Bridging light and dark. The aspect of participation.
•Dialogue process
•Design process
•The problematic of the verbal language
•The phenomena of seeing
•To bridge experiences
•Some examples on how associative images can improve communication
•Perception and representation, some examples
Disability may involve physical impairment, sensory impairment, cognitive or intellectual impairment, mental disorder, or various types of chronic disease.
Universal design
is an approach to the design of products, services and environments to be usable by as many people as possible regardless of age, ability or situation.
It links directly to the political concept of an inclusive society and its importance has been recognized by governments, business and industry.
Urban space should have certain qualities if it is to be responsive to human feelings and sensibilities
Universal Design as design paradigm Hubert Froyen argues that the following question should be asked at the beginning of any design task:
“How can a product, a graphical message, a building, a public space, etc. be both esthetical and of optimal use for an as large as possible group of persons?
According to Froyen, there is no scientific ground that may justify the segregation between physically and/or mentally handicapped persons and the non-handicapped”
(Froyen, 2001, from UDEP.be report)
Deliverables that Clarify, Focus, and Improve DesignBen Peachey
A talk given at the 2002 Annual Conference of the Usability Professionals' Association
Authors: Richard Fulcher, Bryce Glass, Matt Leacock
"The representations we choose for UI design affect both how we think about the design and how others understand it. Concept maps, wireframes, storyboards, and flow-maps speak to different audiences at different stages of the development cycle. This presentation provides examples of these documents and a toolkit for producing them."
source, examples and resources can be found at: http://leacock.com/deliverables/
Disability may involve physical impairment, sensory impairment, cognitive or intellectual impairment, mental disorder, or various types of chronic disease.
Universal design
is an approach to the design of products, services and environments to be usable by as many people as possible regardless of age, ability or situation.
It links directly to the political concept of an inclusive society and its importance has been recognized by governments, business and industry.
Urban space should have certain qualities if it is to be responsive to human feelings and sensibilities
Universal Design as design paradigm Hubert Froyen argues that the following question should be asked at the beginning of any design task:
“How can a product, a graphical message, a building, a public space, etc. be both esthetical and of optimal use for an as large as possible group of persons?
According to Froyen, there is no scientific ground that may justify the segregation between physically and/or mentally handicapped persons and the non-handicapped”
(Froyen, 2001, from UDEP.be report)
Deliverables that Clarify, Focus, and Improve DesignBen Peachey
A talk given at the 2002 Annual Conference of the Usability Professionals' Association
Authors: Richard Fulcher, Bryce Glass, Matt Leacock
"The representations we choose for UI design affect both how we think about the design and how others understand it. Concept maps, wireframes, storyboards, and flow-maps speak to different audiences at different stages of the development cycle. This presentation provides examples of these documents and a toolkit for producing them."
source, examples and resources can be found at: http://leacock.com/deliverables/
On October 11th I was privileged to give the Vecellio Lecture at Virginia Tech. The lecture takes the audience on a world-wind tour of some of the growing challenges in project execution and some of the emerging “arts” that may come to the rescue. The lecture looks at three broad challenges represented by black holes, black swans and black magic and suggests how our perceptions and tools must change to meet these challenges head on. The laws governing an engineer are recast in a familiar framework harkening back to Isaac Asimov, while parallels are drawn to the pre-Renaissance view of the “arts” and Australia’s exploration and discovery.
New territories are both created and explored in the lecture and opportunities and challenges laid out for both Virginia Tech and industry. The lecture remains true to the recognition that we are participants in an “ever-evolving field that needs high quality research, education and well-trained personnel.”
In moving through each of the “black” challenges project execution faces, you are introduced to the ESPRIT framework; Kahneman’s planning fallacy; reference class forecasting; eigenprojects; knowable unknowns; giga projects; cyclomatic complexity analysis; assumption migration; constraint coupling; and inherent resiliency.
The lecture concludes by asserting that black holes, Black Swans and black magic are not impediments to the successful art of project execution if we only but reach to the future, embracing today’s technologies and create the new tools and paradigms that tomorrow requires.
I hope you enjoy the lecture as much as I did in delivering it.
Hi, this (very short) deck is mainly meant to help with my Design Studies lessons to undergraduate students at NABA, Media Design and Multimedia Arts School, Milan. These slides are supposed to come with a live commentary for the class, so sorry if you wish to have more explicit context and liaisons. Please see referred sources to this purpose.
