Tags: #LondonZoo #SummerOuting #social Banner Image credit: Ryan Prince Art.
On Sunday 16 July, we went on our first group social visit to ZSL London Zoo and we were quite fortunate to have good weather throughout our 4 hour visit, except for very light showers right at the end of the day. We were keen for our VI’s, family and companions to have a memorable and fun day out, exploring some of the animal enclosures and visitor areas throughout the zoo. We also had the opportunity to check out some of the facilities including the shops, Amphitheatre and the Terrace Restaurant.
Image: A view of the Penguin Beach. Image credit: MaMoMi.
ZSL London Zoo
The Zoological Society of London (ZSL) was founded in 1826 and is an international scientific, conservation and educational charity whose mission is to promote and achieve the worldwide conservation of animals and their habitats. Their groundbreaking science and active conservation projects are now in more than 50 countries and their two Zoos, ZSL London Zoo and ZSL Whipsnade Zoo.
From visiting the Land of the Lions, birds in the Snowdon Aviary, the giraffes in Into Africa, the Tiger Territory, Gorilla Kingdom, the Penguin Beach and a walk-through of the tropical birds enclosure that is called the Blackburn Pavilion, the zoo provided an intriguing space and ideal location for a group social visit. With over 20,166 animals (the official figure from 1st of January 2017) at ZSL London Zoo, there was a lot to view, experience, enjoy, have lots of conversations around and learn from.
A little intro at the start of our visit
Ladies enjoying a little chat
We are in Tiger Territory and that’s the Tiger having a lie down
Our VI’s enjoying the views and taking pictures
Now in the Touch Zone in the Animal Adventure, the Children’s zoo, where we are allowed to groom and feed the goats and sheep
Listening to the Macaws being fed
Camels are out to feed
Images, clockwise from top: Andrew giving a little intro on entry to the zoo; Lynn and Victoria have a chat; a view of the Tiger Territory through the protective glass; Camels feeding; the group listening to the Macaws as they are being fed; Devaki and our support team and family all stroking the goats in the Touch Zone; and Ramona and Jean with support team. Image credit: Ryan Prince Art.
Admittedly, we did not expect to see all the animals but the time spent was just about right for us as we weaved around and negotiated so many outdoor spaces and indoor animal enclosures. It was an even more enjoyable day as the weather in London was quite nice, with only a few minutes of light drizzles observed near the end of our visit.
It was great to see that the zoo had a lot of accessible areas, with places like the Land of the Lions and the Tiger Territory wheelchair friendly and with lifts. We also noted that walking around was quite easy with most of the paths made with tarmac. There were also several disabled toilets located around the zoo, and for our pitstop for lunch, we chose to use the toilets by the Terrace Restaurant.
There was a limited number of wheelchairs available for hire which can be booked in advance. Understandably, the zoo has a number of listed buildings like the penguin pool, which restricts the upgrade needed to make it physically accessible to wheelchair users and children.
Assistance dogs are not currently permitted inside ZSL London Zoo because some of their animals react negatively to the presence of dogs. The Zoo is working with Guide Dogs UK to resolve this and hope to be able to welcome guide dogs to certain areas of the zoo in the future.
This was an incredibly fun day and we’d recommend ZSL London Zoo as a viable place to visit. We shall be planning more group visits in the future, with a focus on specific animals, enclosures and sensory experiences.
Just taking in the view
Group photo with our VI participants, companions, family, friends, and our MaMoMi support team
Images: On the left are Jean and her companion; on the right is a group photograph with all VI’s, family, companions and MaMoMi support team. Image credit: Ryan Prince Art.
Thank you to the staff at ZSL London Zoo, with a special mention of the Discovery and Learning department, and the Press Office.
Image: The group walking into the Tiger Territory Image credit: Ryan Prince Art
The Design Museum Saturday 18 November 2017
A Multisensory tour | Blog
Beazley Designs of The Year exhibition
Every year, the Design Museum recognises worldwide excellence in design through its Beazley Designs of The Year exhibition. This year, the tenth year in the series, showcases some of the most original and exciting products, concepts and designs from the following six categories; Architecture, Digital, Fashion, Graphics, Product and Transport.
The tour provided our visually impaired participants with valuable insight into many of the thoughts and criteria behind current designs and concepts, and ended with the unique opportunity to explore a few original objects from the exhibition in our handling session at the end of the tour.
Design is all around us and affects everything we do. Will designs be the brilliant breakthrough expected, or are some just absurd experimentations? Are the expectations of some designs realistic and valuable enough for the amount of development and time put to them? Underpinning MaMoMi’s multisensory approach are a focus on the interpretation of the available information, as well as collective participation, and we continue to express and demonstrate these values in our practice.
For this tour and workshop session, we explored four exhibits; Meet Graham, Scewo, Gita, and Nike Pro Hijab, and toured the Play Space.
