order to continue working towards the final presentation.

Week 10 / Day 6 02.10.15

Final presentation

Readings: None

Tutorial activities: Final presentation Assignments 2 (Group): 9am – 10am. Final presentation Assignments 3 (Individual): 10am – 5pm.

Week 15 PARITY SESSION of all courses in the semester Presentation of all work of all courses. THIS IS ONLY COMPULSORY FOR CODE PROGRAM STUDENTS via a selection of the five best images with descriptions presented one poster for each course. Hand in on Wednesday in Week 15 before 1 pm at the DD unit on Level 4. See Parity Session for detailed information.

Online Learning: N/A

Tutorial activities: Parity session hand in at Wednesday week 1 prior to 1pm at DD unit. Parity session set up for Year 1 students from 9 – 10pm; Parity session for tutors with compulsory students attendance between 10 – 1pm; Take down of work Year 1 from 1 pm onwards. Parity session set up for Year 2 students from 1 – 3pm; Parity session for tutors with compulsory students attendance between 3 – 5pm; Take down of work Year 2 from 5 pm onwards, followed by drinks.


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6. Design Project

Image: Learning stage 1: Optimising and developing component.

Learning stage 1: Designing component (20% out of 100% total) In 2013 Dr M. Hank Haeusler and the Media Architecture Institute did a one-week media architecture workshop at the Central Academy of Fine Arts in Beijing. The workshop resulted in a series of speculative media façade prototypes that challenged conventional understandings of media façades and interaction with a media façade. One design prototype designed by CAFA students was chosen for a further design development. The prototype used the concept of Ray and Charles Eames ‘House of Cards’ where one card can be connected to another card to generate a 3D object.

Image: House of Cards, Ray and Charles Eames.

Based on the CAFA prototype students will optimise the design using StrongLED LEDs and digital fabrication skills to produce a prototype for the second stage.

Image: Learning stage 2: Generating a structure based on the individual component as installation.

Learning stage 2: Designing installation (30% out of 100% total) Students in the second stage will use the design of Project 1 as a base for a Grasshopper script that would enable the design of a 3D installation as a digital ‘Welcome Wall’ for the Maritime Museum Sydney. The location is defined by the museum and will give the constraints for the installation.

The installation has following requirements in regards to its form and physical appearance that should function as parameter for the Grasshopper script.

• Parameter 1: The installation has a total of five surfaces (North, East, South, West and top view) to display content (see Learning Stage 3) hence viewing angles matter and need to be tested in a game engine. The installation needs to be therefore situated in a game engine to test parameter 1.

• Parameter 2: Walking through the installation defined by a natural flow connecting two or more relevant points of the site where people could come from or walk towards. Use attractors or particle flow to define paths through the installation.

• Parameter 3: Allow vistas from within the installation to the outside by defining key view points and test them via Grasshopper.



Image: Learning stage 3: Designing interaction for installation.

Learning stage 3: Content design (20% out of 100% total) As mentioned earlier the client for project is the Maritime Museum Sydney who wants to create a digital version of their Welcome Wall as part of Vivid 2016 in order to attract more attention to their existing Welcome Wall as well as to create a database of users of the Vivid installation in order to contact them at a later stage.

Hence Stage 3 ask students to develop an interaction concept outlining how a Digital Welcome Wall could function. Moreover, the content proposed should address the specific location as well as the festival audience.

Image: Learning stage 4: Enabling interaction © TU Wolf Leeb

Learning stage 4: Enabling interaction (30% out of 100% total) The concept proposed in Stage 3 must respond to audience participation, communicating to visitors the notion of a Digital Welcome Wall and engaging them in interaction with the augmented built environment – and, ideally, also in interaction with one another through the digitally augmented environment.

Hence, Stage 4 asks students to develop a working prototype of the envisaged interaction, demonstrating (1) how an individual would engage with the installation by him/herself; (2) how multiple individuals would engage with the installation simultaneously; (3) how the environment would look like when no one was interacting.


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7. Assessment

Assessment task Weight Learning outcomes assessed

Graduate attributes assessed

Due date

1. Pixel component prototype GROUP

20% 1, 2, 3, 4 H / A / D W 7

2. Physical installation design GROUP

30% 1, 2, 3, 4 H / A / D / I W 10

3. Content and Interaction Design INDIVIDUAL

50% 1, 2, 3, 4 H / A / D / I W 10

4. Parity and Moodle Submission *) 1,2,3,4 H / A / D / I W 15

*) No weight but overall mark will be reduced by 10% if not handed in on time

Assignment 1

Name: Pixel component prototype (Group) 20% of 100% mark

Description: During the first tutorial, students will be introduced to the design principles and prototypes developed by designers at the Central Academic of Fine Arts (CAFA), Beijing. Students will also be introduced to the LED models from StrongLED we will be utilising in this project. Students will then use the CAFA design approach as a starting point to the development of new modular solutions to the design brief, making use of StrongLED LEDs and digital fabrication to produce a prototype for the second stage.

