Friday, September 4, 2009

Design Thinking

“Design thinking is an approach that uses the designer’s sensibility and methods for problem solving to meet people’s needs in a technologically feasible and commercially viable way. In other words, design thinking is human-centered innovation.” —Tim Brown (IDEO)

www.ideo.com

Design challenges are inherently complex and deserving of more than a step-by-step plan in order to resolve emerging nuances and provide pathways to implementation. Because design is messy and non-linear, each project we do is bespoke. We customize it for the challenge at hand. The scoping of the project plan is when our approach starts to take shape, and where our partnership with you begins. We refer to our overall approach as "design thinking": a means of problem solving that uses design methodologies to tap into a deep reservoir of opportunity. These methods include observation, prototyping, building, and storytelling, and can be applied by a wide range of people to a breadth of organizational challenges.

An inherently shared approach, design thinking brings together people from different disciplines to effectively explore new ideas—ideas that are more human-centered, that are better able to be executed, and that generate valuable new outcomes.
Design thinking also enables us to collectively tackle problems and ideas that are more complex than the lone designer can imagine: inaccessible healthcare, billions of people living on a few dollars a day, energy usage outpacing the planet's ability to support it, education systems that fail students, and beyond. These problems all have people at their heart. They require a collaborative, human-centered, iterative, and practical approach to finding the best ideas and ultimate solutions. Design thinking is just such an approach to innovation.

CEO Tim Brown is using his blog to share ideas about design thinking.

Thursday, August 27, 2009

Connect the dots:




Connect the dots: Dubai, labor, urbanism, sustainability, and the education of architects


By Michael Sorkin


Tuesday, June 30, 2009

Imagining Recovery Competition Entry













Team: Ryan O'Connor, Dan Hesketh, Kevin Dunphy




















Wednesday, April 29, 2009

Transient Studio: On Temporality, Scale and Movement


New Studio for Fall 09 - SARUP



“… space is not a passive, unchanging physical object inside of which interesting things happen but is actually the interesting thing itself: a living tissue constantly changing and adapting to events. Indeed space is created by those events and is inseparable from them: it is an event or organism itself and not just the container for them or a background phenomenon.”

Sanford Kwinter



Milwaukee exists on the edge of a unique global geographic feature, Lake Michigan. Historically this edge was either privately owned or exploited for industrial purposes. It was not until the 20th century that this edge became a mediator between City and Horizon; a new urban concept was created: Recreation. Milwaukee exploits this edge in various manifestations. This studio will isolate a position/duration along the edge, specifically the Summerfest grounds due to its unique urban, temporal, and ‘Event’ spaces. It remains at once a permanent Milwaukee fixture and yet is highly transient, fluctuating between being activated and de-activated.

This general area is bounded by 5 sides, each with its own duration and scale. It is bounded to the south by the port entry; the north by the Milwaukee Art Museum; the east by Lake Michigan; the west by the Third Ward; and above by I-794.

The studio will use several sites within or near the Summerfest grounds and, through two projects and several exercises , explore the themes of Scale, Temporality (i.e. winter vs. summer, day vs. night, auto vs. human), and Movement. These issues by their very nature cannot exist in isolation; each is established through relative judgments, producing a multiplicity of complex physical, social, historic and temporal relationships within and around this piece of urban landscape.


Diagramming and physical model exploration will be used in conjunction with digital fabrication/emergent design techniques (knowing scripting is not required). Emphasis will be on developing and honing students’ design processes and artifact production.


Students should have a general knowledge of a 3D software platform, rendering program(s), and use of the Rapid Prototyping Lab.

Wednesday, March 25, 2009

lecture april 6th

learning designing making

room 345 -

trevor you can come too.

Saturday, March 21, 2009

SARUP finally questions/replys/questions...

i hope this is contagious...
great stuff!


microcosom-ers-
i will be giving a presentation to my studio, 820 in the next week or so (location tbd) ... those interested may attend. Chris Ludwig's section of 420 will also be there. Most things I will be showing/discussing are well tread ground in the Microcosm studio - but if you need to kill some time... (it is mostly my current definition of architecture, process, and products...)


It is titled :


Thursday, March 19, 2009

Highspeed Train track - Pylon




A more detailed parametric study using rhino's grasshopper of the pylons used to support the train lines designed during my thesis:



Moire Wall




This grasshopper definition uses a base line as an input. From that 2-3 layers are created with differing curves to produce a Moire effect. Control over curvature, angle, shift height and depth allow for real-time study of the moire effect. Surfaces should be lofted over each 'fin', however much more tweaking is needed for this.

grasshopper tutorial links

http://vimeo.com/album/64106

http://woojsung.com/category/rhinograsshopper/