Kyoorius Design Magazine 25 – A Post-event Essay on Z-Axis 2014Anusha Narayanan
Architecture is a discipline, which lies in this grey zone between design and science, art and utility, physical and cultural i.e. tangible and intangible. Of how much consequence is it as a practice to the urban fabric? After the Z-Axis Conference of 2015, this was a post-event essay I wrote for Kyoorius Magazine.
Friday, March 19 - 1:00 p.m.
Presented By: Ted Neward
Ted Neward, delivers brass-tacks advice on how to make decisions regarding programming languages to use (Java, .NET, even FoxPro); architectural approaches to take (n-tier, client/server); user interface approaches to take (Smart/rich client, thin client, Ajax); and even how to communicate between processes (Web services, distributed objects, REST). Ted understands the goals of an application architecture
and why developers should concern themselves with architecture in the first place. In this session, he dives into the meat of the various architectural considerations available; the pros and cons of JavaWebStart, ClickOnce, Windows Presentation Foundation, SWT, Swing,
WinForms, Struts, WebForms, Ajax, RMI, .NET Remoting, JAX-WS, ASMX, Windows Communication Foundation, Windows Workflow Foundation, JMS, MSMQ, transactional processing, and more. The basic architectural discussion from the first part is, with the aid of audience
interaction, applied to a real-world problem, discussing the performance and scalability ramifications of the various communication
options, user interface options, and more.
(2014) The Rhetoric of Design for Debate: triggering conversation with an “un...Max Mollon
Mollon, M., & Gentes, A. (2014). The Rhetoric of Design for Debate: triggering conversation with an “uncanny enough” artefact (pp. 1–13). In the proceedings of the Design Research Society International Consortium (DRS), Umeå, Sweden. (June 18th)
DOI: 10.13140/RG.2.2.27693.49123
–
Retrieved from: http://bit.ly/DRS14-mollon
An Architectural Synaesthetic Experience for ChildrenGalala University
Students are required to design an installation that illustrates synaesthetic experience that involves all sensual experiences in space. The installation can be used as part of a future children museum.
IxD & UX Design - Personifying Digital InteractionsJayan Narayanan
Interaction design is one of the most challenging area in digital space. Especially when we understand the context of complex lifestyle we are living. It is my try to understand what is happening in the area of interaction design and how design principles & psychological approaches can help us on this area.
Originally this presentation created for present in person in front of a group of people hence you may find some gaps in continuity. I am in a process in fixing these gaps - meanwhile please let me know your views and opinion on the topic / presentation.
This is an exercise on unfolding especial dimensions of Urbanism. In this exercise, we explore SKILLS, TOOLS, VALUES, KNOWLEDGE and VALUES of the URBANIST, suing mind mapping techniques to discuss and expand our ideas.
On October 11th I was privileged to give the Vecellio Lecture at Virginia Tech. The lecture takes the audience on a world-wind tour of some of the growing challenges in project execution and some of the emerging “arts” that may come to the rescue. The lecture looks at three broad challenges represented by black holes, black swans and black magic and suggests how our perceptions and tools must change to meet these challenges head on. The laws governing an engineer are recast in a familiar framework harkening back to Isaac Asimov, while parallels are drawn to the pre-Renaissance view of the “arts” and Australia’s exploration and discovery.
New territories are both created and explored in the lecture and opportunities and challenges laid out for both Virginia Tech and industry. The lecture remains true to the recognition that we are participants in an “ever-evolving field that needs high quality research, education and well-trained personnel.”
In moving through each of the “black” challenges project execution faces, you are introduced to the ESPRIT framework; Kahneman’s planning fallacy; reference class forecasting; eigenprojects; knowable unknowns; giga projects; cyclomatic complexity analysis; assumption migration; constraint coupling; and inherent resiliency.
The lecture concludes by asserting that black holes, Black Swans and black magic are not impediments to the successful art of project execution if we only but reach to the future, embracing today’s technologies and create the new tools and paradigms that tomorrow requires.
I hope you enjoy the lecture as much as I did in delivering it.
Hi, this (very short) deck is mainly meant to help with my Design Studies lessons to undergraduate students at NABA, Media Design and Multimedia Arts School, Milan. These slides are supposed to come with a live commentary for the class, so sorry if you wish to have more explicit context and liaisons. Please see referred sources to this purpose.
