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INTRO

JANuARY FEBRuARY mARCh ApRIl mAY JuNE

CROSSING DESIGNSEmINARS

WS#05WS#01 WS#03

SKIll BASED WORKShOpS WS#04WS#02

FOCuS

The 2009 Interaction Design Master Course of Domus Academy represents the highest synthesis of the mating between acclaimed Italian Product Design heritage and modern ITC solutions and platforms.As an ongoing endeavour in the tradition of field-research and practice, the Interaction Design Master touched and investigated a wide variety of design topics. Each time the programme tried to question exist-ing “off-the-shelf” design solutions, actively seek-ing for emergent problems and novel challenges. Challenges whose origins can be traced back to a variously compounded set of contexts.Throughout the first part of the Master Course, there has been the constant effort to actualize the School’s motto: “Learning by Designing”. Stu-dents constantly tested their own and the newly acquired skills against briefs that encompassed fields of application ranging from personal equip-ment innovation (a familiar mass-design topic),

to custom-designed solutions for specific public settings (public-design); from design interventions to stir debate and reflection (affirmative-design), to enabling DIY platforms and toolkits for individuals and communities (personal-design).Amidst skill based exercises, lectures, round-tables, and the 5 major workshops, the 15 international Interaction Design Students have been tackling is-sues pertaining community engagement and public spaces renovation, envisioning novel interaction modalities for public settings. Subsequently the class faced the challenge of bringing innovation in retail spaces while harnessing the potential of visual interfaces and dynamic information visualization.The exploration of different design research re-sources and methodologies, was carried out within the overarching framework of an in-depth investi-gation of sound and aural interactions.With the 4th workshop, the focus was eventually brought on the “make” factor. > 2

TIMELINEJulY AuGuST SEpTEmBER OCTOBER NOvEmBER

FINAl pROJECT

CROSSING DESIGNSEmINARS

WS#05

SKIll BASED WORKShOpS

DECEmBER

FOCuS

The objective was devising and prototyping solu-tions for exhibition spaces, engaging potential visitors by means of digitally augmented interac-tions with the exhibits.The last workshop laid itself to a more and sys-tematic and strategic approach asking to envision solutions catering to the needs of such a complex and multi-layered event as the 2015 Expo. The project aimed at deploying, for the city of Milan, a whole new set of services and light-weight infrastructures.The yearbook wants to record an entire year of design challenges, of projects, proposals and quests for meaning in Design, Technology and Innovation. It also wants to witness the effort, of both students and faculty body, to explore al-ways new territories to validate the effectiveness and the added values that the Interaction Design approach is capable to contribute to the largest debate within Design Disciplines. 3 <

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INTERACTION

BEhAvIOuRS/RElATIONShIpS

(SElF)SuSTAINABIlITY

“I’m looking for the qualities that do not perform / in this human race / which loves watches / and does not know Time”

Giovanni Lindo Ferretti

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

investigating the design qualities of light both as medium and as material of sensorial expression.

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

WS#01 lIGhTlIGhTRenzo Giusti

*ASSISTANT*pROJECT lEADER

Stefano Cardini

> 8

INTROIn times when light was a scarce resource, it was that scarcity itself to determine its value. Light had a practical but more symbolic function; people would gather, talk, exchanged experi-ences and opinions around a source of light; light required care, time, dedication, not just pressing a switch. Today light is an overflowing resource, and such abundance and ease of access cause a wastage of energy and a loss of meaning at once. Each of us can have as much light as we want, wherever and whenever we want, and switching on a light is more and more rarely ac-companied by a symbolic meaning or a greater commitment than just pressing a button, or a sense of sharing a space or activity. In the next 5 weeks, we’ll be working on the hypothesis of reducing and focalizing light sources and the amount of energy used, in order to save re-sources and increase the symbolic value of light. We’ll focus on the relationship between light and its interaction with the community enjoying it, and we’ll try to move the focus from the quality of the material base supporting the light to the quality of its performance.

SCAlEThe project is meant for public spaces in a large city; such use of light can be divided into two subcategories:1) FIXED URBAN INSTALLATIONS - objects which, by their nature and modes of installation, are located in public or semi-public places, and are not removed after use.2) PERSONAL/PORTABLE OBJECT - personal, portable or transportable objects, small in size and weight, which may take on a meaning or function for the individual owner, or perform additionals functions when used by several people, in public or semi-public spaces, possibly by putting together multiple objects, in order to obtain a sort of macro-object, temporary shared by a small community.

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

high performance, in terms of creating sense, re-lations, interaction between people and between the latter and the object designed. However, the theme of sustainability suggests that objects shouldn’t be designed as gadgets with limited use and duration, nor should they be “sleeping objects” waiting for special occasions to give sense to their existence for a few minutes (just think of the Christmas lights: stored somewhere for 11 months, just to be used for a few days). The possibility coming up involves the creation of polymorphic objects that can be functional and emotional at different stages of their life-cycle, and shift from one use to the other, in order to respond to the stimuli coming from outside.

INTERACTION & mEANINGNowadays, our degree of interaction with light simply tends to be confined to the “turn-on/off” function, in some cases we may direct the light source or adjust its intensity, but never or hardly ever do we intentionally act on the symbolic value of light. Yet we all immediately do perceive and evaluate this meaning: a room lit by pale blue neon conveys a precise meaning, and so does a half-lit house, the light of a fireplace, a candlelit dinner, a street-lamp that is switched on and off in a rather dark street... The project you are expected to work on should involve a high level of expressiveness, and inter-activity, which - as well as being aimed at the use by a single individual - can be better de-signed for use and enjoyment by small and large groups of users.

OuTROWhen talking about time, Giovanni Lindo Fer-retti, wrote: “I’m looking for the qualities that do not perform / in this human race / which loves watches / and does not know Time” I think it’s a nice thought, which can also be ap-plied to light. Enjoy your work.

*WORKShOp BRIEF

LightLight

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

how to enhance the retail experience through digital augmentation of the visual elements in shopping environments.

uSER ExpERIENCE

vISuAl INTERACTION

SpACE AuGmENTATION

DIGITAl RETAIl

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

WS#02 v-TAIlRenzo Giusti, Roberta Tassi

*ASSISTANTS*pROJECT lEADERS

Elena Pacenti, Chiara Diana

Visual interfaces for surprising retail experiences

> 12

AImThe workshop aim is to learn skills and knowl-edge in visual design, information architecture and information visualization with particular respect to interface design. The course comprises two distinct threads of activity, to sharpen basic skills in GUI design the firsts and to develop a major project the seconds.

FRAmEWORKThe shopping experience into retail spaces must be urgently reinvented up against some phenomena that are radically changing the relationship among consumers, brands and products.01 the actual financial crisis and consumption cut downs that make people to evaluate purchase with a new sobriety and consciousness. 02 the exponential diffusion of internet services that finally introduced new effective ways to buy, comparing products and prices, proposing secure and convenient transactions03 the diffusion of a confessional and connected culture through internet that is radically changing the relationship among consumers, brands and products, where people comment without filters, get informed in advance about products and discounts and coming collections, share ideas and opinions.The store cannot be a place for pure transaction and consumption anymore, it has to propose new service advantages and new reasons to go. The new retail experience cannot either be just about entertainment and marketing seduction, but looks for meaningful service empowerment: competence about products, sense of com-munity and belonging, actual personalisation and added value. The emotional and relational dimension of the experience must cohabit with service effectiveness, rational choice and trans-parency.

GOAlThe seminar wants to investigate the potential of the new media and tools embedded into shops and department stores as a way for augmenting

the service experience within space and time. V-TAIL is the digitally “augmented” retail space that visually interacts with customers during the shopping experience to provide innovative and meaningful performances. New media, visual dis-plays and digital tools embedded into the shop are used as output of the interaction between users, the space and products. The interaction can be triggered by personal devices, personal id or by other kinds of input devices to be designed inside the shop, in combination with product and their packagings, elements already present within the retail space. The specific scope of the seminar is to focus on visual interfaces inside the store to positively interfere with the shopping ex-perience. The big chains and department stores are the contexts where this kind of innovation can actually start: hosts of products and goods, wide product range, alternative and competi-tive choices, the volume of clients and visitors, self-service and semi-assisted selling models, make them an interesting test bed for “digitally augmented experience” interventions.

CONTExTBy the way, the shopping experience itself radi-cally changes according to the kind of product you’re going to buy: the way we browse, we behave, we look at, we select, we choose and move are different. You will have to design the digitally augmented experience into 5 different retail types: fashion and accessories, food, consumer electronics, books and music, furniture and tablewear.

WhAT TO DOSTEP 0 / PHASE CHOICE Let’s choose a shopping experience phase. You’ll be working on this phase into the 5 different retail types first and then focus on one.STEP 1 / 5x5 CONCEPT GENERATION Let’s develop an interaction concept for every retail types. Map today experiences, highlight opportunities, outline one concept per each retail type.STEP 2 / 1 CONCEPT DEVELOPMENT Let’s develop only one of the outlined concepts by deeper exploring interaction details, elements of the system, visual interface as visible interac-tion elements.

*WORKShOp BRIEF

V-tail

13 <

BOx

EXPERIENCE CYCLEImagine to ideally describe the shopping experience as a whole in three big steps:PHASE 1 / ATTRACTION > TEMPTING AND SEDUCTIONConsider how to enhance the way the shop attracts you as a potential customer. The first moment of attraction can start from the outside: the facade, the window, the entrance, the welcome… The moment of attraction continues while walking inside the shop, hanging around, exploring the space and browsing among the products. The environment, the tools and products features become the means for keeping people interested and engaged. It becomes a seduction game in which expression capabilities and imagination become extremely important. An interaction based on communication dynamics whose objec-tive is to keep high the interest of users. > ORIENTATION AND RECOMMENDINGConsider how to enhance the way the shop orientates, proposes and gives sug-gestions among the offer.The phase in which the user starts taking his own path into the offer/shop. The store must tune the characteristics of the offer with user needs and expecta-tions. The physical structure of the space and of the artefacts permits to establish a direct relation between presented products and digital information giving a body to the interaction with the information.