Meet Graham is an interactive lifelike sculpture demonstrating human vulnerability and the bodily features that would be needed to withstand a car crash. This is partly an educational tool and partly an unforgettable public service announcement.
Meet Graham was not installed as part of the exhibition but a short film demonstrated the making and workability of the concept. It is a grotesque depiction of how a human body would need to be formed in order to best withstand a car accident. It’s features include a flat, flabby face, tough skin, a barrel-like chest and a torso like an airbag.
Image: Meet Graham
Credit: Transport Accident Commission
Scewo is a futuristic looking wheelchair. It is a self balancing mobility device designed by a group of students and it enables wheelchair users to reach locations that were previously inaccessible. It is designed to sit up like a regular wheelchair and has a joystick and controls attached to the end of the handlebar. The user can also use a shift in body weight to control the chair.
It has two large wheels to drive around on flat ground and an extra pair of wheels at the rear of the chair allows users to raise the chair up so that they can engage with others at eye level. It also has rubber tracks that can be lowered to the ground for increased traction, allowing it to smoothly go up and down stairs safely, even on spiral stairs. Transitioning on and off the stair is automated and accomplished by the push of a button. The design also allows for many adjustments in the seating position. Scewo is still a prototype and under active development and was viewed via a short film.
Gita is a robotic personal helper that carries your belongings. The company behind the Vespa scooter have made its first move into autonomous transportation with this robotic personal helper that carries your belongings for you. The two-wheeled Gita is a cargo vehicle that can track its owner and roll along behind them. It looks like a drum with two bicycle wheels attached to the outer parameter, allowing it to roll along as it navigates space.
Access to the storage compartment is via a small secure and lockable lid at the top which can be opened by a slight touch, and with a tap of a button, Gita can follow you. It is approachable and communicative, using lights, sounds and a touchscreen interface to stay in touch. Gita is tracked at all times and has a 360 degree camera.
Credit: Piaggio Fast Forward
Nike Pro Hijab is a performance hijab by Nike that will potentially change the face of sport for Muslim women. Over recent years, meetings with top-flight athletes illuminated performance problems associated with wearing traditional hijab during competition. Specific issues with previously used garments included the garment’s weight, the potential for it to shift during action and the lack of breathability would usually disrupt the focus of the athletes during competitions.
Nike’s design team combined this information with existing Nike innovations to create the initial prototype hijabs. Equipped with the feedback and collected insight from Nike elite athletes, Nike’s design is constructed from durable single-layer Nike Pro power mesh, a breathable lightweight polyester fabric that features tiny, strategically placed holes for optimal breathability but remains completely opaque, and a soft touch. The mesh is also stretchy, so when combined with an elastic binding it allows for a personalised fit that adapts to both the wearers head and sport. Fluff threads used at the neck eliminates the rubbing and irritation that can occur when an athlete sweats. It was unveiled two days before International Women’s Day.
Image: Nike Pro Hijab
The exhibition tour ended with a visit to the Play Space where Nimuno Loops is installed. The Nimuno Loops tape was developed to allow Lego builders to place their creations on the walls, the ceiling, furniture and pretty much anywhere. It can be cut and can bend sideways as well. It is an extension of playing with Lego and allows for an even more creative engagement with an abundance of possibilities.
Participants were able to deconstruct, rearrange and reconstruct the play space, and this very tactile experience was truly useful as it provided opportunities for play. This also initiated the discussion around creativity through responsive design. Interestingly though, the Nimuno Loops was not developed or even officially sanctioned by the Lego company, and it is a curiosity to see how Lego responds to the increased creative functionality this sticky tape offers the Lego bricks and it’s other components.
Visually Impaired participants and sighted guides at the start of the tour
A VI participant having a closer look at a monitor showing the Scewo stair-climbing wheelchair
VI participants listening to a description of the Nike Pro Hijab
A closer look and examination of the Nimuno Loop sticky tape
VI’s at the Play Space and with the Nimuno Loops tape
A VI with the Nimuno Loops tape, allowing for greater creative engagement with Lego bricks
Image: The six images posted show visually impaired participants and our sighted guides visiting the Beazley Designs of The Year exhibition.
The workshop session was an opportunity to physically explore some objects from the exhibition. Our handling resources included a sample of the paper mache wall, the Nike Pro Hijab, the Nimuno Loops and a few Lego brick objects.
The Nike Pro Hijab is exactly what it says it is. Constructed from durable single-layer Nike Pro power mesh, it is a breathable lightweight polyester fabric that features tiny, strategically placed holes for optimal breathability but which still remains completely opaque, and soft to the touch. Visually Impaired participants explored the hijab’s stretchy mesh which, combined with an elastic binding, allows for a personalised fit that adapts to both the wearers head and sport. At the request of the athletes, the designers placed a signature Nike swoosh just above the left ear to highlight the hijab’s pinnacle performance nature.