Assignment deliverables:

• Elevations and technical specifications for the proposed module(s).

• Digitally fabricated physical prototype(s) of the module(s) – at least 5 units that can be assembled during class presentation, demonstrating how to use them as building blocks.

• Multimedia and verbal presentation explaining the rationale for the design solution.

Assignment 2

Name: Physical installation design (Group) 30% of 100% mark

Description: In this Assignment 2, students will use the design developed for Assignment 1 as a base for a Grasshopper script that would enable the design of a 3D installation as a digital ‘Welcome Wall’ for the Maritime Museum Sydney. In addition, a simulation of a basic walk through and



around the installation must be developed using the Unreal game engine.

The following requirements should be observed in regards to the installation form and physical appearance:

• Parameter 1: The installation has a total of five surfaces (North, East, South, West and top view) for displaying content, hence viewing angles matter and need to be tested in a game engine. The installation needs to be therefore situated in a game engine to test parameter 1.

• Parameter 2: Walking through the installation defined by a natural flow connecting two or more relevant points of the site where people could come from or walk towards. Use attractors or particle flow to define paths through the installation.

• Parameter 3: Allow vistas from within the installation to the outside by defining key view points and test them via Grasshopper.


• Grasshopper script simulating a simple sample structure built with the proposed module(s).

• Simulation of a walk through and around the installation, addressing parameters 1 to 3 by illustrating at least the following viewpoints: (1) relevant facets of the structure, as viewed by someone standing outside the structure; (2) relevant angles of the surrounding environment, as viewed from someone standing inside the structure; (3) view from the interior of the installation, as experienced by someone walking through the structure.

• Artistic impression, as a hi-res rendering of the installation in-situ. • Final elevations and technical specs of the building blocks,

explaining how they can be attached together for building the structure, and how they support the LEDs.

• Final physical prototype of the installation building blocks, with at least 6 pieces that can be assembled during the group presentation in class.

Assignment 3

Name: Content and Interaction Design (Individual) 50% of 100% mark

Description: This assignment encompasses Learning Stages 3 (Content Design) and 4 (Enabling Interaction). The concept proposed must respond to audience participation, communicating to visitors the notion of a Digital Welcome Wall and engaging them in interaction with the augmented built environment – and, ideally, also in interaction with one another through the digitally augmented environment.

Hence, Assignment 3 asks students to develop a working prototype of the envisaged interaction, explaining the digital content as specified above, as well as demonstrating its interaction design. Specifically, students must ensure that their submitted material explains:


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• WHAT: What is the digital content of their installation;

• WHY: The rationale behind their concept and how does that addresses the Digital Welcome Wall brief;

• HOW: How does the interaction unfold? What is the experience of someone interacting with the installation? How does such an experience relates to and supports the concept? How does it address the project brief?

In regards to the interaction itself, students should explain the following scenarios in sufficient detail:

1. How does an individual engage with the installation by him/herself?

2. What happens when multiple individuals engage with the installation simultaneously?

3. How does the environment look like when no one is interacting?

4. How does the content strategy for each of the scenarios above supports the proposed concept?


• Multimedia and verbal presentation explaining what the concept is and the rationale for the content and interaction design solutions. Students should explain what the concept is, how it relates to the Digital Welcome Wall brief, and how it addresses the specific urban location it has been design for.

• Simulation of the experience people would have walking through and around the installation, addressing the criteria above (WHAT, WHY and HOW, as well as points 1, 2, 3 and 4). This could be done in in Grasshopper, Unreal game engine, Processing, video or a combination of them all.

Parity / Moodle Submission

Name: Parity / Moodle submission

Description: Please refer to 17. Parity Session.



8. Assessment criteria and standards Assignment 1 / Learning Stage 1: Submission Assessment Marking Sheet (20% of total mark)

CODE2230 Urban Interaction Design

Learning stage 1 : Designing component

STUDENT NAME:

STUDENT #:

# Assessment Criteria: % US S G VG O / 100

1 Validity of the design solution: level of adherence to CAFA’s original concept; appropriateness of solution to the urban context we are designing for.