PHASE 2 / ENGAGEMENT > COMPREHENSION AND COMPARISONConsider how to enhance the way the shop supports the user’s choice. A stage of experience in which people try to choose and evaluate the alternative opportunities they see in the complexity of the offer.

The Experience Space is an inspirational en-vironment where the user can collect the elements for the personal experience, to confront different products and to access detailed information and descriptions.According to different context and product types, the shop (the environment, the shop assistants, the tools, the product displays..) must be able to support the choice by pro-viding and filtering information, showing and explaining features, advising, compar-ing products, suggesting combinations and variations.> TESTING AND EVALUATIONConsider how to enhance the way the shop supports the moment of testing and the collection of feedbacks.The phase of testing is an important mo-ment of truth for brands and retailers: it is the situation in which the user touches the product and often easily expresses its opinion and thoughts. It’s the moment of testing the performance, the occasion in which to activate the senses, in which to express feed-back. It includes the action of testing (a suite, a pair of boots, a cap), manipulation of objects, demonstration (of the functionalities of a product), taste (food..), composition (of some variations or components).

PHASE 3 / EXTENSION> CARE AND SEDIMENTINGConsider how to enhance the way the shop cares about and keep in touch with clients after shopping. Clients are not of-ten cared about after buying and customer loyalty is not often rewarded into physical retail context. The retail experience can evolve in time creating the opportunity to establish a durable relationship. That’s why the store can actually design new ways to keep in touch and dialogue with the cus-tomer even after shopping. The care can be a simple gesture of attention and re-warding, as well as a more complex system to maintain the relationship through other media. It can involve the moment of pay-ing for the product bought, the packaging of products, the waiting time.

> 14

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how to explore the expressive potential of aural stimuli, to develop sound-based interfaces hightlighting the complementarities of visual and aural expressions.

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

SOuNDSCApE

phONIC INTERFACES

AuDIO/vISuAl INTERplAY

SOuND DESIGN

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

WS#03 SONIC’SRenzo Giusti

*ASSISTANT*pROJECT lEADER

Claudio ModeriniInvestigating by designing the expressive potential of sonic experience.

> 16

INTROHuman beings are multi-sensorial entities by nature.Mono-sensoriality is just a product of our culture that highlighted some physiological peculiarities of the different senses.On this premise, then, arts have deepened a hia-tus between the visual and the aural dimension.A division which was further reinforced by the historic separation of training paths for the dif-ferent disciplines.Western culture has witnessed a predominance of sight above all other senses. Aural sense, has also been explored and to some extent exploited, yet often in an isolated fashion, emphasizing its symbolic and aesthetic dimen-sions within the context of artistic expression – ie. music and movie –, but it has been rarely interested by integrated design interventions.Aim of SONIC’S is to investigate by designing the communicative ad expressive potential of sonic experience.

SOuND ISSound is a pervasive phenomenon it permeates the environment inhabited by humans. It can be as much an element which is taken for granted as it can be purposely designed for entertain-ment, for alarm, for …Sound is a crucial “sensorial quality” that plays a key role in shaping the interactive experience with objects, spaces and services. When dealing with acoustic media through technologiy, which are the emergent “ways of interaction”, which are the “materials” and the qualities of interactive phonic objects, aural serv-ices and sound spaces? Sensorial qualities do play a key role in shaping the interactive experience. And of course sound has the means for enhancing and even radically changing the perception of a phenomenon Thus leading to unexpected levels of engegement.

uNDERSTAND | ExpERImENTAN AURAL QUESTCertain sounds are distinctive of an environment. Certain sounds are purposefully chosen and even de-signed to create the mood, the soundscape of a place. Places can have a distinctive aural identity. Now embark on a journey discovering how different places sound. Investigate your surroundings. Collect evidence of the distinctive “sound” identities of places, buildings, events and even brands. Individual traits can be hidden in rhythms, noises, sound patterns and even more in music genres and playlists… Examine your collections and by matching places with their sound patterns find the commonalities or the artificial mismatches between the ambiance, its distinc-tive qualities and how it is being populated with sounds. Create an audio/visual mash-up. Use the sounds you captured to provide a highlight, an emotional commentary, to render the athmosphere of a certain event context or space. Mix and match together audio samples working out a distinctive sonic language, which draws from the power of spoken word and codi-fied music, yet as for RAP music, attains a new expressive power capable of reaching beyond the simple sum of its parts.

ExplORE | pOTENTIAlITIESCOLLECTING REFERENCESCollect references of artistic expression, projects, instal-lations, public performances and even applications that are either originally exploring or cleverly harnessing the potential and the qualities of the sound/music domain.RESOURCE TOOLSMaximize your efforts and participate in a common process of discovering and learinig. The department used twine [www.Twine.Com], a platform for sharing resources. You are invited to contribute to sonic’s twine, by signing up and adding your findings.CLUSTERING AND BENCHMARKINGAnalyze your findings in light of the aspects that they contribute to elicit. Group any functional and technical similarity. Take into account all the relevant features that pertain aural qualities, point out how they are being used and which issues they are addressing.POPULATING A TERRITORYWith the data collected understand where each of the instances could be placed in relationship to all the others and to the main axes of the territory identified.Consider how each item is balancing between its visual and aural component and how it manages to engage its users.

*WORKShOp BRIEF

Sonic’s

17 <

CREATE | TWO DIRECTIONSSonic’s aims at highlighting the complementarities of visual and aural expressions. Sonic’s wants to investigate and possibly point out a balance between the aesthetic and the productive domain; between the theoretical and the experiential.It therefore points towards 2 threads:SONIC’S STAGESound and music are intended as aesthetical and com-municative experiences. Emphasis is placed on on enter-tainment and sociability. Both noise and sounds provide the baseline for a streaming “life soundtrack”. Potential areas of application: entertainment, spatial navigation and orientation, aes-thetical experience, awareness and monitoring, musical experience, sound therapySONIC’S SCAPEListening to the environment. Using the territory for sedi-menting stories and narrations. Favouring active explora-tion. Fostering new location-based narrations. Innovating storytelling by waving together multiple audio-streams on top of a specific topographic framework. Potential areas of application: information sharing, cultural experience, memories and narrations, travelling and tourism guides and orienta-tion, local content and knowledge sharing, audio based fiction (ar), visually impaired, locative gaming, language learning.

ShARE | FINDINGSOBJECTIVESIdentify and describe general objectives with reference to the proposed framework as if you were to present them to a potential client/investorMOTIVATIONS AND KEY ISSUESTry to position the envisioned solutions within the pro-posed framework, explaining their relevance to the main indicators in the selected work context.CONCEPT SCENARIODescribe the project scenario you developed in a synthet-ic and clear way. Try to describe it like a system, including description of the supported activity, functionalities of the tools, characteristics of the context, role of the actors involved, type and quality of the content, technological features, viable alternatives, other considerations, etc.KEY VALUESPoint out and highlight the intrinsic values of the pro-posal from the perspective of the different stakeholders involved: user, client, content providers, promoters, spon-sors etc.FEASIBILITYDefine the feasibility with regard to the technological choices, paying attention to the integration between the different media.

> 18

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how to create and prototype innovative ways of interacting with contents and information of a museum exhibit to engage visitors.

pROTOTYpING

phYSICAl COmpuTING

CONTENT mANAGEmENT

TANGIBlE INTERACTIONS

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

WS#04 BRAvE NEW muSEumSRenzo Giusti

*ASSISTANT*pROJECT lEADERS

Massimo Banzi, Alexandra Deschamps Sonsino

Interactive installation design for museums

> 20

Museums are commonly perceived as the shrines of knowledge, the institutions that are meant to preserve and, at the same time, promote the knowledge on different aspects of human activity. When talking about museums, thought naturally points towards fine arts and, more generally, to the territory of art and design. Sev-eral museums however are operating in totally different domains, where the aesthetic quality of the exhibits might not be the primary driver for the audience. Many of these museums, usually around areas of science and particularly children’s museums, have been recently setting new standards in exhibition set-up, providing unexpected experiences and highly engaging discoveries.Using the framework of the Archeological Muse-um of Valle Sabbia, in Gavardo, 15 international students from the I-design course are asked to devise interactive solutions, capable of engaging and captivating the museum visitors.The workshop is meant to stimulate the students to explore state of the art technologies and appreciate their creative potential, while really understanding the context of the museum. They will be asked to develope and hone skills which they will have then to apply to the creation of functional prototypes. These prototypes are meant to communicate the conceived ideas in a more engaging and direct fashion than a simple mockup. Tinker.it! assists in leading the workshop by the involvement of the 2 founders Massimo Banzi and Alexandra Deschamps Sonsino.

OBJECTIvEThe objective of the present workshop is to encourage the Interaction Design Students to in-vestigate and create innovative ways of interact-ing with the contents and the information that a museum would likely be communicating.Projects, therefore, must pay attention on the level of performance of the final solution. Students are encouraged to create functional mock-ups and prototypes of their ideas as both active experimentation and proofing tools of their design choices. Ultimately the final concept must be illustrated by means of a working prototype which will out-line the main features of the interactive system devised.

*WORKShOp BRIEF

Brave new museums

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

21 <

BOx

PHYSICAL INTERACTION LABSThroughout the first semester, a series of two-day Labs introduce different tools & techniques in physical computing. In the skill-based sessions, students work both in groups and individually to com-plete short assignments and exercises.The first Lab is Lowtech Sensors & Actua-tors, where students are introduced to wired logic electronic principles. The second introduces Keyboard Hacking as a way to interface with a computer. The third Lab introduces the Arduino platform as a way to define behaviours of prototypes according to interactions.