The paper mache wall has sustainable and recyclable qualities, and also meets the design criteria for the exhibition, exploring forward thinking methods for exhibition design and installations. This neutral coloured paper mache is a composite material consisting of paper pulp and bound with an adhesive. The sample we explored was a cut out from the actual installation and was evidence that though the exposed surface felt a bit fragile, it would actually withstand a good amount of physical handling. The rough surface felt like it would chip off easily but it remained firmly fixed on the wall. The composite material has benefits that include sound and heat insulation, and its sustainability and recyclable qualities means that when the exhibition finally closes, it will be easy to recycle. You may also perceive a soft fragrance in the paper mache, depending on the make up of the pulp.
We began to deconstruct and reconstruct the Lego brick objects, using the Nimuno Loops to create interesting variations of the objects, and making use of the tactility of the sticky tapes to rearrange the orientation and usability of the Lego bricks. This provided a really fun experience for our visually impaired participants.
A closer look and examination of the Nimuno Loop sticky tape
Visually Impaired participants deconstructing and reconstructing Lego brick objects using the Nimuno Loops
The Next Tour
The next tour is the DESIGNER MAKER USER Tour: the USER experience.
This tour and workshop session will hold on Saturday 13 January 2018, from 11:00 – 12:30.
We will continue our exploration of the Designer Maker User exhibition, and investigate design and the user experience. One question is, how does design interact with our senses, as users? A workshop session will allow participants to co-design new objects that respond to the themes discussed.
The Design and Play tour of the Designer Maker User collection at the Design Museum was our opportunity to review the impact of play in design, taking a view of creative play and concluding with an opportunity to design and make unique objects.
Taking a tour of Design Museum’s permanent collection, the Designer Maker User exhibition, you note that the almost 1,000 items of twentieth and twenty-first century design objects on display viewed design through the angles of and the continuing interaction between the designer, manufacturer and user.
The Timeline of Design
The pre-industrial era was a period when everyday objects were made by craftsmen in a process shaped by skill and precedent. The rapid growth of Industrialisation from the 18th century introduced greater possibilities for creating designs in great volume but many observers and users still wanted to protect the dignity of craftsmanship.
Rejecting Industrialisation gained momentary drive in the mid 19th century but the opportunity to deliver mass-produced products, made in less time, and meeting standardised specifications with the use of machine production realised through batch production, made business sense and encouraged the modern designer to embrace the idea of machine and industry.
Creative Play Many experts believe that a child’s early experience of play have a formative effect on their motor skills and on their psychological and emotional development. This tour draws on the benefits of play in the design process, particularly highlighting traditional crafting and making processes, using elements of creative play that explores our senses as we explore various materials and different elements of creativity.
Play is the highest expression of human development in childhood, for it alone is the free expression of what is in a child’s soul” – Friedrich Froebel, Designer (1782 – 1852)
The Creative Workshop
The design of a product involves a range of steps that can include goal setting, research, getting a design brief, fabrication, testing and implementation. This tour and workshop helps us better understand the uniqueness of traditional craft-making methods while sharing the benefits of mechanised mass-production methods. But we will make sure it is also about play and having fun.
Play is an important part of the growth of a child but as we develop into adults, we stop playing so much. We get so bugged-down by work that we forget the value of play. During this workshop led by Lynn Cox, a visually impaired creative practitioner and freelance disability and visual equality trainer, we use craft-making processes to create several objects of design.
Workshop facilitator Lynn Cox, kicks off the creative workshop activity with Kasia, a VI participant, as she creates an object using copper wire
Lynn supports Peter, a VI participant, to create a unique object
Lynn discusses the creative brief and shows participants the materials available to work with
A view of the workshop activity. This session was unique as we had VI and sighted participants working together
A Fish, made by Kasia
A high heel shoe, made by Lynn Cox
The School Cap, made by James
A Sheep, made by Peter
The Dog, another object by Lynn Cox
An Egg on a bowl, by Lin, a sighted participant
A Pompom pin, made by Emily, a sighted participant
Closing Note: Advocating for social Inclusion
An important goal of an access programme is to provide accommodations that enables individuals with a disability to participate fully and independently in social life, and the museum encourages its disabled visitors to participate in its public programme.
One way of approaching this, from a personal point of view, is to enhance opportunities and encourage an environment where able and disabled visitors can together participate in public events. The idea that events or activities should be reserved only for a particular audience causes or promotes marginalisation, or put in another way, social exclusion. Social Inclusion challenges barriers, values and behaviours, and by creating an inclusive learning environment, we actively support the goals of an inclusive society.
Social Inclusion is the process of improving the ability, opportunity, and dignity of people, disadvantaged on the basis of their identity, to take part in society.” – World Bank, 2013
The Design Museum’s multisensory tours are a key event for our disabled visitors but we also encourage other audiences to participate in our tours and events, especially when it does not deny a disabled visitor the opportunity to participate in the said event(s).