Kyoorius Design Magazine 25 – A Post-event Essay on Z-Axis 2014Anusha Narayanan
Architecture is a discipline, which lies in this grey zone between design and science, art and utility, physical and cultural i.e. tangible and intangible. Of how much consequence is it as a practice to the urban fabric? After the Z-Axis Conference of 2015, this was a post-event essay I wrote for Kyoorius Magazine.
Friday, March 19 - 1:00 p.m.
Presented By: Ted Neward
Ted Neward, delivers brass-tacks advice on how to make decisions regarding programming languages to use (Java, .NET, even FoxPro); architectural approaches to take (n-tier, client/server); user interface approaches to take (Smart/rich client, thin client, Ajax); and even how to communicate between processes (Web services, distributed objects, REST). Ted understands the goals of an application architecture
and why developers should concern themselves with architecture in the first place. In this session, he dives into the meat of the various architectural considerations available; the pros and cons of JavaWebStart, ClickOnce, Windows Presentation Foundation, SWT, Swing,
WinForms, Struts, WebForms, Ajax, RMI, .NET Remoting, JAX-WS, ASMX, Windows Communication Foundation, Windows Workflow Foundation, JMS, MSMQ, transactional processing, and more. The basic architectural discussion from the first part is, with the aid of audience
interaction, applied to a real-world problem, discussing the performance and scalability ramifications of the various communication
options, user interface options, and more.
(2014) The Rhetoric of Design for Debate: triggering conversation with an “un...Max Mollon
Mollon, M., & Gentes, A. (2014). The Rhetoric of Design for Debate: triggering conversation with an “uncanny enough” artefact (pp. 1–13). In the proceedings of the Design Research Society International Consortium (DRS), Umeå, Sweden. (June 18th)
DOI: 10.13140/RG.2.2.27693.49123
–
Retrieved from: http://bit.ly/DRS14-mollon
An Architectural Synaesthetic Experience for ChildrenGalala University
Students are required to design an installation that illustrates synaesthetic experience that involves all sensual experiences in space. The installation can be used as part of a future children museum.
IxD & UX Design - Personifying Digital InteractionsJayan Narayanan
Interaction design is one of the most challenging area in digital space. Especially when we understand the context of complex lifestyle we are living. It is my try to understand what is happening in the area of interaction design and how design principles & psychological approaches can help us on this area.
Originally this presentation created for present in person in front of a group of people hence you may find some gaps in continuity. I am in a process in fixing these gaps - meanwhile please let me know your views and opinion on the topic / presentation.
This is an exercise on unfolding especial dimensions of Urbanism. In this exercise, we explore SKILLS, TOOLS, VALUES, KNOWLEDGE and VALUES of the URBANIST, suing mind mapping techniques to discuss and expand our ideas.
Class 1 - Introduction to the Semiotics of Digital Interactions.
Originally run at University of Tartu for Undergraduates and up.
Audience: anyone with an interest in the meaning and philosophy behind our interaction with the technological world around us.
Many of us feel inspired by technology, both emotionally and creatively. Others are evangelists of the idea that once we rely on technology, we lose the ability to be creative. The objective truth is, however, that technology and creativity often go hand in hand.
Creativity is innate and ubiquitous to human actions and thoughts, and has been one of the key driving forces of innovation throughout human history. The description of properties that define a creative mind has long eluded a precise definition. Traditionally, creativity has been linked with literature and art, but since the last century, science has also been acknowledged as reliant on creative processes. In contrast to literature and art, in which it is necessary to comprehend the underlying properties of space and how such properties are experienced by different observers, a creative technological idea entails both originality and appropriateness. Creativity inspires technology not only from a perspective of generation of novel ideas but also in a way that idea produces a verifiable representation of new processes of interaction between people.
On the other hand, technology facilitates the access to social networks and large amounts of information, as well as the ability to interactively improve our ideas. In the past, people assumed that creativity has a strict consequence of personality traits of specific individuals. However, recent studies advocate that in addition to particular individual trails creativity also depends on the social and cultural context. For example, in a recent study, Vera John-Steiner analyzed of some of the greatest minds in our history, e.g. personalities like Charles Darwin and Albert Einstein, and concluded that their breakthroughs were depended also on collaboration’ activities and social support.
The mutually beneficial relation between technology and creativity, allow us to expand our cognitive abilities to new levels of creativity at a much faster pace than before, but if such relation is not properly balanced it can lead to both distractions and interferences with our natural rhythm of life, thereby suppressing our innate ability to create. Hence, the truth question is how can use creativity to design technology to take the way we express our thoughts and innovate to a whole new level.