SENSORS AND ACTUATORSOn Thursday February the 19th the Interaction Design Class 2009, had its first hands-on experience of what was earlier introduced as ìsketching with thechnology. Under the supervision of Massimo Banzi, the students followed an entire day, full-immersion, experience experimenting and hacking with common electronic gadgets and “cheesy” interactive toys.The scope and the objectives of the activity have been illustrated by Massimo Banzi, whith a short presentation of instructive case histories. Banzi displayed how such an activity can have twofold beneficial outcomes. First of all, the module is meant to be an exploratory activity encourag-ing participants to observe carefully the objects, even the most mundane, present in their surroundings.Attention is therefore directed towards discovering how these objects work. The examination stage aims at unveiling which are the technical solutions implemented to make such gadgets responsive and de-livering a sensible interaction. The second stage of the activity pursues the creation of a higher and deeper confidence with electronics, therefore making students aware of how certain results are obtained and instilling a familiar attitude towards experimenting with technology.

Massimo Banzi, then showed how the simple components found in ordinary objects, can be recombined and connected together for building up complex and interesting interactive objects. The basic electronics, operating simple toys or basic household tools, can be used as building blocks to develop sketchy prototypes of interactive systems. These objects, in turn, would work reacting upon stimuli trig-gered either by peole’s presence, their mo-tion or their direct intervention on knobs, buttons and levers.I-Design students, hence, were encour-aged to start using all the interesting com-ponents they found in the innards of the electronic toys they had at their disposal.

KEYBOARD HACKINGThe second instalment of the I-Design Labs sintroduced a more complex technique to link together events using other kinds of quick hacks. Keybords chipsets can become easily modifiable controllers to start prototyp-ing interesting ways to bridge the physical and the digital world. As an introduction, Massimo Banzi showed a collection of curious and clever projects that thanks to a cunning selection of triggers: light sensors, infrared sensors, tag readers, cameras etc... have succeded in creative engaging applications.In day 1 students have to refresh their recently acquired familiarity with soldering and basic circuit bending for developing a basic system for controlling animations developed in Processing. In order to add more fun to this phase, the students will be free to chose one among the many Processing Monsters collected by Lukas Vojir and use a conveniently modified key-board chip connected to a set of sensors to control their monster’s behaviour. On day 2 the activity takes a slightly more sarious twist. Students are encouraged to quickly prototype some of the interactions they are envisioning for the projects they are developing during the V-Tail Investigation on visual interfaces.

http://tinyurl.com/tangiblecalculator-prototype

> 22

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inak

Par

ekh

Wor

k-it!

con

cept

is b

uilt

upon

obj

ects

, tec

hniq

ues

and

daily

life

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anci

ent

civi

-liz

atio

ns. W

ork-

it! M

ainl

y ad

dres

ses

scho

ol c

hild

ren

to t

each

the

m a

bout

an-

cien

t cu

lture

s an

d ci

viliz

a-tio

ns. T

he in

stal

latio

n us

es

visu

al a

nim

ated

sto

ries

and

real

tim

e ex

perie

nces

to

let

the

visi

tors

exp

lore

whi

ch

wer

e th

e da

ily t

asks

of

anci

ent

civi

lizat

ions

. Wor

k-it!

usi

ng a

set

of

prop

s,

stag

es d

iffe

rent

sce

nes

of

anci

ent

life,

with

cha

ract

ers

enga

ged

in t

heir

wor

k.

Vis

itors

will

be

aske

d to

co

llabo

rate

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the

cha

r-ac

ters

usi

ng t

he p

rop

-too

ls

to h

elp

them

suc

cess

fully

ac

hiev

e th

eir

goal

s.

Lou

pe

Tabl

eH

eonj

ae J

ung,

Jun

g H

oon

Lim

, Jun

e H

o Su

h

The

insp

iratio

n fo

r Lo

upe

Tabl

e co

mes

fro

m t

he

obse

rvat

ion

of p

eopl

e’s

beha

vior

whi

le w

atch

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deta

ils o

n sl

ides

by

usin

g a

mag

nify

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lens

. Thi

s sy

s-te

m p

rovi

des

a vi

sual

& a

u-di

o co

nten

ts b

row

sing

sol

u-tio

n fo

r pe

ople

to

navi

gate

la

rge

mul

timed

ia li

brar

ies.

Lo

upe

Tabl

e sy

stem

con

sist

s of

tw

o el

emen

ts. T

he fi

rst

is

a ph

ysic

al t

able

sho

wca

sing

ar

rays

of

slid

es. T

he s

econ

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emen

t is

a d

ispl

ay, w

hich

re

min

ds t

he s

hape

of

a lo

upe

(mag

nify

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glas

s). B

y m

ovin

g th

e Lo

upe

tow

ards

on

e sl

ide

and

clos

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up

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ple

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ger

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ente

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ew

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he s

lide,

acc

essi

ng s

up-

plem

enta

ry c

onte

nts.

p. 1

2>>

Mix

Mix

YunH

ye C

hoi,

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Yan

g,

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hen

Mix

Mix

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n in

tera

c-tiv

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zzle

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mea

nt t

o pr

omot

e th

e di

scov

ery

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bits

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e pu

zzle

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ade

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x sq

uare

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s on

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ch

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es a

re p

roje

cted

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sers

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shu

fflin

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e pi

eces

cha

nge

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imag

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e th

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zzle

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orre

ctly

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eted

, Mix

Mix

will

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imed

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ents

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ect

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cted

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hrou

gh p

layi

ng

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the

puz

zle

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piec

ing

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virt

ual f

ragm

ents

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arch

aeol

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oung

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isito

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ain

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tere

sted

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>>

p. 1

3ht

tp:/

/tin

yurl

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/sw

eetv

ase-

vide

o

how to conceive the new public infrastructure for the Milan of the future, leveraging on the momentum of the 2015 Expo.

pATh NAvIGATION

puBlIC INFRASCTRuCTuRE

COmmuNITY REINFORCING

TERRITORY IDENTITY

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

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

WS#05 vIA DI TERRACamilo Ayala Garcia, Konrad Bobrzecki, Maria José Fabregat, Mauro D’Alessandro

*ASSISTANTS*pROJECT lEADERS

Setsu Ito, Luca Buttafava, Paolo Cesaretti, Robert Le Quesne, Domenico Pisaturo

> 24

The Land Way project consists of a visitor and theme trail which connects a number of loca-tions and buildings of special note, and which leads from the Darsena to the future Expo site, a symbol of tomorrow’s city of Milan. The route, about 22 km in length, will allow visitors to admire the historic parts of Milan (often not that well known but with plenty of interesting things to see) as well as the large new regeneration projects designed by internationally acclaimed architects.This is an ambitious project which, once com-pleted, will be able to continue even beyond the Expo. This route can be covered on foot, by bicycle, or in low environmental impact vehi-cles, and will include some of the infrastructure projects planned for the city. Construction of the route will also provide an opportunity to adopt a coherent system of street furniture, or, where this is not possible, to install removable items whose purpose is to indicate the way. A further aim will be to carry out renovation and enhance-ment works on building fronts along the route, or to activate substantial renewal programmes for some historic city places. The Land Way aims to welcome Expo visitors who want to visit Milan and get to know the city’s cultural sites, its old and more recent his-torical locations, combining art and enjoyment, with shopping and gastronomy. The Land Way will also be a way of enabling everyone to enjoy the city and move around it at a leisurely pace.The “Via di Terra” Project will see 4 different possible declinations of the general brief, each one proposing an original take on the design challenge proposed by the Municipality.

DESIGN DOmAINSThe Project will deal with the design of custom conceived Route facilities and services. Support facilities for visitors will have to be designed and then placed along the Land Way within existing public areas due for redevelopment or planned regeneration.BIKE - STATIONThe bike station is menat to be where visitors will access services enabling them to cover the

route. They will be able to rent bikes, tandems, rollers, skate boards, etc..., as well as accessories. Visitors will also be able to make use of facilities such as rest rooms and luggage lockers. Bike Stations will be located near the main transport nodes to offer visitors a sustainable mobility op-tion for moving around the city.GATESThese entry gates to the route will constitute the points of contact and direct transit between the main route and the secondary theme routes, signalled by art installations which will act as strong features of attraction and identity for these places.NAVIGATORSThe Navigators will be specially-equipped loca-tions enabling visitors to access information about the routes. Here, visitors will find informa-tion about distances, location of amenities, and so on. WI-FI networks will enable visitors to ob-tain supplementary information about the route or to use the Internet to find out other nearby points of interest.REST - AREASThese areas will provide visitors with comfort-able places to take a break in the open air during their journey across the city. Some themes and sub-themes of the World Exposition can also be presented in these oases of comfort.LOOK-OUTS (LANDMARKS)Certain spots will be selected as features of the Milan skyline which will also serve as points of reference for orientation along the route. At the time of the Expo visitors will be also be able to access some of the taller buildings normally not open to the public, to get a panoramic view of the city.ZERO - EMISSION BUSESLastly, the Land Way will be served by ecological, open-air shuttle buses, fitted with multimedia equipment that will enable Expo visitors to enjoy the city’s various trails in comfort. These vehicles will be hydrogen-fuelled to promote zero-emis-sions urban mobility.