This Design and Play tour had its highest ratio of sighted participants to date, making up approximately half the number of participants, and is something we will continue to monitor and advocate. It is important to us that we continue to be an agency of positive social change.
A huge thank you goes to Bernard Hay, Producer, Adult Learning, Design Museum, to Lynn Cox, our workshop facilitator, and our sighted guides for their continued support.
Our next tour:
The next tour at the Design Museum is on Saturday 18th of November and will visit the Beazley Designs of the Year exhibition, taking a snapshot of the very best in innovative and contemporary design from the past year. More information to be published soon.
Founder and Freelance facilitator
“Action Painting” is a musical composition created in response to a painting from our 2016 Dialogue Beyond Sight Exhibition. This musical composition was done at the chamber orchestra, in Malaga, Spain, by music composer and orchestra conductor Mr. Antonio Moral Jurado, and reveals a process that mimics the relation and points of union between approaches to a pictorial work and approaches to a musical work.
Spanish artist Ismael Moga attended our collaborative exhibition, and was one of the many sighted artists who contributed immensely to the dialogue around cross-disciplinary practice with visually impaired and blind creative practitioners. His painting, AfterHere, was created during a workshop activity run by British artist Rachel Gadsden, who co-curated the exhibition.
Image: AfterHere, by Ismael Moga.
“Action Painting” uses reference points such as style, movement, speed, energy and all those elements that give surface and colour to the painting’s texture. It also uses as a starting point the musical work, idealisation and abstraction of the creative process in the creation of the watercolour painting “AfterHere”.
In this composition, Ismael was looking to create a framework for action, by channelling certain sounds and gestural impulses happening through the harmonic and temporal spaces, which may sometimes be limiting. “Its leads to the obtaining of certain timbral or tonal determinations and colour implications, a function of the alternation between themselves”, Ismael said.
Below is the musical composition ACTION PAINTING, by Mr Antonio Moral Jurado.
Artist: Mr Ismael Moga.
Musical composition title: Action Painting.
Author: Mr Antonio Moral Jurado, 2017.Music commissioned by Mr. David García Carmona, Director of Chamber Orchestra of the CSM of Malaga, Spain.
Director of Orchestra: David García Carmona.
Dialogue Beyond Sight exhibition is a MaMoMi project supported by Arts Council England
This was an Introductory tour of Designer Maker User, the Design Museum’s permanent exhibition. The tour explored the exhibition’s displays and exhibits and was designed to provide an introduction to contemporary design, looking at the ways in which we engage with design.
On what turned out to be a really beautiful sunny day in Kensington, London, on the morning of Saturday 10 June 2017, we met our blind and visually impaired Design Museum visitors at the museum entrance and went up to the second floor where the DMU exhibition is installed.
Some Curiosities And Thoughts.
Design has evolved over time and this session was designed to provide a discourse around the continuing interaction between designers, makers and users, and the development of the role of design. Some of my questions were;
Have our human needs helped shape our design needs?
Have all design inventions been of a necessity or out of a desire?
Have we (users) shaped design or has design shaped the way we live?
Our participants were taken up to the entrance of the DMU, noting the timeline that graces the entrance to the exhibition. The earliest entry on the timeline was from 1759 with Josiah Wedgwood and the birth of design, following three different industrialisation periods through to the 3rd Industrial Revolution of the 21st century, with 2012 the last entry on that timeline.
As the DMU features almost 1,000 items of twentieth and twenty-first century design, I decided we would view a small selection of objects. The Anglepoise, the wooden Kitchen model, Olympic torch, Phonosuper SK5 record player, the Juicy Salif and BigRep One 3D printer were our stops along the tour of the exhibition.
Image: The Anglepoise Lamp by George Cowardine. Image credit: The Design Museum.
I enjoyed viewing innovative designs and the 3D printer. I learnt a lot more about the origin of design and the processes – James Hallam
Our final stop on the tour was the BigRep One 3D Printer. Not surprisingly, this was a really big winner, providing real-life examples of 3D objects that could both be handled and tested. Additive manufacturing, the process in which 3D printer layer and produces items, has brought a transformation of the 3D printer from laboratory equipment into a consumer product.
Image: Some 3D printed objects produced by the BigRep One 3D printer. Image credit: MaMoMi.
All objects property of the Design Museum.
The Creative Workshop.
The workshop gave us an opportunity to review the introduction to DMU and discuss any observations identified on the tour. We explored some objects in the museum’s handling collection, helping to enhance the limited exploration during the tour. Products like the Anglepoise Original Type 1227, designed by George Cowardine, with its unique spring based aluminium arm mechanism, the Juicy Salif by Philippe Starck and its sleek and abstract design which was unfortunately only a triumph of form over function because of the several issues with steam from the sprout scalding the user, and therefore discontinued, to the Lilliput Salt and Pepper set designed by Stefano Giovannoni for Alessi, were all great items to have lengthy discussions around.
