Application of blended teaching in public elective courses of design class

The development of education informatization has brought opportunities for teaching reform in colleges and universities, but there are still some shortcomings when applied to public elective courses (PEC). The Blended Teaching mode that combines the advantages of MOOC and SPOC teaching provides a new exploration for improving the teaching effect of public elective courses. This article relies on the “Everybody Loves Design” MOOC national boutique online open course of Chinese universities, and applies the Blended Teaching model to the teaching of “Industrial Design History” course, a PEC in Z colleges and universities. A teaching model including the selection of course teaching platform and teaching resources, teaching implementation, teaching effect evaluation, teaching reflection, etc was constructed. The results show that this model has a positive effect on improving students’ learning interest, learning autonomy and learning effect.

The Transient Reactor Test Facility (TREAT)

Constructed in the late 1950s, the Transient Reactor Test facility (TREAT) provided numerous transient irradiations until operation was suspended in 1994. It was later refurbished, and resumed operations in 2017 to meet the data needs of a new era of nuclear fuel safety research. TREAT uses uranium oxide dispersed in graphite blocks to yield a core that affords strong negative temperature feedback. Automatically controlled, fast-acting transient control rods enable TREAT to safely perform extreme power maneuvers—ranging from prompt bursts to longer power ramps—to broadly support research on postulated accidents for many reactor types. TREAT’s experiment devices work in concert with the reactor to contain specimens, support in situ diagnostics, and provide desired test environments, thus yielding a uniquely versatile facility. This chapter summarizes TREAT’s design, history, current efforts, and future endeavors in the field of nuclear-heated fuel safety research.

Shaping Our Australian Scenographic Identities: A visual essay

In the form of a visual essay, this reflection charts a course through eight specific moments in Australian performance design history. Selected by guest editor Tessa Rixon, this essay features contributions from Australia’s most established designers from sound, lighting and costume through to the latest in performance design practice and research. Specially curated for this special edition on Australian scenography, each contributor reflects on a personal experience of a pivotal performance design from their own practice or their experience as an audience member. The resulting contributions present a mix of design forms and focuses, across all forms of live performance – mainstage theatre, independent site-specific performance, queer theatre, Indigenous theatre, Indigenous dance, scenography for performance beyond the stage frame, performance in response to the climate crisis and finally, a few pivotal stepping stones in our national scenographic identity – from the very personal, to the very global. These exemplars of design practice shape what we now could call Australian scenography.

Peripheral Visions: Design in ephemeral New Zealand print c1880 – 1914

<p>My thesis is an investigation of design in print in New Zealand circa 1880 – 1914, the period in which it is generally accepted graphic design began in the industrial Western nations. The medium of design studied is New Zealand’s most significant printed product, popular everyday ephemera, which is contextualized within local and international print production, technology, and debates concerning design. The research aim is to contribute to new approaches in the proto-discipline of graphic design history, specifically the current debates concerning purpose, scope and methods, by writing a local study that has relevance here and internationally. In this way it joins the growing number of local and national design studies of countries customarily defined as politically, culturally and geographically peripheral. It further explores alternative approaches by using formal analysis as a tool for the interpretation of visual codes and their rhetoric in print to enable the appraisal of local significances and international relationships. The study follows a model of graphic design as visual communication encompassing purpose, production, and reception, to argue the historic significations, activities, and values of local graphic design are of critical import for their role in social and cultural formation at both national and international levels. It argues against traditional binary models of centre to margin design transmission to assert alternative theories of networks, and of the hybridity of forms (particularly in colonial societies). Theories that, like this study, seek to apprehend complexity and more appropriately explain research findings that indicate the spread of design in print is an active circulation of signifying forms in a process of influence, adaptation and exchange. The argument engages five theoretical debates that are further concerned with contemporary issues of history and its methods as they impinge on graphic design history. They are the current issues of historiography and calls for interdisciplinarity; the status and importance of ephemeral print; relationships of graphic design to modernity; concepts of the peripheral and networks; the use of semiotics in interpreting the visual rhetoric of typography and image. This investigation, allowing for problems with the survival and attribution of material, is formed by three case studies that encompass a range of processes, media and products. The first considers typography and letterpress through the linked printing and writings of compositor/printer Robert Coupland Harding; the second charts the career of lithographic designer and illustrator Robert Hawcridge and his use of visual syntax, rhetoric and iconography. The third considers the composite local illustrated magazine the New Zealand Graphic and the role of design in editorial and advertising matter. New knowledge is diverse, establishing crucial facts about design here, its forms, and the importance it was accorded in supposedly slight material. Widespread and unexpected influences and networks of exchange are traced, and the considerable but neglected role of graphic design in social and cultural formation and the early articulations of a national identity are appraised. While of significance for the development of graphic design history, the findings also have relevance for the wider investigations of new history, including transnational, cosmopolitan, technological, and material histories.</p>