*WORKShOp BRIEF

Via di terra

25 <

BOx

*WORKShOp BRIEF DEClINATION 1

INVISIBLE TERRITORIES-IDENTIFIABLE TERRITORIESLuca Buttafava

The main challenge of “Via di Terra” Project is not to be able to design, but to understand WHAT to design, WHERE, and for WHOM, establishing what will happen, HOW it will happen, and WHEN and WHERE this or that strategy must be applied rather than any other. There are various SITES on the territory that quite often have interesting but HID-DEN IDENTITIES, and yet, since they do not manage to COME OUT, they are not RECOUNTED. Yet there are people who DO KNOW about those SITES, but since no one asks them for their ADVICE, and since no one gives them any CREDIT as treasur-ers, this PRECIOUS KNOWLEDGE will be lost one day. It is first and foremost funda-mental to visit the TERRITORY, to explore it, experience it, touch it, photograph it, film it, and know it; it must be recounted

for the aspects that each and every one of you, as a designer, finds interesting, by CAPTURING unexpected motivations, that can transform the sites into IDENTIFIABLE TERRITORIESIdentify WHAT could RAISE INTEREST FOR CULTURAL EVENTS that concern the COM-MUNITY and part of the city, its identity, memory, traditions. You can choose to focus on one or more of these aspects.What is important is to choose what type of users you want your project to address, and to define the TARGET you intend to engage. THE ROUTE that connects the various loca-tions that you are investigating with one another, must STRESS this RELATION; it must narrate the PASSAGE from one point to the other, allowing thus anyone to per-ceive small clues, which together convey an IDENTIFIABLE message. Think about guerrilla marketing or street art with stick-ers. Students must find a rich narrative that has the ability to stress the COLLABORA-TION between the groups of visitors since they’re all connected to one another along the route. The goal of the project is to de-fine a system of relations, spaces, objects and media that can improve the visibility of the SITES; they must be welcoming, and reflect the essence of Milan’s identity.> 26

BOx

*WORKShOp BRIEF DEClINATION 2

MAKING SENSE OF TIME AND SPACEDomenico Pisaturo, Robert Le Quesne

“Via di Terra” will be a predefined trail to discover Milan experiencing the his-tory through the qualities of the spaces along the path. While present fruition of historical info happens primarily through books or exhibition labels, there is a real experience of artefacts and spaces which is not commonly accessible or officially recognized as history. Every object, every architecture communicates. The artefacts become the means through which their own story unfolds. Each space provides us with sensory mnemonics that trigger unique reactions for each individual. The use of technology adds a way of under-standing our surroundings through the use of metaphor and interaction.DESIGN OBJECTIVESAll the projects should aim at develop-ing concepts and scenarios of artefacts, spaces, systems and services that will permit us:

- to explore the role of interactivity in our society by exploiting its potentialities, by making tangible the intangible.- to enhance the experience of the visitor in the space; - to tell the history/story of the place through the creation of an emotional reso-nance in the visitor.REQUIREMENTSThe proposed solutions should fulfil the following requirements: OBJECTIVES: identify general objectives with reference to the proposed framework, as presenting them to a client/sponsor.MOTIVATION AND KEY ISSUES: try to position the envisioned solutions within the proposed framework explaining the objectives relevance.CONCEPT SCENARIO: describe it like a system, including description of the sup-ported activity, functionalities of the tools, characteristics of the context, role of the actors.KEY VALUES: identify and describe the values of the proposal from the perspec-tive of the different actors involved.FEASIBILITY: define the feasibility with regard to the technological choices, paying attention to the integration between the different media.

27 <

> 28

Mem

oLi

n-Yi

ng K

uo, Y

oshi

hisa

Sh

inag

awa,

Hao

-Tin

g Su

n

His

tory

is t

he m

ost

prec

ious

se

dim

enta

tion

of a

com

-m

unit

y’s

colle

ctiv

e m

emor

y an

d th

ere

is n

o de

ny-

ing

that

mem

ory

alw

ays

evok

es e

mot

ions

. Mem

o pu

rpos

eful

ly a

wak

ens

the

mem

ory

of e

piso

des

of t

he

city

’s h

isto

ry b

y m

eans

of

site

-spe

cific

inst

alla

tions

. Se

vera

l of

thos

e ep

isod

es

are

now

for

gott

en a

nd

obsc

ure

beca

use

of t

he la

ck

of m

eani

ngfu

l con

nect

ions

to

the

orig

inal

eve

nts

whi

ch

mar

ked,

als

o em

otia

on-

ally

, cer

tain

cit

y lo

catio

ns.

Mem

o by

usi

ng a

rchi

tec-

tura

l pro

ject

ions

and

oth

er

land

mar

king

sol

utio

ns,

hono

urs

the

mem

ory

of M

i-la

n’s

past

dur

ing

the

even

t of

Exp

o 20

15.

Por

tam

iFe

nnel

Cha

ng, A

ndre

w

Cha

o, H

eonj

ae J

ung

El e

ugai

t vo

lor

in u

t er

sim

vu

lla c

on u

lla f

euis

mo

lo-

bore

tat

is e

rcill

aore

ero

s et

in

cini

m d

o co

nseq

uat.

Cum

no

nulla

or iu

rem

ven

isci

tis

mod

te

faci

lisi.

Tate

t lu

m a

t ut

acc

um in

he

nt il

isse

cte

mod

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ait

la c

omm

odol

ore

cons

equi

s ad

it ip

sum

exe

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les-

sim

do

odig

nim

end

it am

at

adi

o en

iam

zzr

ilisi

bla

co

mm

olor

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od

tet

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tue

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dolo

r si

sisc

i nc

idui

bla

ndit

del d

olum

my

num

sand

iat

lupt

at n

ostr

ud

dolu

ptat

. Sit

ing

euis

cini

-pr

aess

.

Pa

ra_

site

Dic

le B

egum

Ars

lan,

Fa

ten

Baa

ssir

i, Yu

-C

hang

Che

ng

Mila

n, t

he c

apita

l of

desi

gn,

mis

ses

som

e sp

onta

neit

y in

it

s ev

eryd

ay li

fe. T

he c

ity

is

toug

h an

d w

ould

ris

k no

t to

be

wel

com

ing

tour

ists

co

min

g in

for

Exp

o 20

15.

The

who

le c

ity

life,

how

-ev

er, s

hift

s du

ring

Ape

ritiv

o tim

e, w

hich

is a

typ

ical

Mi-

lane

se r

itual

. Par

asite

use

s th

is g

athe

ring

as a

pla

tfor

m

to a

mpl

ify

the

city

thr

ough

t a

proc

ess

and

not

a pr

od-

uct,

and

allo

ws

visi

tors

to

und

erst

and

it th

roug

h pe

rson

al e

xper

ienc

e. T

his

even

t is

mai

nly

loca

ted

in a

sm

all p

ark

calle

d Pa

rco

delle

Ba

silic

he, k

now

n fo

r th

e bi

g am

ount

of

plac

es s

ervi

ng

Ape

ritiv

o.

Oh

my

gu

ide!

Tuğç

e A

yan,

Vas

undh

ara

Para

kh, C

arlo

Zap

poni

Oh

my

guid

e! is

an

aug-

men

ted

real

ity

appl

icat

ion

that

aim

s at

gui

ding

peo

ple

in t

he c

ity

usin

g pe

ople

as

guid

es r

athe

r th

an m

aps.

Oh

my

guid

e! is

a s

ervi

ce o

f co

llabo

rativ

e gu

idin

g: t

he

user

sel

ects

on

his

mob

ile a

de

stin

atio

n an

d th

e gu

ide

(ano

ther

sub

scrib

er) t

hat

she/

he w

ill b

e fo

llow

ing.

By

pann

ing

the

phon

e us

ers

goin

g to

the

sam

e di

rec-

tion

will

iden

tify

each

othe

r w

ith a

vis

ual t

ag. T

he

user

in n

eed

of d

irect

ion

agre

es t

o fo

llow

the

gui

de

and

the

guid

e ag

rees

to

be f

ollo

wed

. Thi

s se

rvic

e co

nnec

ts p

eopl

e in

the

cit

y an

d pr

omot

es i

nter

actio

n be

twee

n lo

cals

and

vis

itors

. Th

e se

rvic

e fe

atur

es s

ocia

l ne

twor

king

fun

ctio

ns f

or

trac

king

/rat

ing.

Pic

oYe

n-Li

ng, C

hang

Lin

g,

Shu-

Yu W

u

Turis

ts a

nd v

isito

rs o

ften

ha

ve d

iffic

ultie

s ta

king

a

perf

ect

pict

ure

of t

hem

-se

lves

in f

ront

of

tour

istic

ve

nues

or

othe

r la

ndm

arks

. Pi

co p

rovi

des

a sy

stem

tha

t en

able

s pe

ople

to

take

se

lf-po

rtra

its

at m

emor

able

si

tes.

Sev

eral

cam

eras

are

pl

aced

in v

ario

us p

osi-

tions

and

the

por

trai

ts a

re

take

n fr

om d

iffe

rent

ang

les,

th

eref

ore

addi

ng a

spe

cial

qu

alit

y to

the

sho

ts t

aken

. Fo

r th

e 20

15 E

xpo,

Pic

o ca

mer

as a

re t

houg

ht t

o be

se

t up

at

scen

ic s

pots

alo

ng

the

“Via

di T

erra

” al

low

ing

a fu

ll do

cum

enta

tion

of

thos

e w

ho w

ill d

ecid

e to

w

alk

the

who

le p

ath.

p. 1

2>>

p. 1

3>>

Vit

acl

etta

And

rew

Cha

o, L

i Yin

C

hiu,

Yin

g-Yi

ng L

i

Vita

clet

ta t

ries

to t

ake

adva

ntag

e of

the

larg

e am

ount

of

tour

ists

tha

t w

ill

arriv

e in

Mila

n fo

r th

e 20

15

Expo

as

a re

sour

ce t

o br

ing

new

ene

rgy

to t

he c

ity.

V

itacl

etta

is a

n en

hanc

ed

bike

ren

tal s

ervi

ce t

hat

also

ha

rves

t th

e ky

netic

ene

rgy

prod

uced

by

tour

ists

and

vi

sito

rs w

hile

ped

allin

g,

to a

ctiv

ate

amen

ities

and

to

uris

tic f

acili

ties

loca

ted

alon

g th

e V

ia d

i Ter

ra.