As users, the participants left with a really valuable knowledge of the design processes, and some of the criteria designers and makers have to iterate over in the decisions to create, design and manufacture products.
It was really good looking at the different iconic design items and also lear how design came about and has changed over the years – Ramona Williams
At the 3D printing section, we observed the BigRep 3D printer at work. In the foreground are two of our participants just to the front of the printer, and in the background is another participant to the side of the printer.
This is a view of handling objects, 3D printed objects, writing materials and notes on the desk in the Creative Workshop.
Here is a group photograph of the participants, companions and tour facilitator in the Creative Workshop.
Top left: Participants next to the BigRep 3D Printer.
Top right: At the Creative Workshop.
Bottom: Participants, Companions and the facilitator Andrew Mashigo in the Creative Workshop. Image credit: MaMoMi
Multisensory Tour Facilitator: Andrew Mashigo, MaMoMi.
Tour Programmer: Bernard Hay, Producer Adult Learning, Design Museum.
Banner Image of Designer Maker User Exhibition: Luke Hayes.
In an era when cycling has become one of the main ways of getting around, and for many, a way of getting around the city cheaper, it is clear that the cycling boom is here to stay. The increase in the last decade, with some statistics claiming it to be as high as 60%, has seen bicycles make up 25% of the vehicles in the morning commute. That’s an outstanding figure!
Bike-Ability: The Cycle Revolution, was held Saturday 9th of April, and was a multisensory tour in response to the current Cycle Revolution exhibition at Design Museum, London. The exhibition runs from 18 November 2015 to 30 June 2016, celebrating the diversity of contemporary cycling in Britain from every day commuting to Olympic level competition, and looking at where design and innovation may take the riders of the future.
The Studio Session:
Image: A participant exploring a Cycle Wheel and it’s Spokes.
The tour started in the 1.5 studio with a discussion around current accessibility issues and some of the implementation of reasonable adjustment by institutions and other work places. Our focus on this tour was to explore materials and function, and how these materials used in the design of bicycles affects their function and usability. The history of bike-making itself reveals a host of materials, from steel, which is very tough but very heavy, to aluminium which is a lot lighter and will not rust, unlike steel, to the carbon fibre bikes which are almost 4 times stronger than steel but a lot more expensive, to the bamboo bikes, which have been quoted as been stronger by weight than steel.
So my question, to get us started, was to ask what memories we have of our first bicycles as kids, and what that experience was like?
Image: A participant handling the Bicycle A-frame.
We compared steel, aluminium and carbon fibre frames and quite evidently, it was clear that the aluminium frame was a lot lighter than the steel frame and it also does not rust like the steel frame will, but the carbon fibre frame was much lighter than the aluminium frame but also a lot more expensive.
Almost 4 times stronger than steel, the lightweight carbon fibre frame can be woven into shapes that metals cannot be made into, and where metals need welding at corners and joints, carbon fibres can be woven in one complete shape. Its durability makes it the choice of Olympic and all tour de France cyclists.
Image: A participant holding the loopwheel close to her and running her hands around the wheel.
The Loopwheel is a bicycle wheel that looks very much like a wheelchair or pushchair wheel and it uses an alternative to spokes to provide a more comfortable ride. The loopwheel springs which are the blue parts of the wheel positioned to replace bicycle spokes are constructed from carbon composite strips developed in conjunction with an archery bow manufacturer. These provide massive shock absorption so that what would have been a bumpy rides becomes a perfectly smooth ride. They are a lot more expensive than the regular wheels but do not need the maintenance that spokes may need.
Image: Participants holding the UltraBike as Julie from UltraCane explains how the technology works.
The UltraBike is an ultrasound kit designed to allow blind or visually impaired riders to cycle independently. The kit fixes onto the centre of the handlebars on any bicycle and is completely detachable.
The kit contains two ultrasound sensors that are positioned on the front, and these sensors point directly forward but also angled slightly outwards by 5 degrees. This ensures that the sensors can detect not just what is in front of the cyclist but also what is on either side of them.
Image: The tactor button on the arm of the UltraBike kit vibrates when the sensors detect an obstacle.
The tactor button is like an antenna that is used by touching, and the word tactor itself comes from the latin word tangier, which means to touch. The tactor buttons will vibrate when the sensors detect the boundary of the cycle track that is ridden around, giving ample warning so the cyclist is able to steer away from obstacles and stay on course.
Future Bike: Live Challenge:
The future bike live challenge explored the future of bicycle building and the Bamboo Bicycle Club with the Autumn Yard Design Collective were at hand to show our participants some of the processes involved in making a bamboo bike. This session was not just about building a bamboo bike because the challenge pushed the limits of their bamboo bike frames with the unique addition of 3D printed, carbon fibre reinforced lugs.
