1,720,974 research outputs found
L: Space and technology as facilitators of new hybrid learning experiences: the Politecnico di Milano’s Innovative Classroom Project
Full text linkInterior design is less and less reduced to the mere physical component of space and is instead increasingly projected towards an ‘environmental system’ made up of space, services, communication, and technology. The book highlights the close interconnections between the design of spaces, the creation of services, the application of communication systems, and the exploitation of technologies, allowing us to reveal the tensions and interactions that are unleashed depending on the prevalence of one or another design discipline and the scale at which they take place
Mostra "Le vie del Compasso d'Oro - XXI Triennale Milano", Campus Bovisa - Politecnico di Milano
No full textII Premio Compasso d‘Oro ADI è il massimo riconoscimento italiano al progetto, al prodotto, alla ricerca di disegno industriale. È stato istituito a Milano nel 1954 dai grandi magazzini la Rinascente per incentivare l’“estetica del prodotto” e il nascente design italiano.
Il marchio del premio, che fa riferimento al compasso di Adalbert Göringer e alla proporzione aurea, è stato disegnato dal grafico Albe Steiner, mentre il compasso d’oro tridimensionale è a firma degli architetti Alberto Rosselli e Marco Zanuso.
Successivamente il premio è stato ceduto da la Rinascente all’ADl Associazione per il Disegno Industriale, che ogni tre anni ne cura l’organizzazione attraverso le selezioni di una giuria internazionale.
Una preselezione dei prodotti è condotta dai 150 esperti dell’Osservatorio Permanente del Design, che pubblica l’annuario ADI Design Index: dal 1954 al 2014 sono stati esaminati più di 30.000 pezzi, sono stati assegnati 313 Premi Compasso d’Oro, 103 Premi alla carriera, 1.819 Menzioni d’Onore e 71 Targhe Giovani. In questa mostra sono presentati i premi e le menzioni ottenuti dalla Scuola del Design e dal Dipartimento di Design del Politecnico di Milano negli ultimi anni.The ADI Compasso d’Oro Award is universally regarded as the supreme accolade for originality, excellence, achievement and research in industrial design. Created in 1954 by the la Rinascente department store in Milan to encourage product aesthetics, the award’s logo - a reference to the compass invented by Adalbert Göringer to measure
the golden section - was designed by Albe Steiner, while the trophy is the work of Alberto Rosselli and Marco Zanuso.
The award subsequently passed from I a Rinascente to ADI, which organises the award once every three years. Every year, the Permanent Design Observatory, a team of more than 150 design experts, selects the finest of Italian design for the annual ADI Design Index, the basis on which an International jury then confers the Compasso d’Oro Awards once every three years. Since 1954, more than 30,000 items have been examined, 313 Compasso d’Oro Awards and 103
Compasso d’Oro Carreer Awards presented, and 1,819 Honorable Mentions and 71 Targhe Giovani attributed. In this exhibition are presented the prizes and mentions obtained by the School of Design and by the Department of
Design of the Politecnico di Milano over the last few years
M: Urban regeneration project of a former military park in Lentate sul Seveso
No full textThe increasing number of abandoned buildings and disused spaces in our cities represents an opportunity to counter the waste of resources. The former military park requalification project described in this chapter shows a model of sustainable urban transformation based on building recovery and community involvement. The project proposes the realisation of student residences integrated with multifunctional spaces for local communities aimed at enhancing the territory’s resources and history, as well as enabling educational and economic development. It follows the principles of the National Recovery and Resilience Plan, starting with moving innovative processes out of big cities and into smaller places.
The project was conceived by a team of researchers from the Design Department of Politecnico di Milano, in collaboration with the municipality of Lentate sul Seveso, owner of the properties subjected to requalification, engaging the participation of the local administration, the major stakeholder, namely Polo Formativo Legno Arredo school, and actors from the corporate sector. The partnership between Municipality and University represents a significant connection in the development of the territory. Service and Spatial Design has a key role in responding to the need to rethink public space according to new forms of social engagement and interaction
XL: Metadesign for the Relocation of Università degli Studi di Milano (the Milan State University)
No full textSpaces can become iconic places of belonging for the communities that inhabit them, in which hopes, ambitions, and future scenarios are embedded. However, they can also embody individuals’ and future communities’ fears and resistance when faced with signi!cant change.
This chapter focuses on the synergy of different entities (physical, intangible, and human interactions) that have emerged from the decision to move the Università degli Studi di Milano’s science faculties to a new location – the 2015 Expo Area. This unexpected change presented the challenge of imagining spaces and facilities appropriate for current and future interdisciplinary cooperation in research, teaching, and learning practices. What happens when the successful
planning of a physical space is intrinsically related to the consent of its inhabitants?
As the chief consultant, Politecnico di Milano was interested in researching high-level project criteria, expectations, and needs of a cohesive and successful organization of the various entities and activities. The aim was to balance the future settlement’s spatial dimension, based on quantitative analysis, and the appropriate mood, through inclusive co-design processes. The result was to work on a metadesign level. The approach generated a “space of discussion” for future campus inhabitants as a strategy where participants had the freedom to distance themselves from current constraints and start imagining future
scenarios with a whole new mindset
S: Salone del Futuro: open, connected, and extended: a new sense and purpose for the Chamber of Commerce of Milan
No full textThe “Salone del Futuro” ambitions arose from the Chamber of Commerce’s (Camera di Commercio di Milano, Monza Brianza, and Lodi) recognition that the online, digital world is increasingly changing how services are provided, constantly becoming more effec- tive, accessible, and faster. These are features that the Chamber’s clientele are looking for, that public administrators and staff can benefit from, and that offer an opportunity to re-envision spaces, services, and systems. Hence, the Registry Office (Salone Anagrafico) in Milan’s Palazzo Turati, a symbolic space and functional base for the commercial and entrepreneurial fabric of the territory, sought to create a more open, contemporary environment that supports and facilitates contact and dialogue between the institution and its citi- zens. The Chamber of Commerce and Politecnico di Milano worked together with systemic and spatial co-design processes that merged multiple functions, features, scales, and contexts in proposing how public interiors can be transformed following new trends in the digi- tization of public services. Shifts in the need for, and typologies of, physical presence, amplified by the eventual pandemic, allowed for new and expanded uses of spaces and transformed definitions of public services and work. Since much of the digital services could address routine and simpler operations, opportunities opened for a higher order of work and engagement between the public and staff, and an extended connection to more of the public with new services, systems, and spatial typologies.
Beyond working directly with the administration and staff at the Salone, the faculty and students from PoliMi’s School of Design were able to directly engage the clientele, the general public, and various professionals related to media and communication design. Specific didactic engagements included design studios with undergraduate students in Interior and Product Design, plus graduate students in the Product Service System Design (PSSD) Master’s Degree program
XS to XL: Interaction design for valorizing heritage across scales. Analyzing constants and variables
No full textle elements at different intervention scales. In particular, the chapter will discuss the projects moving from the micro to the macro scale: (i) small interactive exhibits based on embodied interaction, (ii) the development of AR mobile games for a tiny house museum, (iii) the valorization of Design and Architecture archive materials across the city (iv) the implementation of mobile educational games in a city center and finally (v) a city broad, interactive path
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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