Aba

ndon

ed a

reas

will

be

tran

sfor

med

into

pla

ces

for

peop

le t

o ga

ther

and

con

-tr

ibut

e ex

chan

ging

alo

ng

with

the

bik

es r

ente

d al

so

smal

l qua

ntiti

es o

f en

ergy

th

at t

hey

prod

uced

.

Mil

an

oA

kank

sha

Bha

ndul

a,

Shee

tal I

ngol

ikar

, Che

n W

ang

“Mila

no”

aim

s at

cha

ng-

ing

the

attit

ude

of p

eopl

e to

war

ds t

he c

ity

of M

ilan

and

let

peop

le e

xplo

re a

ll th

e lo

vely

pla

ces

the

city

ha

s to

off

er. “

Mila

no”

is

com

pris

ed o

f te

mpo

rary

ex

perie

nces

as

wel

l as

a pe

rman

ent

solu

tions

. The

te

mpo

rary

sol

utio

ns a

re

two;

‘sta

mp

of lo

ve’ a

nd

‘love

in t

he a

ir’. T

he p

erm

a-ne

nt s

olut

ion

gave

fre

edom

to

use

rs t

o ex

pres

s th

eir

view

s in

ter

ms

of li

kes

and

disl

ikes

abo

ut t

he c

ity

and

even

tual

ly p

eopl

e ca

n ge

t a

toke

n of

love

for

exp

ress

-in

g th

emse

lves

. “M

ilano

” pr

ovid

es a

sol

utio

n to

re

al p

robl

ems

by t

rigge

r-in

g pu

blic

invo

lvem

ent

to

trig

ger

riche

r co

mm

unit

y-ge

nera

ted

expe

rienc

es.

Vis

ion

Ang

ela

Kim

Fai

son,

A

rim

Kim

, Jun

g H

oon

Lim

For

Via

di T

erra

, the

cit

y of

M

ilan

need

s to

enh

ance

ce

rtai

n pa

thw

ays

that

will

re

veal

hid

den

terr

itorie

s,

whi

le p

rovi

ding

com

fort

fo

r th

ose

part

icip

atin

g.

Vis

ion,

is a

way

findi

ng

proj

ect

that

mar

ks c

erta

in

rout

es t

hrou

ghou

t M

ilan’

s “C

reat

ivit

y A

rea”

. Vis

ion

will

cre

ate

a lig

ht in

fras

truc

-tu

re t

o co

mm

unic

ate

the

path

way

thr

ough

sub

tle,

but

reite

rate

d gr

aphi

c si

g-

nage

. Vis

ion

com

pris

es a

lso

elem

ents

of

urba

n fu

rnitu

re

and

light

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project leaders

MassiMo BanziMassimo Banzi is the co-founder of the Arduino project and has worked on many interaction design project for clients like: Prada, Artemide, Persol, Whirlpool, V&A Museum and Adidas. He spent 4 years at the Interaction Design Institue Ivrea as Associate Professor. Massimo has taught workshop and presented at institutions like: Architectural Association - London, Hochschule für Gestaltung und Kunst Basel, Hochschule für Gestaltung Schwäbisch Gmünd, FH Potsdam, Domus Academy, Medialab Madrid, Escola Superior de Disseny Barcelona, ARS Electronica Linz, Mediamatic Amsterdam, Doors of Perception Amsterdam. Before joining IDII he was CTO for the Seat Ventures incubator. He spent many years working as a software architect, both in Milan and London, on projects for clients like Italia Online, Sapient, Labour Party, BT, MCI World- Com, SmithKlineBeecham, Storagetek, BSkyB and boo.com.

Luca ButtafavaLuca Buttafava received a degree in architecture at the Polytechnic University of Milan. In 1996, he attended the Interaction Design Course at the Domus Academy in Milan. He worked there for ten years, after traveling for work in Korea and Japan. He worked at Domus Acad-emy, at DARC (Domus Academy Research and Consult-ing) as a senior researcher, and then began teaching and working as supervisor of Masters programs. Buttafava also teaches in other Italian and international institutes, and since 2001 he has worked extensively with the Poly-technic University of Milan, in the Design Department as a professor of Communication and Media Integration. In 2008, he become a member of NABA (Nuova Accademia di Belle Arti) as a Special Programs Coordinator in Milan, managing programs in the International Department. A partner of Id-Lab, his most recent team project is Venezia [exhibition] Architecture Biennale.

PaoLo cesarettiPaolo Cesaretti (1963), architect. After a short period at the Amsterdam based UnStudio, in 1998 Paolo Cesaretti becomes co-partner of vc a in Milan, specialising in exhibit and experience design. Among the most recent

achievements the studio has been selected for the ADI Design Index - years 2004 and 2008 - and invited to take part in the collective exhibition “VuotoXPieno / Tempo-rary Architecture in Italy”. Today vc a is designing the new retail identity for leading Italian hypermarkets brand Ipercoop. Regular lecturer at SPD and guest professor at Politecnico di Milano and Domus Academy, Paolo Cesaretti is currently working as a design consultant and art director exploring the concept of designed space as a communication tool.

stefano cardiniAfter obtaining a degree in architecture -in 1996- with a thesis about an innovative system integrating car pooling and car sharing, he decides that architecture is a good hobby. He spent 8 years working at Domus Academy on EU funded research projects (Presence, LiMe, MATS, Pogo); as art director at Domus Academy Research and Consulting he was responsible for DA brand identity and for several projects for DARC clients. In 2005 he moved to trivioquadrivio, working on projects bridging visual identity and organizational development consultancy. He’s been teaching at DA, both in workshops and short courses, and since 2000 he’s teaching at Politecnico di Milano. He’s interested in the relationship between new and old media (and believes that they cannot be split, at the moment), and spends most of his efforts trying to represent complicate concepts in a simple way.

aLexandra deschaMPs sonsinoAlexandra is an industrial and interaction designer. She attended the Interaction Design Institute Ivrea where she met the other founders of Tinker.it!. She has been involved in projects for clients such as Nokia, Motorola, Droog design, Thinglink, Jaiku, Blast Radius, fo.am and Blyk bringing creative and strategic leadership to multi-disciplinary teams. She is an active speaker on the next generation of technology-aided product design and heads Tinker.it!’s operations from London.

chiara dianaCommunication and interaction designer, with a degree in Design at the Polytechnic University of Milan and a

> 32

master in I-Design - Interactive objects, spaces and serv-ices - at Domus Academy, Chiara Diana is Domus Acad-emy Art Director. In 2003 she joined Domus Academy Research and Consulting Department (DARC), where she is responsible for communication and interaction design. In January 2006 she has been appointed to Domus Acad-emy Art Direction. She participated in the development of concepts, interaction design model and interfaces for MILK: MULTIMEDIA INTERACTION FOR LEARNING AND KNOWING and CARE!CREA projects. She has been responsible of the concept and design of signage system and environmental identity, in RCSMediaGroup building, ended in 2005. In collaboration with D.COM - com-munication design department of Polytechnic Univer-sity of Milan - she designed the new face of EDIZIONI POLIDESIGN, academic publishing house.Since 2005 she is Adjoint Professor at the Faculty of Industrial Design at the Polytechnic University of Milan and at Arsnova Digital Arts Academy of Siena.

setsu itoDesigner and Architect. After graduating in Japan at Tsukuba University, in 1989 he moved to Milan where first he worked for Studio Alchimia and then collabo-rated with Angelo Mangiarotti. Since 1995 he has been working between Milan and Tokyo in partnership with Shinobu Ito as a consultant for important companies such as De Padova, Edra, Sawaya&Moroni, PoltronaFrau, Dupont Corian, felicerossi, Guzzini, Nava, Richard Ginori, Colle-Vilca, Swarovski, Tiffany, Sony CP Laboratories, Hi-tachi, Sharp, Toshiba, Canon, Yamaha, Mitsubishi, TDK, Cassina Ixc and Toyo Kitchen&Living.He is also a Visiting Lecturer in Milan at the Milano Politecnico and at the Domus Academy and at the Istituto Europeo di Design, and in Tokyo at the Tama Art University and Tsukuba University. His work has been exhibited throught Europe and Japan and has received several awards. Some pieces are part of the permanent collection at the museum of Contemporary Art in Munich.

roBert Le Quesne39 years old. Born in London, England, Robert studied Photography, Film and Video at the University of West-minster before becoming a founding member of mul-timedia design collective Antirom. Antirom pushed the boundaries of multimedia and interactivity and became internationally acclaimed working with clients such as Levi-Strauss, BBC Worldwide, and the Science Museum.After leading the production teams of major London accounts such as Natwest and Banca Mediolanum at the global internet company Razorfish, Rob became head of production at the newly formed office in Milan. It was here that he developed the strategy ‘Digital Retail Space’, looking at ways of transforming the ways people interact with brands in physical retail spaces. He co-founded thebigspace to develop these ideas into workable client solutions. Since setting up thebigspace in 2002, he has developed cutting-edge experience design solutions for clients such as Levi-Strauss, Artè, Polo Ralph Lauren, Le Coq Sportif, Alfa Romeo, JC Penney and Replay Jeans.

cLaudio ModeriniBorn in 1965, interaction designer, he is director of the Master Programme in Interaction Design at Domus Academy. Since 1995 he is member of the research staff at DARC (Domus Academy Research and Consulting) and since 2000 responsible of the interaction and media de-sign research activity. He has worked in several projects on interaction design and multimedia, developing con-cepts related to telecommunication, media spaces and graphical interfaces. He taught New Media Theories and Techniques at the Faculty of Communication Science of the University of Siena and Visual Communication in the Industrial Design Course at the Faculty of Industrial De-sign of the Politecnico di Milano. He lectured at Domus Academy, the Politecnico of Milano, Royal College of Art, University of Siena and University of Milano Bicocca, focusing on interaction design in enhanced media, art installations and network environments.