Image: A participant holds 2 bamboo frames together, smiling as she feels the texture and strength of the bamboo.
Bamboo is said to be stronger by weight than steel, which means 5 kilograms of bamboo gives you more strength and tensility than 5 kilograms of steel. That is why we hear of bamboo bridges and multi-story scaffolding in places like Vietnam.
Building performance bamboo bicycles is an intensive and lengthy process but when done properly, the rewards can be great, producing bicycle frames that are both stiff and durable, nimble and confident, and lively and smooth.
Image: A bamboo bike displayed at the entrance of the Design Museum.
Bamboo Bicycle Club conceived the idea to combine high-tech, open-source 3D printed components, with low tech, naturally sourced bamboo tubes. Teaming up with Oxford Brookes who specialise in the testing and analysis of 3D printed technology, vital expertise has gone into the realisation of this project.
Using 3D printed, carbon fibre reinforced lugs and bamboo frames, the goal is to prototype an open source bike that can be easily replicated by anyone.
The UltraBike Demonstration:
Image: The UltraBike kit mounted on a bicycle and ready to use.
We had a demonstration of the UltraBike with our participants and got to understand how the technology works in real life situation. The sensors detect at a range of 8 metres though this setting can be changed to suit the specific requirements of a cycle track.
On this occasion and as we were at the museum’s premises, we did not have a cycle track to test the full range and capability of the UltraBike but we did give all participants the opportunity to test how the kit feels to the touch, how easy the controls were to use, and how the various range settings allow the cyclist to detect things well ahead of themselves. This is a biomimicry of how bats and dolphins use sonar feedback and echolocation to find their way around.
Image: A participant about to have a short trial run on the UltraBike.
By giving the rider the ability to detect obstacles well ahead of themselves, the UltraBike range detection will allow the cyclist time to turn into a bend without cycling too acutely into or off the side of the track. The nearer you get to an obstacle or the boundary of the track, the higher the level of vibration. An understanding of the intricate feedback from the sensors helps the rider define the layout of the space around and this is what gives the rider the manoeuvre-ability to ride around a supervised cycle track, and in cycling clubs.
Cycle Revolution exhibition runs from 18 November 2015 to 30 June 2016.
Handling objects property of the Design Museum
UltraBike kit, by UltraCane
Bamboo Bike, by Bamboo Bicycle Club
The Design Museum will be closing its current site on 30 June 2016, and will relocate to the former Commonwealth Institute building in Kensington, to open on 24 November 2016.
Designers in residence is a core part of Design Museum’s programme. Now in its 9th year, it reflects the museum’s commitment to providing support for designers in the early part of their careers.
The 2015 exhibition focuses on the theme of Migration, with four designers selected for their innovation and original thinking. Stephanie Hornig, Chris Green, Alexa Pollman and Hefin Jones were the Designers in Residence 2015.
The Displacement and Migration multisensory tour was held on Saturday 9 January, and to have a good opportunity to investigate the narrative and critical nature of this exhibition, we divided the tour into three areas; Migration and Displacement, Migration and Mapping, and Migration and Soundscape.
Migration and Displacement.
We can’t really talk about Migration without making a reference to what has been described as probably the world’s worst human tragedies, the current forced migration of people affecting parts of Eastern Europe and the Middle East. There is an argument against such a major displacement of people but research reveals that human migration has happened throughout history:
▪The biblical Exodus of the Israelite’s in the Old Testament records that “about six hundred thousand men on foot, besides women and children” left Egypt. – Exodus 12:37
▪ In Quebec history, 925,000 French Canadians were said to have left for the United States between 1840 and 1930, mostly due to political and economic reasons.
▪One of the greatest waves of immigrants to the USA was during the 1820’s to 1890’s, when more than 5 million immigrants arrived in America from Ireland and Germany.
▪Between the 16th and 19th centuries, about 11 million Africans were forced into slavery and brought to the Americas.
▪The Jewish Exodus from Arab and Muslim countries saw the Jewish migration include nearly all the 140,000 Jews from Algeria emigrating, mostly to France after Algerian independence in 1962.
Migration involvesmovement, mobility and transition and we can explore that idea with several objects, systems and processes. Objects are ideal for exploring spatial displacement and this tour uses definitive elements like form, shape, texture and density to explain its day-to-day manifestation. One question we asked was; do you know animals like the Caledonian bird use flexible thinking to solve multi-stage problems? When tested, a crow knows that dropping stones or gravel into a half-filled jar of water will cause the water level to rise to the top, making access to the water easier.
The Hourglass is another excellent object to explore elements of the cause and effect of material displacement. You clearly hear the sound of the sand travelling from one part of the hourglass to the other.
Migration and Mapping:
Chris Green’s Aerial Futures display shows 2 four-engine and 1 three-engine drone each mounted on metal stands. Chris’s practice forges new relationships between people, place and the city and this display was a main part of our interrogation of movement, mapping, surveillance and tracking.