In this talk, I will speculate starting from my own perspective, on how technology is and can support the process of producing creative works, as well as how professionals involved in creativity activities are nowadays exploiting technology to assist their creations.
It has become almost cliche to suggest that we live in a fast-changing world, yet we continue to cling to ideas of permanence. Neo Nomadism challenges these suppositions, hinting at a future culture that is likely to be far less attached to the material and where networking–digital and social–become increasingly critical to how daily life functions. With these experiments in neo-nomadism we explore the frontier of this future lifestyle and culture without high risk. We glimpse a civilization de-centralized and de-massified –economically, industrially, and in terms of power-structures. Neo-Nomadism is not so much about mobility, about traveling, as it is about adaptive response to an increasingly dynamic situation of life. The Neo-Nomad is the supreme surfer of change in a dynamic world.
Isobenefit Lines by Luca D'Acci
Algorithmic Sustainable Design. Morphogenesis, by Antonio Caperna
The Structure of Pattern Language, by Antonio Caperna
Generative processes of Mediterranean Cities and Towns, by Besim S. Hakim
Algorithmic Sustainable Design: “The Nature of Order”, by Antonio Caperna
Biourbanism and sociogenesis by Stefano Serafini
A city has a physical and a social structure.
The two are connected through complexities who in turn refer to a systemic vectoriality.
Neuroergonomics urban design sociogenesis by Stefano Serafini
Algorithmic Sustainable Design. Theoretical key concepts by Antonio Caperna
A kind introduction to complexity by Alessandro Giuliani
Biourbanism focuses on the urban organism, considering it as a hypercomplex system, according to its internal and external dynamics and their mutual interactions.
The urban body is composed of several interconnected layers of dynamic structure, all influencing each other in a non-linear manner. This interaction results in emergent properties, which are not predictable except through a dynamical analysis of the connected whole. This approach therefore links Biourbanism to the Life Sciences, and to Integrated Systems Sciences like Statistical Mechanics, Thermodynamics, Operations Research, and Ecology in an essential manner. The similarity of approaches lies not only in the common methodology, but also in the content of the results (hence the prefix “Bio”), because the city represents the living environment of the human species. Biourbanism recognizes “optimal forms” defined at different scales (from the purely physiological up to the ecological levels) which, through morphogenetic processes, guarantee an optimum of systemic efficiency and for the quality of life of the inhabitants. A design that does not follow these laws produces anti-natural, hostile environments, which do not fit into an individual’s evolution, and thus fail to enhance life in any way.
Biourbanism acts in the real world by applying a participative and helping methodology. It verifies results inter-subjectively (as people express their physical and emotional wellbeing through feedback) as well as objectively (via experimental measures of physiological, social, and economic reactions).
The aim of Biourbanism is to make a scientific contribution towards: (i) the development and implementation of the premises of Deep Ecology (Bateson) on social-environmental grounds; (ii) the identification and actualization of environmental enhancement according to the natural needs of human beings and the ecosystem in which they live; (iii) managing the transition of the fossil fuel economy towards a new organizational model of civilization; and (iv) deepening the organic interaction between cultural and physical factors in urban reality (as, for example, the geometry of social action, fluxes and networks study, etc.).
lo sviluppo sostenibile contiene in sé la contraddizione “crescita economica - conservazione delle risorse naturali”, quindi la velocità del prelievo di risorse dall’ambiente naturale non deve superare quella di rigenerazione delle stesse e la velocità nella produzione di scarti non deve superare quella di smaltimento da parte degli ecosistemi coinvolti...
...I believe that there is, at the root of our trouble in the sphere of art and architecture, a fundamental mistake caused by a certain conception of the nature of matter, the nature of the universe. More precisely, I believe that the mistake and confusion in our picture of the art of building has come from our conception of what matter is.
The present conception of matter, and the opposing one which I shall try to put in its place, may both be summarized by the nature of order. Our idea of matter is essentially governed by our idea of order. What matter is, is governed by our idea of how space can be arranged; and that in turn is governed by our idea of how orderly arrangement in space creates matter. So it is the nature of order which lies at the root of the problem in architecture. Hence the title of this book.