2 Feasibility of the design solution: ability to accommodate the LEDs, cabling and general hardware, waterproofness, general resilience.

3 Scalability of the design solution: ability to generate large-scale structures via the repeated utilisation and connection of multiple units.

4 Flexibility of the design solution: ability to allow for easy reconfiguration of parts without major loss of functionality.

5 Effectiveness of communication as demonstrated overall by media presentation.

OVERALL MARK out of 100

FEEDBACK:


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Assignment 1 / Learning Stage 1 : Assessment Criteria

Unsatisfactory Fail 0-49

• Research statement has no coherence, misses the point. • Poor quality and Inappropriate selection of hand in materials • No coherence and poor quality of hand in detailing • No coherence and poor quality of hand in compositions • Inappropriate methods of applying software and machines • Unsophisticated use of programs • Poor quality and inappropriate presentation of model and images • Irrelevant and or inappropriate presentation of skills • Unable to evaluate work using course concepts

Satisfactory Pass 50-64

• Research statement lists points without making connections. • Low quality and ineffective selection of hand in materials • Lacks coherence and Quality of hand in detailing • Lacks coherence and quality of hand in compositions • Ineffective methods of applying software and machines • Minimal adaption of required programs to sophisticated level. • Low quality and minimally effective presentation of model and images. • Low quality and minimally presentation of skills. • Minimal evaluation of work using course concepts.

Good Credit 65-74

• Research statement makes connections between points but does not create an overall scope or argument of the nature data set.

• Somewhat appropriate and substantiated hand in benchmarking • Somewhat coherent and quality of hand in detailing • Somewhat coherence and quality of hand in compositions • Somewhat effective methods of applying software and machines • Somewhat sophisticated and independent adaption of programs • Good quality and somewhat effective presentation of model and images • Somewhat relevant and or partially effective presentation of skills • Good evaluation of improvement to work using course concepts

Very Good Distinction

75-84

• Synthesises points into concise and thorough research statement • Appropriate and substantiated hand in benchmarking • Coherent and high quality hand in detailing • Coherent and high quality hand in compositions • Adaptation of effective methods of applying software and machines • Sophisticated and independent adaption of programs • Quality and effective presentation of model and images • Relevant and effective presentation of skills • Evaluates improvement of work using course concepts

Outstanding High Distinction

85-100

• Highly coherent. Synthesises points into concise and thorough research statement. Beyond expectation.

• Highly appropriate and substantiated hand in benchmarking • Highly coherent and highest standard of hand in detailing • Highly coherent and highest standard of hand in compositions • Highly effective methods of applying software and machines • Highly sophisticated and independent adaption of programs • Highest quality and highly effective presentation of models and images • Highly relevance and effective presentation of skills • Rigorously evaluates improvement of work using course concepts



Assignment 1 / Learning Stage 2: Submission Assessment Marking Sheet (30% of total mark)


Learning stage 2: Designing installation

STUDENT NAME:

STUDENT #:


1 Validity of the design solution: appropriateness of solution to the urban context we are designing for; how well it addresses the Digital Welcome Wall design brief.

2 Feasibility of the design solution: ability to accommodate the LEDs, cabling and general hardware, waterproofness, general resilience.

3 Quality and depth of design proposal in relation to attention to social, spatial, material, and immaterial conditions.

4 Rigour, quality and level of innovation in the way the ‘problem- definition’ has been interpreted and addressed.

5 Level of skill and creativity demonstrated in the Grasshopper/Unreal simulations.


7 Craftsmanship, effectiveness, performance, and utility of physical prototypes/model(s).


FEEDBACK:


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Assignment 1 / Learning Stage 2: Assessment Criteria





Good Credit 65-74




75-84



85-100





Assignment 1 / Learning Stage 3: Submission Assessment Marking Sheet (20% of total mark)


Learning stage 3 and 4: Content design and Enabling interaction

STUDENT NAME:

STUDENT #:


1 Appropriateness of solution to the urban context we are designing for; how well it addresses the Digital Welcome Wall design brief, by answering the questions posed in the Assignment description.

2 Ability to transform the local social interaction dynamics via media architecture design.

3 Ability to justify the design solution by referencing the principles and case studies presented in the lecture series.

4 Quality and depth of design proposal in relation to attention to social, spatial, material, and immaterial conditions.

5 Rigour, quality and level of innovation in the way the ‘problem- definition’ has been interpreted and addressed.

6 Level of skill and creativity demonstrated in the concept idea, presentation and documentation.


8 Craftsmanship, effectiveness, performance, and utility of physical prototypes/model(s).



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Assignment 1 / Learning Stage 3 and 4: Assessment Criteria





Good Credit 65-74




75-84



85-100





9. Course assessment feedback strategy

Students will gain information about their process in class via 3 basic levels.