It is worth noting that though most drones are 4-engine, Octocopters or eight-engine drones are more efficient for high-risk or longer range use so that a possible failure to the first set of engines is not terminal, allowing for extraction of the device from its operation.
Image: Chris Green’s 4-engine drone.
Copyright Chris Green, Drone 2015
Drones have become increasingly popular with flying enthusiasts but are also famously and excellently used in extensive and long-range research and activities like monitoring, surveillance and exploration. Because they are silent, precise and can be operated from a distance without detection, drones have excellent use during war, for exploring space and researching volcanoes. They are also used in farming and for mapping terrains.
A good example is the use of drones during the investigation of Katla, Iceland’s most active and dangerous volcano. Scientists are able to monitor seismic activity by capturing aerial images which detail 3D maps of the area. They also place monitors as close as possible to the core of the eruptions so GPS tracking systems gather data, which they feedback in real time.
Using Telematics is key to the work that goes on during mapping. Telematics are devices that merge telecommunications and infomatics and this includes anything from GPS systems to navigation systems. We see them featured in anything from vehicle trackers to hands-free mobile calling, and our mobile phones are an example of a Telematics device.
Animals also have very sophisticated processes and tracking abilities that help with mapping. An example is how bats use echoes from clicks to convey not only their distance to a target, but also the size, shape, speed, and vector of the objects movement. The bloodhounds ability to track game, the humpback whale’s ability to migrate from Antarctica to eastern Australia to give birth and mate during the winter and spring, and the rattle snake’s ability to track its prey after striking are among varying elements of tracking and mapping that are constantly used by animals and in wildlife.
Echolocation allows dolphins to tell the difference between types of fish, and can identify size, shape and weight by the echo that comes back to them. They can also easily discern the difference between objects that are different in material composition, even if visually identical, by their different densities.
Alexa Pollman’s Indivicracy display is about the concept of a future nation where a new form of government for the 21st century is created, in which societies exist without borders or territory. Allowing for free movement, the citizen’s are constantly moving between places, with governance in place to protect individuals who choose to migrate borders of settled societies.
Alexi also challenges the current notion of “wear” and her display suggests ideas for future garments like the super-insulated gloves called Typers, the masks, the Jumping-jackers shoes and the Trackpack, what i can only describe as a one-piece raincoat attached to a back-pack and constructed into a shopping trolley on wheels.
Migration and Soundscape.
Sound is transmitted from a source to the surrounding air when particles vibrate or collide, and this vibration passes the sound energy along to our ears. Without any particles to vibrate, we would not hear the sound. With this knowledge, our activity explored various sounds and recorded our responses.
Using the learning studio, our Soundscape activity involved the use of six different sounds. Participants listened to and identified various sounds at intervals, and were asked what each sound represented to them. They could either draw or name their response, whether as a visual representation or an emotion, and the results were really interesting. Participants said they experienced various emotions, from elation, nostalgia, happiness to soothing relaxation.
The next tour: The next multisensory event will tour the current Cycle Revolution exhibition at the end of march. This tour will examine the revolution of bicycle design, and investigate material and function. It will also include a demonstration of a bicycle for the blind and visually impaired.
More information, date and booking details will be uploaded to Design Museum’s website shortly.
“Always painting, always working” was probably the first few words she said to me during our conversation. Magdalena Rutkowska runs Ike Studio from her home in Northern Ireland. Ike is a name taken from the Hawaiian Huna philosophy, whose first principle is Ike (pronounced ee-kay), meaning “The world is what you think it is”.
Quilling on Canvas 50 cm x 40 cm
Viewing Magdalena’s artworks, you notice a plethora of works including paintings, crafts, home decor, Office decor and greetings cards. These works have an influence directly from nature, and visually expressed in various designs ranging from national flags all the way to various decorative patterns and abstractions. Interestingly, because of the way Magdalena perceives and executes some of the designs, she sometimes wonders if the images she creates even exists in nature.
Her greatest inspiration is nature, and that greatly influences her use of vibrant and expressive colour ranges. The depictions she works in reveals her dexterity for detail; detail which is even more astonishing when you realize that Magdalena has been totally blind from the age of 6 years. She has no retina in her eyes and though having no sight presents several immense challenges in her life, she is determined to live a life as full and as rich as is possible, exploring her other senses, especially the sense of touch and hearing, to give her this ability.
“These are images of my emotions.” – Magdalena Rutkowska
Tree of the Paleozoic
White paper on black card
18 cm x 30 cm
MaMoMi: How would you describe your emotions in your artworks?
Magdalena Rutkowska: It is a bit difficult to explain how my emotions can be seen as artworks but they are a visual and tactile expression of some of the feelings i experience daily. I perceive a lot of images of flowers and trees and of other nature influences.