- The Nature of Order, p. 8
The town of Segni, Italy in conjunction with the International Society of Biourbanism invited Lejobart, international artist duet composed of Beju and Sherryl Muriente, to create a project based on the principles of biourban acupuncture during their 56th Sagra del Marrone Segnino Festival. Lejobart embarked on an art installation and performance piece which involved collaboration with nearly three hundred citizens of the town. The installation featured a sculpture by Beju as the central point of interaction and a communal space which promotes a public place for envisioning the future of the town. A tree that lamentably had to be cut, because ruining the ancient walls of the city, has been transformed in a social and positive "sacrifice" through art. Following the theme of a beehive, 300 words collected from randomly selected citizens were used to compose a poem illustrating the city of Segni. This text was read out loud by the “Queen Bee” played by Sherryl Muriente during the performance, atop the 15 foot tall sculpture at the culminating location and time of the project. The sculpture includes at its top a pulpit-like space that allows someone to stand and face the crowd below. It also holds the beehive and symbols that are important to the people of Segni. The tree in which these “bees” were to gather is located on what has been understood as the ancient Roman Auguraculum of the Segni Acropolis. The artists incorporated this idea into a modern version of future visualization, by creating an “auguraculum” from this tree. In the artist version of the Auguraculum, they decided to shift the “augura” or future prediction into the hands of everyone. Thus, proposing a collective Auguraculum, where everyone can gather and envision the future of the town together.
Mrs. Sherryl Muriente, MURP, Assoc. AIA, is an Instructor at the School of Urban and Regional Planning, Florida Atlantic University. Beju is an Artist born in France, and based in Palm Beach, Florida, USA. They sign their common artistic performances as “Lejobart”.
•Biourbanism introduces new conceptual and planning models for a new kind of city, which values social and economical regeneration of the built environment through developing and healthy communities.
•Biourbanism combines technical aspects, such as zero-emission, energy efficiency, information technology, etc. and the promotion of social sustainability and human well being.
“Wilson and other Biophilia theorists assert that human beings not only derive specific aesthetic benefits from
interacting with nature, but that the human species has an instinctive, genetically determined need to deeply affiliate with natural setting and life-forms.”
and life-forms.”
Katie Donaghy
BA in Sociology and Anthropology and MA in Town and Regional Planning, Katie devotes her research to understand how humans interact in public spaces and how these spaces contribute to this.
Menno Cramer
BSc in Neuroscience and Medicine, Menno is achieving his PhD in Neuroscience and Design on how the brain responds to design, and how we can change design to influence behavioural outcomes.
Urban acupuncture is an urban environmentalism theory which combines urban design with traditional Chinese medical theory of acupuncture. This process uses small-scale interventions to transform the larger urban context. Sites are selected through an aggregate analysis of social, economic, and ecological factors, and developed through a dialogue between designers and the community
“’Placemaking’ is both an overarching idea and a hands-on tool for improving a neighbourhood, city or region. It has the potential to be one of the most transformative ideas of this century”
For many years as a student at first and later as an architect, I had the opportunity to observe and study on specific areas inside the city of Florence, Italy.
Several interesting elements emerged from that research and also offered me the opportunity to discover ‘hidden’ paths and agendas in the development of special urban fabric; these strong indexical elements enable from time to time architecture to act as an originator of infinite solutions to a variety of public uses and demands.
Ongoing conversions inflicted to buildings for several centuries did not manage to make them loose specific qualities and identities at all.
Entire historical blocks in urban central areas continued to preserve their positive vigour in spite the efforts of being utterly altered by negative synergies, which were solicited by wrong policies and at the wrong times of history. Thus, rundown and abandoned areas had included for centuries these wonderful ‘hidden seeds’ which managed to emerge and recreate lost links; they became regeneration cells and also managed to guarantee further positive sprawl of the entire urban structure.
Architectural complexes managed to offer again new directions for new roles of the historical fabric; it was thought that we had lost them and/or erased from ordinary life in a city by changing their identity and uses. They managed to be finally freed and return to what it was thought to be their primordial destiny dictated by architecture and social synergies.
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1. Saddek Rehal
Titel: Phd. Architecture
Position: Researcher/teacher
Field of research: Participatory design. The design dialogue at the early
stage of the process of design
@mail: saddek@chalmers.se
Saddek Rehal
Chalmers University of Technology
Designing in the Dark. Ghent 2007
2. Bridging light and dark
The aspect of participation
Saddek Rehal
Chalmers University of Technology
Designing in the Dark. Ghent 2007
•”In the kingdom of the blind, the one-eyed
man is not a king he is a gibbering idiot”
(Colin Cherry).