eLena PacentiGraduated in architecture and PhD in Industrial Design, Elena Pacenti deals with the design of services, design of service interfaces and design of new media for everyday use. Since her graduation at the Polytechnic University of Milan, she investigated on service design theory and tools to be applied both in traditional sectors, from com-mercial to social services, and with respect to telecom and web–related services. Since 1996, she is part of the Domus Academy Research and Consulting (DARC), where she’s coordinating research activity on service design. As service and interaction designer at DARC, she developed projects for the European Union and advised for governmental and private agencies in Italy. She has coordinated the activities of DARC for the “Presence” and the “Campiello” projects, within the EU Esprit-I3 (Connected Communities) and “Milk” project. Since 1998 she is Adjoint Professor at the Faculty of Industrial Design at the Polytechnic University of Milan, where she teaches service design. Since 2002 she’s the director of Domus Academy Research and Consulting (DARC).

doMenico PisaturoBorn in Salerno in 1975, moved to Milan to study Busi-ness Administration at the University “Cattolica del Sacro Cuore”. In 1997 he begins his collaborations with Domus Academy taking part in the research projects “Lime”; “Presence” and “Campiello”, within the research programme of the European Community i3 under the di-rection of Marco Susani and Claudio Moderini. Still with Domus Academy, worked as an Interaction Designer on several commercial projects. In 2000 joined Razorfish as a Senior Interaction Designer and founded together with Rob Le Quesne (former Antirom) the department of Dig-ital Retail Space, a research laboratory aiming at creating new concepts for technology integration within point of sales and exhibiting spaces in order to enhance the users involvement. At the same time he lectures in several Italian universities on User Experience and CRM. Visiting professor for the I-Design master course of Domus Acad-emy, is an Associate Partner of Creative Communications since January 2002.

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HOW IT WORKS?The ‘I-Balls’ have many functions. First of all, they are urban lighting fixtures, which can be put in streets, parks and other public spaces to brighten the Second, ‘I-Balls’ are decorative elements that populate the cityscape and land-scape with graffiti made of light. The ‘I-Ball’s’ surface is composed of touch screens that are connected to a sensor in the center. Being ‘I-Ball’ a digital platform for self expression and creativity, people can alter the light’s color and brightness, change the pen’s pixel and color to simu-late painting, and even stamp it with

some customized icons.The spherical shape of ‘I-Balls’ permits to users to easily and dynamically arrange the lights in the environment, by simply pushing and rolling them. ‘I-Balls’ display different light effects on the basis both of people interaction and of reciprocal proximity. For instance, people can play some kind of race games or matching games with other I-Balls, and during the interaction process the balls will show different re-actions that have the scope to introduce some elements of variability within the game, stimulate people to gather and interact in a playful way.

vAluE AND pOTENTIAlIn conclusion, I-Balls are inte-grating in one solution lighting and interaction. They aren’t just moveable lights. They promote a meaningful re-appropriation of public spaces, through self-expression and playfulness. Users will be able to elicit diverse feedbacks as soon as they use them. Hopefully I-Balls will en-courage people to cooperate and share together efforts and ideas to beautify and decorate the town. For Milan, I-Ball will bring in a great opportunity to have a shinier and livelier nightlife.

*pROJECT TITlE

I-BallWhAT IS IT?

‘I-Ball’ is a lighting solution based on movable spheres of light that leads people to gather around, create new lively spots in the city, and express identity and personality in pub-lic space. ‘I-Ball’ shows a new behavior for lighting system that triggers unexpected playful and exciting methods of interaction with light.Each ‘I-Ball’ is 1.8 meters in diameter. The surface of the ball is semi-transparent PVC, which can protect the LEDs inside. Meanwhile, the LEDs give off soft glows through the PVC surface. The surface is constructed with LED panels. In the centre of the lights, there is a system, which produces and transfers power to the lights and other activities.

*TEAm mEmBERS *BRIEF *pROJECT lEADER

Stefano Cardini<< p. 06

WS#01LightLightAlix Chen, Yun Hye Choi,

Celine Yang

pRJ#01http://projects.domusacademy.net/led_2009/?page_id=190

> 38

39 <

*pROJECT TITlE

OrionWhAT IS IT?

‘Orion’ is a system of dynamic signage that uses light ex-pressivity in order to help users navigate around the city by providing dynamic information about nearby services, insti-tutions, areas of interest and special events through the use of icons and light. Orion will provide useful information to both visitors and locals in a universal format.

hOW IT WORKS?Being a fixed physical infrastructure that provides dynamic information about a location, ‘Orion’ will be situated on street corners as well as other strategic locations if necessary. The units will be positioned at a proper height so that people can spot ‘Orion’ from a fair distance and can quickly survey an intersection for available services, attrac-tions, etc.‘Orion’ structure is based on four panels with an “L” shape format. The angle of the “L”, so as the size and number of panels may differ depending on the ac-tual location. On the panel is displayed the name of the street with an arrow that indicates the direction of the listed street as well as the direction of the services and areas of interest shown on that particular panel. The top lit icon is for public transporta-tion - buses, trams, and trolleys, so as for indicating pedestrian paths. The

transportation icon scrolls for displaying the different transportation units avail-able in the area, showing also related in-formation like estimated arrival time of a bus, distance and walking time to reach the nearest bus/taxi stop and so on.Below the “transportation icon” other “lit icons” inform people about services, events and areas of interest along the street. A number next to icons indicates i.e.. the number of similar services currently open. The user can use a vertical touch-pad for scrolling through the listing of similar services to see the exact location of desired service and its relative distance from the current ‘Orion’ unit. Furthermore, some dynamic information about the service may also be shown. For example, if there are more restaurants along a street, the user can select restaurants and in the detailed info box they can see the type of cuisine as well as if the restaurant is busy or not.

vAluE AND pOTENTIAlAs mentioned before, Orion can provide some real-time informa-tion. This can also include special events and/or emergencies. Orion also saves users time because one can quickly see what is available on adjacent streets without cross-ing the street or even walking down the street.In the future, adding icon-shaped lights in front of shops to correspond with the icons on Orion will make locating shops that much easier for visitors and locals. By spreading Orion’s “language” of icon and lights we could potentially reduce the exist-ing mishmash of signs.Each individual Orion unit, which is aware of its own streets, could potentially communicate with nearby units to further aid users by expanding the area it covers. Orion could potentially guide users to services and destinations blocks away or further.

*TEAm mEmBERS *BRIEF *pROJECT lEADER

Stefano Cardini<< p. 06LightLight

WS#01Fennel Chang, Andrew Chao, Heonjae Jung

pRJ#02http://projects.domusacademy.net/led_2009/?page_id=195

> 40

41 <

*pROJECT TITlE

V-farmWhAT IS IT?

‘V-farm’ is a virtual reproduction of a real farm in which cus-tomers can cultivate, share and harvest their own seedlings placed in public places and accessible also remotely. After harvesting, customers can exchange their virtual fruits for real products. In-store interaction is based on touch screens placed at accessible points in the retail space. Remote access is provid-ed through a web site and an application for mobile phones.

HOW IT WORKS?The system consists of four main tools: a membership green card, the ‘V-farm’ lounge, kiosks, a web-site and a mobile phones application. When buying eco-sustainable and bio-products customers collect points by way of their member-ship card. After collecting a certain amount of points they can use them for planting new seeds in the virtual-farm. The card is the main tool for logging into the virtual farm, which is installed inside a lounge (in case of big stores) or in kiosks placed in strategic positions chosen in order to enhance post-buying experience. Interaction in the ‘V-farm’ lounge is

provided by large scale touch screens through which users can manage, seed and share their fruits with other users. The software serves tools for managing and sharing the seedlings.‘V-farm’ access is also available through a website that gives each user a way to observe other user’s harvest and propose exchange and trade of culti-vated products. A mobile application is supplied to users who want to have an overview of their own farm through their mobile phones and check ex-change proposals.The system cycle ends when fruits are ready for the harvesting and then they are exchanged for real products.

VALUE AND POTENTIALThe V-Farm system allows retail stores to improve the way they care about and keep in touch with their clients after shopping through a rewarding system that can educate people to a more sustainable “shopping style”. Communities based on sharing and exchanging can be born around the virtual farm. Pos-sibilities of interactions between people around the v-farm are endless.Simple possible developments could be related to widen the set of activities and products in the virtual farming experience (i.e. bees, animals, etc.). A more structural potential development could be the installation of a real garden inside the shop where people can grow and share their real products through the help of a “green customer service”.

*TEAm mEmBERS *BRIEF

Elena Pacenti, Chiara Diana

<< p. 10Lin Ying Kuo, June Ho Suh, Carlo Zapponi

pRJ#03http://projects.domusacademy.net/v-tail/?page_id=180

V-tail

WS#02 *pROJECT lEADERS

> 42

http://tinyurl.com/vfarm-prototype

http://tinyurl.com/vfarm-scenario

43 <

hOW IT WORKS?‘V-fit’ system is based on human gesture recognition technology that combines a set of technologies, such as infrared rays led array, camera-based recognition and capacity sensor-based recognition. In the standby mode the interface displays different images from the visual library and the users can choose the image which closely resembles the person to

be described. The interface reacts to the gestures and hand movement and ena-bles the user to modify the image to suit his requirement. It is possible to modify the image in terms of height, width and overall body shape in the front and side profile. After completing the image description the system gives the recom-mendation for a suitable size of clothes for the person described.

vAluE AND pOTENTIAlThe visual interface enhances the overall shopping experience driven by consideration of mo-ments of engagement between people and space. It helps to add a certain value to the moment of testing and provide a new entertainment to the user within the retail environ-ment. The solution, V-fit, serves as a high adaptive interface for variable fashion stores.Further potential development would be a printable version of the interface feedback which people can take away as a souve-nir of their experience.