Back in Poland where i am originally from, i lived around beautiful forests and this early experience still continues to inspire my love for nature. This influence causes me to see various projects in my sleep, long before i get the opportunity to do anything with them. I often wake up wanting to create so many of these images and my memory and Imagination, combined with my manual skills, allows me to create various types of arts and crafts. I use my visual memory of colours, shades and shapes to put together the different ideas. For me, every letter of the word has a colour code.
“I know my paintings also help a lot of people externalize and overcome their problems.” – Magdalena Rutkowska
20 cm x 25 c m
MaMoMi: How do you relate a colour code to a word or shape?
M.R.: One of the projects i did some time ago was done making small pictures with four paintings of flowers, and the client then came back wanting even bigger paintings. I had to find a way to replicate that idea onto a bigger canvas space.
Every colour i intended to use in that colour palette was placed in a box. I needed to remember where each colour was and to do this, i placed each of them in particular boxes and code every box. I now have at least 20 boxes. I place bright yellow in one box, darker yellow in the next one, warmer colour in the following one, and the next one had fuchsia, and so on.
It is important to me that i remember which colours i have used, and in what order, as this helps me have control of the colour scheme or any pattern i am creating. But this also means i have to keep and maintain a huge level of concentration throughout.
MaMoMi: What is your most used technique?
M.R.: It usually take a lot of time to put together and make my artworks. My most popular technique is the Quilling paper method. By building the outlines of paper, i devise various ways of filling to form the shapes required. This helps me create decorative and 3-Dimensional designs, many of which are popular for Home and Office decor.
I use strips of paper that are rolled, shaped and glued together, and reproduce the needed shapes by twisting and curling the paper strips with my fingers. They are then bonded on the canvas or background cardboard. I have sixteen different categories listed on my website.
Creating these artworks and crafts is also a way of showing people that blind artists can also be very creative, with very attractive and highly desirable items. But it is also my way of engaging with the sighted community and it will be great and appreciative if people can enjoy my creative talents as much as i do. I love nature and in return nature has given me a positive approach to life.
To commission or purchase her artworks, contact Magdalena via email at firstname.lastname@example.org
Note: This blog was originally published in March 20 2014.
Julie Imus is a visually challenged American artist residing in Iowa. A lover of nature, animals and the outdoors, she is an adventurer whose faith in God has given her the ability to overcome the challenges of oil painting with very little sight.
She was always interested in painting from an early age and learnt to paint even better between art classes at school and the Bob Ross programs. Bob Ross was an American landscape painter and television host who was best known as the creator and host of The Joy of Painting, a television program that aired in the US and several other countries between 1983 and 1994.
In June of 2007 Julie lost the vision in her left eye, after already having had retinal damage in her right eye. At that point she thought she would never paint again but in the fall of 2011, she felt God very strongly told her to go back to painting, and as she says, “by God’s, hand I am still able to do so.”
THE HIDING PLACE
Oil on canvas. 16 x 20 inch
“This painting came into existence because of a Bob Ross lesson I was watching one day. In this particular episode, Bob was instructing viewers how to make a whole forest of trees in a simple way. I was keen to try out this method and started thinking about the woods and remembered how i used to ride in the woods years ago, and seeing a fawn hiding in the bushes. So here we see how a childhood adventure, Bob Ross instruction, my imagination and love of nature collectively gave me what I needed to paint this piece.”
Oil on canvas. 18 x 24 inch
Julie’s brother Jay is a hunter, and currently elk hunting in Colorado. He had told her, one day a few weeks previously, that he would like a painting of a whitetail buck deer, something to fit into a “woodsy” theme going through his house. So she painted Winter Feed for his birthday in September, a great addition to his collection.
Oil on canvas. 16 x 20 inch
“As some of you may know, I love horses and rode daily when I was a kid. The only times i did not ride were on stormy days and very cold winter days. One day i saw a photo online of this horse, and i thought she was so gorgeous I had to paint her. I want to do some black and white paintings as i think they look so good.
While I was painting this, a thought occurred to me, and I began to wonder how many domesticated horses would love to just run wild, hence the title of this painting. This is one painting i really enjoyed doing and my plan is to paint more black and white horses, and probably just adding one color for interest.”
The next multi-sensory tour at the Design Museum is titled Displacement and Migration.
Design Museum, Shad Thames, London
Date: Saturday 9 January 2016
This tour will investigate migration, displacement and movement. Starting at Designers in Residence 2015, this tour will highlight elements of movement and mapping. The tour includes a session in the museum’s Learning studio, to explore the resources and enable discussion around movement and mapping.
Tours are free for blind and partially sighted visitors and their companions, including exhibition entry.
Advance booking is recommended but not essential. The tour meets in the museum foyer 10 minutes before the session is due to begin.
If you are interested in this tour, please use the online form here or call +44 (0)20 7940 8782.