Firstly, The goals of the class are clearly defined in the course outline and discussed at the beginning of each Assignment and the learning steps within the assignment in the weekly lecture. Here students will understand how their performance relates to the broad goals of the course.

Secondly, students will get feedback in each class (during tutorial hours) upon their performance. Tutors will help students in one-to-one sessions to discuss and analyse how successful they have been at addressing the task and its criteria of each assignment and the learning steps within the assignment.

Thirdly, students will get feedback in each class (during tutorial hours) in how their response to the assignment and the learning steps within the assignment could be improved. Tutors will help students in one-to-one sessions to discuss and analyse how improvements could be made and which resources students could consult for an improvement.

10. Resources 11.1 Readings, textbooks and UNSW Library resources The following books, articles and texts are part of this class and were used for developing the lectures. Their content is part of questions asked in the exam in Week 15. Online items are marked with an (^), the remaining items are accessible at or via the UNSW library:

Essential readings

Brignull, H., and Rogers, Y. 2003. Enticing people to interact with large public displays in public spaces. In Proc. 9th IFIP TC13 International Conference on Human- Computer Interaction (Zurich, Switzerland, September 01 – 05, 2003). INTERACT ‘03. IOS Press, 17 - 24.

^ Brynskov, M., Bermúdez, J. C. C., Fernández, M., Korsgaard, H., Mulder, I., Piskorek, K., . . . De Waal, M. (2014). Urban Interaction Design: Towards City Making. Retrieved from http://urbanixd.eu/s/UrbanIxD_towardsCityMaking.pdf

Brynskov, M., Dalsgaard, P., Ebsen, T., Fritsch, J., Halskov, K., and Nielsen, R. Staging urban interactions with media façades. In Proc. INTERACT 2009, Springer (2009), 154–167.

Dalsgaard, P., & Halskov, K. (2010). Designing Urban Media Façades: Cases and Challenges. In Proc. CHI 2010, Atlanta, GA, USA. ACM Press (2010).

Dalsgaard, P. (2010). Research in and through design: an interaction design research approach. In Proc. OzCHI'10, Brisbane, Australia. ACM Press (2010).

Fatah gen. Schieck, A., Al-Sayed, K., Kostopoulou, E., Behrens, M., Motta, W. (2013) Networked architectural interfaces: exploring the effect of spatial configuration on urban screen placement. In Proc. 9th International Space Syntax Symposium. Seoul, South Korea.

Fischer, P. T., & Hornecker, E. (2012). Urban HCI: Spatial Aspects in the Design of Shared Encounters for Media Façades. In Proc. CHI 2012, Austin, Texas, USA. ACM Press (2012).


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Haeusler, M. H. (2009) ‘Media Facades – History, Technology, Content’, avedition, Ludwigsburg, Germany.

Haeusler, M. H.; Tomitsch, M.; Tscherteu, G. (2012) ‘New Media Facades – A Global Survey’, avedition, Ludwigsburg, Germany.

Hespanhol, L., & Dalsgaard, P. (2015). Social Interaction Design Patterns For Urban Media Architecture. In Proc. INTERACT’15, September 14-18, 2015, Bamberg, Germany. ACM Press (2015).

Hespanhol, L., & Tomitsch, M. (2015). Strategies for Intuitive Interaction in Public Urban Spaces. Interacting with Computers. doi: 10.1093/iwc/iwu051

Hespanhol, L., Tomitsch, M., Bown, O., & Young, M. (2014). Using Embodied Audio-Visual Interaction to Promote Social Encounters Around Large Media Façades. In Proc. DIS'14, Vancouver, BC, Canada. ACM Press (2014).

^ Hill, D. (2008). Essay: The street as platform. Retrieved from http://www.cityofsound.com/blog/2008/02/the-street-as-p.html

Hoggenmüller, M., & Wiethoff, A. (2014). LightSet: Enabling Urban Prototyping of Interactive Media Façades. In proc. DIS'14, June 21–25, 2014, Vancouver, Canada. ACM Press (2014).

Schroeter, R., Foth, M., & Satchell, C. (2012). People, Content, Location: Sweet Spotting Urban Screens for Situated Engagement. Paper presented at the DIS'12, Newcastle, UK.