*pROJECT TITlE

V-fitWhAT IS IT?

The focus of ‘V-fit’ is to reinvent the shopping experience into retail spaces through visual interfaces to create a mean-ingful interaction between users, the space and products. The specific scope of the project is to enhance the way the shop supports the moment of testing in fashion and ac-cessories shops. The scenario of ‘V-fit’ implies a client that wants to buy a gift for somebody else. In this context it is very useful to visualize the person, who is not present in the shop, and choose the correct size of clothes for him. The visual interface helps to describe a person in terms of height, width and overall body shape by way of body lan-guage and gestures.

*TEAm mEmBERS *BRIEF *pROJECT lEADERS

Elena Pacenti, Chiara Diana

http://projects.domusacademy.net/v-tail/?page_id=178

V-tail

WS#02Sheetal Ingolikar, Heonjae Jung, Alix Chen

pRJ#04<< p. 10

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http://tinyurl.com/vfit-scenario

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hOW IT WORKS?‘Ding’ is a series of interactive sonic urban artifacts consisting in a pole, a frame structure that contains the strings, a slider and a loudspeaker. Both the strings and the speaker are treated like 3D icons and have the scope to physi-cally represent the main functionality that is playing with sounds and listening.The slider mounted on the side of the frame is used for browsing and selecting the different functions, the string for activating, playing and controlling the sound quality and the pegs for adding sound effects. By sliding up and down the slider it is possible to select the different audio

modalities, such as news, audio stories and narrations and translations into dif-ferent languages, the access to different level of details within the same category is activated by rotating the slider along the vertical axes. The pegs serve the function of selecting the language options for news and narrations and for adding additional sound effects. Brushing the strings activates the sound information, plucking harder increases the volume and plucking the upper and lower extremes of the string produces a variation of the tonality of the sound. In this way it enables the user to interact completely with the audio information and manipulate the audio qualities.

vAluE AND pOTENTIAlThe sonic interface, Ding is a new and innovative approach towards audio interfaces and information. It has more attractive and meta-phorical appearance for public spaces in the urban context. It gives the opportunity to actively interact with audio information enabling contribution and shar-ing. In a way the sonic interface has the means for enhancing and even radically changing the per-ception of audio information.

*pROJECT TITlE

DingWhAT IS IT?

The focus of ‘Ding’ project is to investigate the role of aural qualities in shaping the interactive experience. The sonic interface of ‘Ding’ is inspired by string musical instruments, representing an innovative way to play audio information in public spaces. The system addresses four types of infor-mation such as sounds of the city (environmental sounds), stories and narrations, news and languages. It has various functions such as browsing the categories of sound, control-ling the sound qualities like volume, tone, speed and con-tinuity as well as adding additional sound effects. Ding is a new approach towards sonic interfaces to enhance the sonic experience through contribution and sharing.

*TEAm mEmBERS *BRIEF *pROJECT lEADER

Claudio Moderini<< p. 14

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

Li Yin Chiu, June ho Suh, Lei Chen, Sheetal Ingolikar

Sonic’s

WS#03pRJ#05

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hOW IT WORKS?The application works in two modalities: exploration and expressive modes.In the exploration mode, the software recognizes visual elements and trans-lates them into sounds through an object detection algorithm. The camera embedded in the portable device catches real-time pictures to be analyzed and directly transforms them into pleas-ant sounds the user can listen to, and decide whether to save them or not. In this modality the user can affect im-age properties by changing some basic parameters as brightness, zoom and contrast, this way the user can assist the software to investigate the visual ele-ments and create new sounds.In the expressive mode it is possible to directly interact with sounds, playing

with both visual and interactive ele-ments. The main idea is to give the user an interface to move sound scanners that detects meaningful spots in the taken picture, each spot represents a spe-cific object based on shape and color. Sound spots can be added, removed and moved inside the picture to define unique sounds. A wide range of themes are available to customize sounds, they are based on different instruments, rhythm and melodies from various music and countries. A geo-location system provides sugges-tions based on the location the user has taken the picture from. As final step the user can save his/her sound and share it with other people through publishing it to the web and social networks.

vAluE AND pOTENTIAlPixonic gives people, a chance to investigate reality in an unusual way: through sound. We believe that this application could change the passive attitude of the user and make him/her more active and discover the surrounding space in engaging ways, answer-ing the question: “Maybe this sounds nice!”.Increasing the creativity towards sound in terms of fun is not the only aim of this project, we also expect Pixonic to help the users to create memories of places and moments and share them with others. This last goal might be achieved with the adoption of themes, which will provide differ-ent musical experiences based on locations.

*pROJECT TITlE

PixonicWhAT IS IT?

‘Pixonic’ is an application for smart phones and other portable devices, which transforms real time images into sounds creat-ing a personalized, contextual soundtrack. Using a camera to take real time pictures, the software can generate pleasant sounds by scanning the visual contents. The user can interact and manipulate sounds through some simple graphics editing functions. Another level of interaction is based on direct sound control. Themes are provided to customize sounds and they can also be suggested by geo-location. Sounds can be shared and published on the web through social networking.

*TEAm mEmBERS *BRIEF

Claudio Moderini

*pROJECT lEADER

http://projects.domusacademy.net/sonics/?page_id=87

<< p. 14Celine Yang, Heonjae Jung, Pinak Parekh, Carlo Zapponi

Sonic’s

WS#03pRJ#06

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http://tinyurl.com/pixonic-scenario

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HOW IT WORKS?Loupe Table’s concept draws momen-tum from the assumption that often museums have large and unused collec-tions of documentary materials, such as diapositives slides. Loupe Table brings these objects to the forefront, making them the vehicles through which actively engaging visitors and disseminating fresh contents.Loupe Table consists of two main elements, an LED backlit light table, showcasing different arrays of slides, and a mechanic-arm mounted, movable LCD display, in its form factors reminiscent of a magnifying glass (or Loupe). Users can move the display hovering it over the slides array. Stopping on top of one diapositive and closing up on it, will trigger a choice of multimedia contents associated with the underlying slide. A dial on the display side will allow select-ing among the contents available.

On the technical side, Loupe Table slides cover several arrays of reed sen-sors. Every sensor, when triggered by a magnet placed behind the LCD display, activates the multimedia contents related to the overlying slide. The low range of the reed sensors caters to activating the supplementary contents only when the display is conveniently close.The display constantly calculates its height from the light-table surface by means of an infrared sensor placed on its back part. This allows to accurately apply a zoom in effect when closing-up on the slides.

VALUE AND POTENTIALThe concept behind Loupe Table has been inspired by the action of analyzing diapositives on a light table with a precision mag-nifying lens. The intention was to harness an iconic act in order to establish a communication short-circuit. Loupe Table builds upon the resemblance with a fa-miliar looking tool to suggest the system affordances and beguile visitors curiosity. Loupe Table tries also to make the most of documentary archive materials that often lie unused in most museums. Quite ordinary objects such as slides are turned into real attention grabbers by accurate display layout and light set-up. Then the consistent use of a clear “mental model” makes them an effective digital content browsing solution.

*pROJECT TITlE

Loupe TableWhAT IS IT?

‘Loupe Table’ is a low-cost augmented reality museums dis-play for searching, browsing and displaying multimedia con-tents. By means of a small monitor mounted on a mechanic arm, the user can visually navigate through the detailed multimedia information related to the slides showcased on the light-table.

Brave new museums

*TEAm mEmBERS *BRIEF *pROJECT lEADERS

Massimo Banzi, A. Deschamps Sonsino

http://projects.domusacademy.net/bnm/?page_id=1023

<< p. 18

pRJ#07Heonjae Jung, Jung Hoon Lim, Joshua Juneho Suh

WS#04

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HOW IT WORKS?MixMix primary interface are six squared pieces every one of which is a cuboid of 12 by 12 by 3cm whose surface is used as a small projection screen. The pieces sit on an 80cm by 80cm square table with a semi-translucent surface. A video-projector is positioned perpen-dicularly on top of the table in order to project on the tiles. Underneath the table an infrared camera tracks the position of the tiles. Each puzzle piece is identified by a fiducial ID, allowing the correct positioning of the portion of image associated to it.MixMix game dynamic is simple and straightforward: users have to re-compose correctly the image projected on the tiles surface. At the beginning of the game, fragments of an outlined museum item appear on the top of the cuboids. Shuffling the puzzle pieces on the table, will change the subject of the

puzzle. Stopping for 2 seconds on one of the outlined objects will select it as the object to be recomposed. A sound, then, will set start to the puzzle game. Users, then, will have to match correctly the 6 tiles. At the completion of the puzzle, MixMix will trigger selected mul-timedia contents revealing details of the object shown on the puzzle. The Video content, for instance, can illustrate the story of the object discovery or alterna-tively of its restoration.

VALUE AND POTENTIALMixMix most remarkable result is that it adds engagement and interactivity to a museum visit. Furthermore it enables dealing with educational contents in an amusing and entertaining way. This allows MixMix to be particu-larly fitting for the target audi-ence of the museum considered.MixMix game dynamic also appears to be suitable to the context of an archaeology mu-seum, as it connects the element of discovery through manipula-tion to the archaeologists work. Piecing out the virtual fragments, children can experience what it feels like to be an archaeolo-gist. Therefore MixMix can be exploited to make education in an archaeology museum a fun activity.

*pROJECT TITlE

MixMixWhAT IS IT?