Peripheral Visions: Design in ephemeral New Zealand print c1880 – 1914

<p>My thesis is an investigation of design in print in New Zealand circa 1880 – 1914, the period in which it is generally accepted graphic design began in the industrial Western nations. The medium of design studied is New Zealand’s most significant printed product, popular everyday ephemera, which is contextualized within local and international print production, technology, and debates concerning design. The research aim is to contribute to new approaches in the proto-discipline of graphic design history, specifically the current debates concerning purpose, scope and methods, by writing a local study that has relevance here and internationally. In this way it joins the growing number of local and national design studies of countries customarily defined as politically, culturally and geographically peripheral. It further explores alternative approaches by using formal analysis as a tool for the interpretation of visual codes and their rhetoric in print to enable the appraisal of local significances and international relationships. The study follows a model of graphic design as visual communication encompassing purpose, production, and reception, to argue the historic significations, activities, and values of local graphic design are of critical import for their role in social and cultural formation at both national and international levels. It argues against traditional binary models of centre to margin design transmission to assert alternative theories of networks, and of the hybridity of forms (particularly in colonial societies). Theories that, like this study, seek to apprehend complexity and more appropriately explain research findings that indicate the spread of design in print is an active circulation of signifying forms in a process of influence, adaptation and exchange. The argument engages five theoretical debates that are further concerned with contemporary issues of history and its methods as they impinge on graphic design history. They are the current issues of historiography and calls for interdisciplinarity; the status and importance of ephemeral print; relationships of graphic design to modernity; concepts of the peripheral and networks; the use of semiotics in interpreting the visual rhetoric of typography and image. This investigation, allowing for problems with the survival and attribution of material, is formed by three case studies that encompass a range of processes, media and products. The first considers typography and letterpress through the linked printing and writings of compositor/printer Robert Coupland Harding; the second charts the career of lithographic designer and illustrator Robert Hawcridge and his use of visual syntax, rhetoric and iconography. The third considers the composite local illustrated magazine the New Zealand Graphic and the role of design in editorial and advertising matter. New knowledge is diverse, establishing crucial facts about design here, its forms, and the importance it was accorded in supposedly slight material. Widespread and unexpected influences and networks of exchange are traced, and the considerable but neglected role of graphic design in social and cultural formation and the early articulations of a national identity are appraised. While of significance for the development of graphic design history, the findings also have relevance for the wider investigations of new history, including transnational, cosmopolitan, technological, and material histories.</p>

Designing Character for Bandung Tourism Campaign

Bandung is the capital of west java province in Indonesia. It was referred to Paris van Java because of the beauty. Nowadays, since access to the city of Bandung is easier both domestically and international, Bandung become the travel destination. Like other travel destination in Indonesia, Bandung known as shopping and culinary tourism destination. To differentiate Bandung with other destination city in Indonesia, it need a differentiator that will help to characterize the city. A character design that used as a soft tourism campaign is needed. It will become the ambassador to persuade the target market to come and love Bandung as a city tourism destination. First of all, mascot will be a good way to represent and branding the city. The mascot should be developed to represent a culture and positive image of the city and become the pride for its citizens. Object of this study was Cepot from wayang golek Sunda. The Research covers visual aspects, philosophical and ideological. Every character designs are influenced by the culture. Each culture has different visual traditions with different ideological backgrounds. The best approach before make a character design, is to recognize the character design in every culture. How a culture affect the human figure and its visual style and the living creatures. The character culture can be found in its design history, anatomy and story. It become the basis of the new character creation.

TITANIC - The Design History, Forensic Analysis of the Sinking, and Aftermath

After more than one hundred years the Titanic is still probably the most remembered ship in the world. This paper briefly discusses the history of the Titanic from why the White Star Line decided to build the Olympic class ships through the recently signed treaty protecting the ship. It is shown that many of the design features of the ship were far ahead of the rest of the industry but that some compromises were against the naval architect’s desires. A number of myths concerning the ship are dispelled. The circumstances leading up to the collision with the iceberg and the sinking of the ship are examined followed by an analysis of the sinking; the discovery of the ship; and finally after almost thirty-five years, a treaty to protect the ship.