Vande Moere, A., & Woulters, N. (2012). The Role of Context in Media Architecture. In Proc. PerDis 2012, Porto, Portugal. ACM Press (2012).

Whyte, W.H. (1980) The Social Life of Small Urban Spaces, Project for Public Spaces Inc., pp. 125.

Recommended readings

De Waal, M. (2013) The City as Interface. How New Media are Changing the City.

Goffman, E. 1963. Behaviour in Public Places, Notes on the Social Organization of Gatherings. The Free Press.

^ Hill, D. (2008). Sketchbook: Wi-fi structures and people shapes. Retrieved from http://www.cityofsound.com/blog/2008/11/wi-fi-structure.html

Hillier, B., & Hanson, J. (1984). The Social Logic of Space: Cambridge University Press.

Koolhaas, R. (2014). Fundamentals: 14th International Architecture Exhibition – La Biennale di Venezia (exh. cat), Venice: Marsilio, 2014, p.193.

Korsgaard, H., & Brynskov, M. (2014). City Bug Report: Urban prototyping as participatory process and practice. In Proc. MAB'14, Aarhus, Denmark.

Vande Moere, A., & Hill, D. (2009). Research through Design in the Context of Teaching Urban Computing. In Proc. OzCHI'09, Melbourne, Australia. ACM Press (2009).

Vines, J., Clarke, R., Wright, P., McCarthy, J., & Olivier, P. (2013). Configuring Participation: On How We Involve People In Design. Paper presented at the CHI'13, Paris, France. ACM Press (2013). 11.2 Online resources

Learning resources

Grasshopper references and help:

• www.grasshopper3d.com

• www.idda.com

Unreal game engine resources:

• https://www.unrealengine.com

Processing references and tutorials:

• www.processing.org

• http://www.learningprocessing.com/examples/



Urban Interaction Design resources

UrbanIxD Coordination Action project:

• http://urbanixd.eu

Media Architecture Institute:

• http://www.mediaarchitecture.org

Social network resources UNSW CoDe has a Twitter, Instagram, Facebook and Youtube account and all lecturerare using these accounts to share information with their students. Thus please join and follow us on @UNSWCoDe (for all above listed networks) we will use “UNSW” + “CODE” + the course number as a hash tag to help finding the relevant info (for this course #UNSWCODE2230). Feel also free to post images of your design on social media using the hash tag.

Video resources

Some lectures given in this course may have videos embedded, which help to illustrate the projects and concepts discussed as well as give background knowledge to common concerns in urban interaction design. In general, I found these videos on the internet by searching either in Google or Youtube via the use of a search term. Naturally the lecture shows only one video out of potentially dozen of video clips. Therefore, please search the internet for good clips and share them using social networks and use “UNSW” + “CODE” + the course number as a hash tag to help finding the relevant info (for this course #UNSWCODE2230).

Presentation resources

Final presentation poster template to be used for the final presentation exhibition in week 15 can be downloaded at the course website. It is a requirement to use this template with the fonts and logos embedded in the template.

11.3. Case studies Solstice LAMP

Solstice LAMP – Project by Luke Hespanhol, Martin Tomitsch, Oliver Bown, Miriama Young, Reuben Young, Sydney, Australia, 2013 © Design Lab, University of Sydney.

http://nanoluke.com/Solstice-LAMP

https://vimeo.com/71306077

Solstice LAMP was an installation created for Vivid Sydney 2013. It illustrates an allotted urban interface, where camera sensors and top-down projections are used to create an immersive and highly social interactive environment.

Aarhus By Light

Aarhus By Light – Project by CAVI/PIT, Aarhus University, Denmark, 2008 © Martin Brynskov

http://cavi.au.dk/research-areas/aarhus-by-light/

Aarhus By Light was one of the first installations to highlight a venue – the Aarhus Musikhuset – through the use of digital content layered on top of the architecture. It created a long-term platform for urban interaction among citizens/ mediated by the augmented built environment.


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Climate On The Wall

Climate On The Wall – Project by CAVI/PIT, Aarhus University, Denmark, 2009 © CAVI

http://cavi.au.dk/research-areas/climate-on-the-wall/

Climate On The Wall illustrates a platform for situated civic activism. During the climate conference Beyond Kyoto, citizens of Aarhus expressed their support for large-scale climate improvements by using the installation, which worked as an interactive generator of climate statements using a prominent building in the city centre as a backdrop. Using camera tracking and projectors, Climate On The Wall allowed passers-by to interact with the words and create sentences and statements about the climate.