3. Content:
• Dialogue process
• Design process
• The problematic of the verbal language
• The phenomena of seeing
• To bridge experiences
• Some examples on how associative images can
improve communication
• Perception and representation, some examples
Designing in the Dark. Ghent 2007
4. Today it is widely admitted that a dialogue
between experts and concerned users/citizens is
needed in order to achieve a good process and
thereby to get a satisfactory result.
Saddek Rehal
Chalmers University of Technology
Every human is a bearer of knowledge.
Architects and designers are more and
more aware of the importance of the
users’ knowledge.
Designing in the Dark. Ghent 2007
5. What is design?
• to develop pre-conceptions of something not yet existing
• to act in a situation ’before facts’
• language is necessary as an instrument to express and communicate the
pre/conceptions
• the pre/conceptions are communicated through different media
• when pre/conceptions are communicated a dialogue is at hand
• in the dialogue, pre/conceptions are created by the participants together
• Design is not one man’s business
Design is a form of dialogue
Saddek Rehal
Chalmers University of Technology
’To design is to search for something that does not exist and still find it’
(De Plaute)
Designing in the Dark. Ghent 2007
6. The three different levels of dialogue
Inner dialogue
Dialogue with one self
Reflexion,
feedback Reflexion
feedback
interpersonnel dialogue
Thinking aloud
Just thinking
Communicating
Saddek Rehal
Chalmers University of Technology
7. The different modes of existence of the
artifact along the process of design
Saddek Rehal
Chalmers University of Technology
Verbal
expressions.
Diffuse concepts
expressed by the
client/users
Perception
affection.
Percepts and
affects
Conceptualization
Inner representation
Stage 1, in mind
Graphical
representa-tions
Interpretation by
the designer of
the concepts
formulated by
the client
Stage 2, through
representation
Stage 3, through
realization
ArtefactRealization
Stage 4
The artifact can be seen as a language in constant construction during the process.
This construction is an act of design.
8. The phenomena of seeing
• We don’t see really. We see as (Wittgenstein).
• We perceive things and recognize them as house,
stairs, chairs ,tables, cars etc, because we already have
and master the concepts ”house” , “chair”, “stairs, car”
etc.
”We should see a dead animal on our plate if we
didn’t had the concept beefsteak” (Ramirez)
• We see as in a fanciful manner. One can see a triangle
as an arrow, or a tent, or a mountain etc.
Saddek Rehal
Chalmers University of Technology
Designing in the Dark. Ghent 2007
9. Communication:
bridging experiences
“If a lion could talk we shouldn’t understand it”
(Wittgenstein).
Saddek Rehal
Chalmers University of Technology
The language stands often on the way for us when we
communicate.
Designing in the Dark. Ghent 2007
The worst is that sometime we seem understanding each
other when in reality we don’t
11. The verbal language
Saddek Rehal
Chalmers University of Technology
The language is an amalgam of different language games developed in different praxis
(professional, cultural, social etc...).
The concept is what permits us to see and to conceive the reality in which we live.
We don't see things as they appear to us, rather we interpret them by means of
concepts that we already have. Our modes of representation are colored by our identity,
(socially, culturally, professionally etc...).
We tend more easily to look for solution to our problems in the limit of what we
already know.
What is discussed in the beginning of a design process by the participants doesn't yet
exist and is to be constructed. This situation is characterized by the absence of concrete
references and the lack of suitable language.
In conclusion, it can be said that the design process in the early stages is a construction
of a suitable language by all the participants (users/citizens, experts etc.). This language
is the embryo that gives birth to the final artifact.
12. • Construction an deconstruction of a concept
Some examples that illustrate the limit of
verbal language
• Different conception of one and the same
phenomena
Saddek Rehal
Chalmers University of Technology
13. Deconstruction of the concept
”bad air”
Saddek Rehal
Chalmers University of Technology
The concept “bad air”, formulated verbally by participants to describe their work
environment, was understood by the interviewer as the “bad quality of the physical
air” in the building. When the participants was asked to show pictures that
illustrate what they mean by bad air, they chose pictures that show what bad air is
not. They explained that, bad air is the absence of openness, feeling the seasons,
the weather and the colors of nature. It is what they are missing in their workplace.