MixMix context of use is a small archaeology museum whose main visitors are primary school students. MixMix project is a mixed reality puzzle game made up of six tiles whose manipulation triggers the projections of artifacts images drawn from the museum collection. Scope of the game is to correctly match the puzzle pieces in order to obtain the picture of an artifact. This, in turn, gives access to multimedia contents about the artifact’s story. A new game is started each time the pieces on the table are shuffled. Through playing with the puzzle game and piecing out the virtual fragments as archaeologists, the young visitors will gain knowledge about archaeology in an engaging fashion.

Brave new museums

*TEAm mEmBERS *BRIEF *pROJECT lEADERS

http://projects.domusacademy.net/bnm/?page_id=1024

<< p. 18

WS#04pRJ#08Yun Hye Choi, Celine Yang, Lei Chen

Massimo Banzi, A. Deschamps Sonsino

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http://tinyurl.com/mixmix-prototype

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HOW IT WORKS?The system creates a layer of augmented reality between the real world and the user by collecting and dispatching status message updates. A follower in need to find out a guide, activates the software and pans his phone scanning his view-field. In real time, bubbles are overlaid above people who are going towards the same or a neighbouring destination. The follower asks to trail the guide and eventually the guide agrees to be pursued. Upon accepting to guide a follower, guide and follower are grouped to-gether by the system. In the augmented reality application the guide will be then marked with a flag icon above his head while the follower will sport a sheep icon, therefore being recognizable to other ‘Oh my guide!’ users. Groups moving towards different directions will be color-coded, thus avoiding potential confusion.Groups can be custom-created depend-ing on featured citywide events or depending on users interests. Potential followers can get further information about the event the guide is bound for,

before deciding to create a group.Followers can rate the guide, therefore creating an informal trust-network for other people to find out reliable guides or one that can speak a certain language. ‘Oh my guide!’ features functionality similar to any social network as – status, wall messages, groups, messaging, rat-ings and subscriber profiles.The system supports alternative modalities of use: 1) Default modality, which caters to looking for and providing direction.2) Game modality, in which us-ers or associations can use ‘Oh my guide!’functionalities to set up urban games and alternate reality quests. 3) Volunteer modality, in which during the Expo the organization can spread volunteers around the city to help peo-ple in giving directions and providing support in different languages. 4) Bread crumbs modality: this is a modality in which users can drop geo-located, location-specific messages around the city, for sharing suggestions about shortcut directions, entertain-ment, amenities, restaurants, and hid-den places.

vAluE AND pOTENTIAl‘Oh my guide!’ provides an agile infrastructure for connecting people in the city. ‘Oh my guide!’ builds upon the social/virtual paradigm, translating it into the real world. The service potentially increases also the chances for interaction between locals and visitors/newcomers.‘Oh my guide!’ can be used worldwide and potentially strengthens the city’s social fabric, making it more tourist friendly. Users can see the city through local people and can get first-hand insights on sites and places.‘Oh my guide!’ featured ‘Bread crumb modality’ is potentially a huge area of development as it is a way of customizing the city through virtual location-based tagging.

*pROJECT TITlE

Oh my guide!WhAT IS IT?

‘Oh my guide!’ is is a service of collaborative guiding based on the interaction between two kinds of users: the guide and the follower. The follower is the one who is looking for guidance and direction and the guide is the one who offers to guide followers to their destination.

*TEAm mEmBERS *BRIEF *pROJECT lEADER

Domenico Pisaturo, Robert Le Quesne

http://projects.domusacademy.net/2015expopath/?page_id=130

<< p. 22

pRJ#09Tuğçe Ayan, Vasundhara Parakh, Carlo Zapponi

Via di terra

WS#05

> 54

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VALUE AND POTENTIALPico provides an imaginative solu-tions to several inconveniences people experience while taking self-portraits. Pico takes high quality pictures from the most notable touristic points of inter-est. Pico provides users a special and cheerful experience by simplifying the process of taking realistic-looking candid-shots on particularly scenographic sites. Pico’s system architecture is modular and scalable, allowing multiple solutions for its installa-tion on different sites. Within the framework of the Expo 2015 ini-tiatives, being placed at strategic locations along the Via di Terra, Pico will provide a valuable aid for capturing and sharing images of memorable moments experi-enced in Milan.

HOW IT WORKS?Before starting to use Pico, users will need to subscribe to the service online or at one of several tourists informa-tion centre in town. After registering, users will be able to download Pico smart phone client application. A map of Pico’s virtual photo-sets locations will be available to subscribers to let them locate all the points of interests where the service is available. Several Pico cameras will be installed along major touristic routes, such as during the Expo the “Via di Terra”. Cameras will mostly be located at remarkable scenic spots, or in their vicinity. A number of devices will also be installed in curious locations enabling visitors to take funny pictures

from unconventional perspectives.Pico’s shooting sites will be made easily recog-nizable through an identifiable signage. Pico Cameras installed in different positions are equipped with a variety of sensors in order to provide appropri-ate feedback before photographing the users. Shutters of cameras will be trig-gered upon detecting that the visitors are performing certain actions.Certain, conveniently located, cameras will facilitate taking ‘candid-style’ pic-tures enhancing the unexpected factor. After the shooting, users can immedi-ately add their comments by sending the system a text message. The photo will then be saved to their email or on the Pico homepage for further editing.

*pROJECT TITlE

PicoWhAT IS IT?

Tourists have often a hard time at taking a perfect picture by themselves, let alone taking shots from particularly sceno-graphic angles. Pico tackles these and other similar situa-tions providing an infrastructure of high-res digital cameras located in relevant sites around the city, to help tourists and visitors take self-portraits.Pico will give the possibility of shooting photographs from a variety of different angles, engaging the users in discover-ing funny and cheerful poses. After the pictures are taken, Pico will take care of saving them, either forwarding them to the visitor’s email or storing them on the service community homepage. The photos can later be edited before sharing them on other social networks or they can be printed in an actual photo album.

*TEAm mEmBERS *BRIEF *pROJECT lEADER

Luca Buttafava

http://projects.domusacademy.net/2015expopath/?page_id=102

<< p. 22Via di terra

WS#05pRJ#10Yen Ling Chang, Ling Yang, Shuyu Wu

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LEcTURERsMassIMO BaNzI / FRaNcO BOLELLI / aNdREa BRaN-zI / GIaNLUca BRUGNOLI / aMpELIO BUccI / LUca BUTTaFava / sTEFaNO caRdINI / phILIppE casENs / RIccaRdO casTaLdI / paOLO cEsaRETTI / LINE chRIsTIaNsEN / sILvIO dE pONTE / aLExaNdRa dE-schaMps-sONsINO / chIaRa dIaNa / jOzEph FORa-kIs / FRaNcIscO GOMEz-paz / GUaLTIERO haRRIsON / sETsU ITO / EUGENIa LaGhEzza / GIOvaNNI LaUda / ROBERT LE QUEsNE / daRIa LOI / ELIaNa LORENa / EzIO MaNzINI / cLaUdIO MOdERINI / FRaNcEscO MORacE / sIMONE MUscOLINO / ELENa pacENTI / dOMENIcO pIsaTURO / cLaUdIa RaIMONdO / GaBI scaRdI / Fa-BIO sERGIO / FRaNcEsca TassIsTRO / ROdRIGO TOR-REs / pIETRO TURI / jaN-chRIsTOph zOELs.

> 60

MassIMO BaNzI / FRaNcO BOLELLI / aNdREa BRaN-zI / GIaNLUca BRUGNOLI / aMpELIO BUccI / LUca BUTTaFava / sTEFaNO caRdINI / phILIppE casENs / RIccaRdO casTaLdI / paOLO cEsaRETTI / LINE chRIsTIaNsEN / sILvIO dE pONTE / aLExaNdRa dE-schaMps-sONsINO / chIaRa dIaNa / jOzEph FORa-kIs / FRaNcIscO GOMEz-paz / GUaLTIERO haRRIsON / sETsU ITO / EUGENIa LaGhEzza / GIOvaNNI LaUda / ROBERT LE QUEsNE / daRIa LOI / ELIaNa LORENa / EzIO MaNzINI / cLaUdIO MOdERINI / FRaNcEscO MORacE / sIMONE MUscOLINO / ELENa pacENTI / dOMENIcO pIsaTURO / cLaUdIa RaIMONdO / GaBI scaRdI / Fa-BIO sERGIO / FRaNcEsca TassIsTRO / ROdRIGO TOR-REs / pIETRO TURI / jaN-chRIsTOph zOELs.

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DOmuS ACADEmY

Domus Academy was created in Milan in 1982 as an open project around Italian experiences in design and fashion. Over the years DA has developed two major areas of specialisation, each enriched by mutual exchange with the other: the institution has established itself both as an international centre for postgraduate training and as a laboratory for research and consulting in the fields of design and innovation.

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The Master In Interaction DesignDomus Academy - Interaction Design Department

Head of Department - Master Course DirectorClaudio ModeriniCoordinator - TutorRenzo GiustiCourse InformationSusanna Gualazziniinfo@domusacademy.itPH +39 0242414001Admission and RegistrationCarmela BongerminoLoredana Lunascoadmissions@domusacademy.it

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

master course profile

MA

STER IN

INTER

ACTIO

N D

ESIGN

The Master in Interaction D

esign, combining interaction design approach w

ith a cross-disciplinary culture, offers the possibility of generating interaction design concepts and strategies, interpreting Inform

ation and Com

munication Technology (IC

T) potentialities, and integrating design sensitivity with

market-oriented technological com

petence.The course aim

s to provide students/designers with practical and conceptual skills to carry out a ‘problem

setting’ activity using their im

agination to develop concepts, scenarios and strategies based on the introduction of Inform

ation & C

omm

unication Technology in the everyday life environment.

The programm

e prepares its graduates for leading roles in the world of Interaction D

esign. Participants w

ill develop skills and competences to get to different design and strategic positions, such as: Interaction

Designer, U

ser Experience D

esigner, Creative D

irector, Strategist and Design D

irector.