Body Movies

Body Movies – Project by Rafael Lozano-Hemmer, Netherlands, 2001 (and other locations) © Rafael Lozano-Hemmer

http://www.lozano-hemmer.com/body_movies.php

Body Movies was one of the first interactive public artworks to make use of technology to transform existing large-scale architecture into a canvas for public expression and playful interaction.

Interference

Interference – Project by Kollision, Kolding, Denmark, 2014 © Kollision

http://kollision.dk/en/interference

Interference is a commissioned public urban feature permanently installed into the walls of a pedestrian underpass. It represents a trend in urban planning where digital media is employed as responsive design solution addressing at once public art, urban lighting and activation of in-between spaces.

Chromapollination

Chromapollination – Project by Luke Hespanhol with researchers and students from the University of Sydney, Australia, 2012 © Luke Hespanhol

http://nanoluke.com/Chromapollination

Chromapollination was an installation created for Vivid Sydney 2012, with the purpose of reactivating a little utilised thoroughfare space under an elevated highway in the city centre. The work combined sculpture, LEDs, fibre optics and a suite of sensors to identify movement of passers-by across the space and respond accordingly by changing light patterns.



Smart Citizen Sentient Dashboard

Smart Citizen Sentient Dashboard – Project by Moritz Behrens & Nina Valkanova; Sao Paulo, Brazil, 2013 © Moritz Behrens

http://moritzbehrens.com/2013/scsd_sp/

The Smart Citizen Sentient Dashboard is an example of urban intervention for the purposes of community engagement. It allows citizens to express their sentiment towards pre-defined community issues, by scanning their public transport smart cards on a tangible console deployed in the street environment. A real-time visualisation of the results is then displayed on a large media façade, prompting public appreciation as well as active debate.

Denmark Pavillion, Shanghai Expo 2010

Denmark Pavillion – Project by Bjarke Ingels Group (BIG), CAVI / DUL (Aarhus University), TEKNE Produktion, Rune Nielsen, ARUP/Tongji Design Institute; Shanghai, China, 2010 © Media Architecture Institute

http://www.mediaarchitecture.org/denmark-pavilion-shanghai

The Denmark Pavillion at the Shanghai Expo 2010 is an example of a large-scale media façade designed and built to respond to the surrounding environment through a suite of embedded light and temperature sensors, thereby controlling both light intensity and colour temperature.

Although not interacting directly with individuals, it responds to the broader public space, redefining it and creating a sense of place through the use of digital technology.


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11. Class requirements Class material

You should make use of digital fabrication for your physical prototypes, thus you will need materials that enable you to built objects and artefacts. For 3D printing (https://www.makerbot.com/), we are using a PLA filament (white only) that can be purchase online at the locations below. Naturally there are other options available, make sure that the material is suitable for the Makerbots we have in the faculty, talk to your tutors when in doubt:

http://3dprintersuperstore.com.au/

https://store.makerbot.com/filament

Other materials you may use for laser cutting is 3mm plywood, 3mm cardboard or 3mm clear acrylic (Perspex) all materials with the dimensions of 300 x 600mm. Ask your supplier if they can cut the material for you with these dimensions as you can not cut them to size at university. These are the only materials we may use for laser cutting! Do not use any other materials as the ones specified above. You can purchase the materials at one of these places either online or in a shop:

http://www.misterplywood.com.au/

http://www.plasticsfactory.com.au/products/Acrylic.html

https://www.eckersleys.com.au/

or

Eckersley stores in Sydney https://www.eckersleys.com.au/locations/state/NSW

Other materials

LEDs will be provided to you by your lecturers. We will use a company called StrongLED as an LED supplier for this project.

Studio class requirements

It is expected that you will bring your laptop with the below mentioned software packages to each class. Not bringing a laptop means we cannot look, comment and help you with your work, as we do not run this class in a computer classroom. Using your friend’s laptop means that he or she cannot work in the time given in class and thus is not an option either.

Software and hardware requirements

We will use two main software packages in the course, Grasshopper 3D to script objects and artefacts and the Unreal game engine to create simulations of the interactive properties of your installation design solution. You may also make use of the Processing programming language to create simulations and prototypes of your interaction design concept solutions.

Grasshopper can be downloaded (for PC only) at following link (http://www.grasshopper3d.com/page/download-1) for free, please use always the latest version (at the moment Version 5). Rhino 3D (as the software) can be downloaded as well as a trial version (http://www.rhino3d.com/download/rhino/5/latest) again use here the latest version at the moment Version 5. UNSW has these licences on all machines in the computer labs and we are working on a floating licence thus you will have them on your laptop as soon as you are online and log in via your UNSW student ID.