14. Construction of the concept
”positive chaos”
Saddek Rehal
Chalmers University of Technology
The concept “positive chaos”, was introduced after a long discussion between
participants with different professions on the subject of education. The concepts
teaching and learning was first discussed (picture to the left). The participants
came to the agreement that creativity is also an important ingredient in education,
they found a picture (picture to the right) to illustrate that character and call it
“positive chaos”.
15. Different conceptions of one and the
same phenomena
Saddek Rehal
Chalmers University of Technology
When people with limited knowledge and awareness on
each others’ experiences meet, it occurs – because of “the
home blindness” – communication barriers between them.
16. Multimedia! What is it? And for
whom?
Saddek Rehal
Chalmers University of Technology
Two professions’ way of conceiving
the phenomena
“Multimedia”
18. “…it is the fact that multimedia can give visual impression… an
impression of experiencing, so to say, which can not be done
normally…” (Pelle)
Saddek Rehal
Chalmers University of Technology
19. • ”… it is a combination of visual things, beautiful things…that have deep…. It shows
for example… how much astrophysics and space can be visualized to show course of
events. …. and it is both amusing and informative” (John).
Saddek Rehal
Chalmers University of Technology
20. Saddek Rehal
Chalmers University of Technology
One have a centre in his hand that is radiant, or it is knowledge that is sent
out”(Pelle).
21. Saddek Rehal
Chalmers University of Technology
It looks like that… it is a part of a whole that is combined in different ways. It
illustrates our… it is an important visual element that is evident to day and that
can be the basis of what we are talking about…” (John).
23. ”… I think that we use too many words in our culture. Words can hamper
communication, ….. reduce the entirety. There is an understanding
that lies on another plan between people, and also inside oneself,
which I think can be pictured…“(Angelo).
Saddek Rehal
Chalmers University of Technology
24. ”Here we can say that we
approach the borderland…..
The image is here to show the
breadth and the dimensions of
the human need of
communication. If we only
focus the uses of media, then
we must be aware that we
reduce communication and
impoverish it….” (Angelo).
Saddek Rehal
Chalmers University of Technology
25. • ”… but it has to do with surfing away, going out, communicating over
the world…. And it is, in a way, a feeling that has to do with
multimedia: to control in order to convey something, or to move out in
the world….” (Claude).
Saddek Rehal
Chalmers University of Technology
26. • It is a medium … to stir the imagination. A kind of medium… one
communicates… But here it is maybe just a means for imagination; a
dialogue with oneself…..” (Eros)
Saddek Rehal
Chalmers University of Technology
27. ”I feel a multimedia centre as something that can be much more than a
room with computers.” (Claude).
Saddek Rehal
Chalmers University of Technology
28. In the conceptual world of the architect students
In the conceptual world of the physicians
The aspects of the Multimedia concept
Saddek Rehal
Chalmers University of Technology
29. We are blind in our world of concepts until we
reconsider them and conceive something new.
The benefit of bridging experiences
31. Saddek Rehal
Chalmers University of Technology
– ”Whatcher doing”
– ”Playing”
– Whatcher playing with?”
– “Cars, can’tcher see?”
– “What sorta cars?”
– “The long bits are lorries, the
short ones are like mum and dad
have, the thick ones are tractors.
Ain’t you ever seen a tractor?”
– “Course I’ave, but tractors don’t
look like that.”
– “Well, ‘ere they do”
32. An example from a 3 years old
boy
Perceiving, understanding and
communicating ….
Saddek Rehal
Chalmers University of Technology
33. Perception of an illiterate 3 years old boy.
A personal experience
”Mamma ‘egade’ (regarde)”
” mmm”
”Bibi i (rit)”
- “mmm”
And he turns the book up and down
Saddek Rehal
Chalmers University of Technology
35. One possible reason is that he has no experience of casseroles
But, he could easily perceive what a literate adult cannot
perceive immediately (the crying baby)
Why?
He recognised a baby and could see it laughing.
But, he didn’t recognise the casserole as the adult
does immediately.
Why?
The possible reason is that he cannot read and this ignorance
makes him free to hold the book in any direction.
Saddek Rehal
Chalmers University of Technology
36. • The meaning of this workshop is not to
teach you how to solve problems related to
accessibility, but rather to help you enlarge
your vision to embrace the complexity of
the design process.
37. Thank you for your attention
Saddek Rehal
Chalmers University of Technology