The Unreal game engine can be downloaded from the following link (https://www.unrealengine.com). Please discuss with your lecturer licensing and access requirements from the UNSW computer labs.

Processing can be downloaded from the following link (http://www.processing.org). You can follow a wide range of basic and advanced tutorials at the same location.



Facilities requirements

Students will gain access to the digital fabrication facilities at UNSW. Access to these facilities comes with a responsibility towards the facilities. The exact nature of how the facilities are used are explained at a later stage of this document.

12. Expectations The lectures and the tutorials are an integrated part of this class. Missing out on lectures will have the consequence that your will miss out on seeing and hearing about theory and projects that will provide you with foundation knowledge for Assignments 2 and 3. Topics and issues discussed in the class will be subject to an exam later in the semester and missing out on classes will therefore risk your ability to pass the exam and consequently the course.

Given the intensive nature of the course, it is strongly recommended that you plan your activities ahead of time and start work on your assignments from the first week. Also, it is important to consider that activities in this course attempt to replicate those observed in real-life Urban Interaction Design projects and, therefore, involve a high degree of collaboration. Assignments 1 and 2 are group assignments, and Assignment 3, while assessed individually, depends on the concept solution design collaboratively in Assignments 1 and 2. It is expected that students maintain a collegial approach towards their peers and nurture a teamwork spirit during group assignments.

If you experience and difficulties please refer to Special Consideration, Late Work and other policies in the BE Policy Outline at: https://www.be.unsw.edu.au/sites/default/files/upload/pdf/currentstudents/LearningTeaching/BE_AcademicPolicyOutline2014.pdf

13. Learning experience and teaching strategies

The course is part of the fourth semester practice orientated teaching trajectory ‘Contextualising’ combining Stream 3: Smart and Ubiquitous Cities and Stream 4: Responsive Environments, its situated in the ‘Bridging Level’ in the student specialisation journey.

This is the second of three intensive courses running for five weeks in Year 2 Semester 2. The first course CODE2250 – Advanced Digital Fabrication in the semester weeks 1 – 5; the second course CODE2230 – Urban Interaction Design in semester weeks 6 – 10; and the third course CODE2270 – Design Information Management in semester weeks 11 – 15.

The teaching strategy has students inspired meeting with their tutor weekly, with project presentations scheduled to the last week of the course. Our strategy of teaching is based on the knowledge that effective learning occurs when students are actively engaged in the learning process, and are supported by a climate of inquiry to take up challenges offered to them.

Lectures in this course aim to provide broad conceptual knowledge, allowing students to understand and appreciate the principles that underlie the course content. Self‐directed research aim to develop independent scholarship. Studio classes provide more active, participatory learning, where high levels of peer and tutor interaction will encourage students to develop interpersonal, professional, and cognitive skills. This course also enables students to develop particular communications skills that will enhance their set of professional skills and competencies. It reflects a view that professional practice within the design-computing field will require advanced levels of communication to support its ongoing development and innovation.

This course takes a blended learning approach, where face to face learning and teaching is supplemented with the use of information & communication technologies. The inclusion of information


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& communication technologies as a key component in the course delivery aims to provide extended dialogue between students and academic staff, thus creating a community of learners.

It is essential that student takes responsibility for their own learning, and that we facilitate that learning by establishing a supportive, non‐threatening, inclusive and stimulating environment that encourages students to seek a deeper learning. When students take responsibility for their own learning, they are more likely to develop higher‐order thinking skills such as analysis, synthesis, and evaluation.

This strategy is reflected in the “Guidelines on Learning that inform teaching at UNSW”:

http://www.guidelinesonlearning.unsw.edu.au/.

14. OH&S and workshop training It is assumed that students have received prior OH&S and workshop training as part of undertaking previous subjects. Therefore, no further training is required for CODE2230.

15. Course aims Course Aim 1: This course will introduce students to urban interaction design by teaching them principles of how humans interact in the built environment with large display technologies through a suite of sensors. It will provide students with a foundational knowledge of the field by informed by research and practice in human-computer interaction, architecture, arts, design and urbanism, enabling them to swiftly adapt to new technologies and urban scenarios. Course Aim 2: This course will provide students with the conceptual understanding, technical skills and working methods needed to design a computer-mediated project that effectively explores a compelling spatial solution. Course Aim 3: This course will teach students design and computational

techniques to develop and test working prototypes of interactive artefacts and situate them into the built environment, with a specific focus on their implications to social interaction and citizen engagement. Course Aim 4: This course will offer students the opportunity of applying the design skills acquired from the lecture series through active work on real-life project brief, developed and assessed in close collaboration with a corporate client.

16. Learning outcomes At the successful conclusion of this course the student will be able to:

1. Identify the key components of the media architecture and urban interaction design theories presented in the course, and describe how they can be applied to a design problem in order to enable urban interaction through digital technology.

2. Employ appropriate computational technologies (sensors, cameras, etc.) to experiment and develop applications that can be deployed on urban environments.

3. Reflect on the feasibility and effect of media architecture in the designing of the built environment, assessing and evaluating the implications of interactive installations in the broader context of the designed urban environment.

4. Be able to create a 1:1 prototype using software and electronic hardware packages in combination with digital fabrication skills (learned in CODE1150 / CODE1161 / CODE2140 / CODE1221), and be able to locate and situate such a prototype in a context of an installation or exhibition.

17. Parity Session As part of creating a community and culture of showcasing work, students will be required to submit a selection of their best images (plans, renderings, model pictures, screenshots, etc.) from their final presentation as well as work in the progress during semester. This will also help in marking and feedback. The online submission is an essential requirement.



Failing to do so will give you a (-) 10% of your overall mark. The collection of student works will also be employed for marketing purposes. As you know, we are a very young discipline and we want to share what you have designed and produced during the semester. The submission platform will be within Moodle. The following defines the expectations of what to submit.

For Moodle Submission:

• Five indicative images that best represent your work / designs during the semester.

• For landscape image (approx. 2480 x 3508 pixels @ 300 dpi) for portrait image (approx. 3508 x 2480 pixels @ 300 dpi)

• For each of the five images please provide five keywords in order to find images later.

• Upload images as explained in 4. Course Website.

• Deadline is day before parity session 5pm. (Moodle page will close).

Images for the Week 15 parity session / Moodle submission can be uploaded to the Moodle Gallery by:

• From the course home page, click the media collection link.

• In the collection page, click the Edit icon for the gallery to which you want to begin adding items.

• On the gallery's home page, click Add an item.

• On the resulting page, click Expand all, then in the General section:

• Enter a Caption for the item. • Add any Description necessary. • Drag and drop a Content file, or

click Choose a file and browse for a file.

• In the Advanced section, complete all the relevant fields.

• Click Save changes. The item displays with its thumbnail and caption on the galleries page.

For the Week 15 parity session: • Create a poster with the five

images you have uploaded onto Moodle. The poster will use the layout (parity layout template that can be downloaded on the Moodle page for each course) and has to be printed on white 3mm core flute.

• Pin up of poster with dates is outlined in Week 15 lecture / tutorial activity.

• The layout has either a portrait or a landscape format and students can use either one or the other or a mix of both to represent the four courses they have done in each semester.

• The size of the template is the same size as the black exhibition boxes UNSW uses for their exhibitions and you showed fix the core flute poster to the black boxes using i.e. adhesive tape.

• Students have each six of these black boxes to use four of them to attach their core flute posters and the remaining two to showcase any models or other physical outcome of the semester.

• Again you have to curate your work and choose the best to re-present your work.


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18. Course Graduate Attribute

19. Built Environment and UNSW Academic Policies

The Built Environment Protocols and UNSW Policies & Procedures document supplements this course outline providing detail on academic policies and other administrative matters. It is your duty as a student to familiarise yourself with the expectations as not adhering to them will be considered as academic misconduct. Ignorance of the rules is not an acceptable defence. The document can be found in your Moodle course as well as: http://www.be.unsw.edu.au/student-intranet/academic-policies It covers:

• Built Environment Student Attendance Requirements

• Units of Credit (UOC) and Student Workload

• Course and Teaching Evaluation and Improvement (CATEI)

• Academic Honesty and Plagiarism • Late Submissions Penalties • Special Consideration - Illness &

Misadventure • Extension of Deadlines • Learning Support Services • Occupational Health & Safety

CODE2230 course Graduate attributes

Learning outcome

Activity/Assessment

H / Scholars who are digitally literate 1,2,3,4 Assignments 1, 2, 3.

A / Scholars who are understanding of their discipline in its interdisciplinary context

1, 2, 3 Assignments 1, 2, 3.

D / Scholars who are able to apply their knowledge and skills to solving problems

1,2,3,4 Assignments 1, 2, 3.

I / Leaders who are enterprising, innovative and creative

1,3 Assignments 2, 3.

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