Margaret Woodward
Margaret Woodward is Adjunct Associate Professor at Charles Sturt University (CSU), and has held the positions of Head of School of Visual and Performing Art and Head of School of Communication and Creative Industries at CSU.
Margaret was awarded a PhD (Design) from Curtin University of Technology in 2009, investigating the field of interpretation design and the role of design in communicating and framing ideas about Australia’s natural and cultural heritage. Margaret graduated from Curtin University of Technology (PhD Design), the University of Tasmania (Bachelor of Arts – Geography and Sociology; Bachelor of Fine Arts – Graphic Design; and a Diploma of Education). Margaret has previously held positions lecturing in Visual Communication, Communication Design and Graphic Design at the Tasmanian School of Art, University of Tasmania; the National Institute of Design, Swinburne University of Technology, Melbourne and managed partner programs in Sydney and Hong Kong. Margaret was also a founding member of the Workhorse Design group in Hobart and has received a number of industry awards for her design work. Margaret is a member of the Institute for Land, Water and Society (ILWS) Research Centre at CSU.
Margaret is based in lutruwita/Tasmania and collaborates with Justy Phillips as A Published Event (www.apublishedevent.net), with a focus the field of publishing as art practice.
Phone: Ph +61 2 6933 4033
Address: Associate Professor Margaret Woodward
Head of School
Communication and Creative Industries
Charles Sturt University
Boorooma Street
Locked Bag 588
Wagga Wagga
NSW 2678
Margaret was awarded a PhD (Design) from Curtin University of Technology in 2009, investigating the field of interpretation design and the role of design in communicating and framing ideas about Australia’s natural and cultural heritage. Margaret graduated from Curtin University of Technology (PhD Design), the University of Tasmania (Bachelor of Arts – Geography and Sociology; Bachelor of Fine Arts – Graphic Design; and a Diploma of Education). Margaret has previously held positions lecturing in Visual Communication, Communication Design and Graphic Design at the Tasmanian School of Art, University of Tasmania; the National Institute of Design, Swinburne University of Technology, Melbourne and managed partner programs in Sydney and Hong Kong. Margaret was also a founding member of the Workhorse Design group in Hobart and has received a number of industry awards for her design work. Margaret is a member of the Institute for Land, Water and Society (ILWS) Research Centre at CSU.
Margaret is based in lutruwita/Tasmania and collaborates with Justy Phillips as A Published Event (www.apublishedevent.net), with a focus the field of publishing as art practice.
Phone: Ph +61 2 6933 4033
Address: Associate Professor Margaret Woodward
Head of School
Communication and Creative Industries
Charles Sturt University
Boorooma Street
Locked Bag 588
Wagga Wagga
NSW 2678
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Papers by Margaret Woodward
This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne.
Keywords: national identity, tourism, souvenirs
The study gives visibility to this previously undocumented and un-theorised hybrid field of design and creates a thematic conceptual framework within which to locate its historical, conceptual and practical origins. In substantiating interpretation design as a new field, three avenues of enquiry were considered; documentation and analysis of the visual artefacts of interpretation design, locating interpretation design in a wider conceptual and professional context through literature reviews, and consultation with designers in order to understand the challenges and problems in this new mode of design. Further, to facilitate designers to continue to work effectively in highly collaborative, complex and cross-disciplinary professional environments a conceptual collaborative tool was developed for use by interpretation design project teams. The conceptual tool integrates the theoretical and practical findings from this research and is based on a pattern language approach first developed by Christopher Alexander et al (1977).
The research is conducted from a design perspective, and integrates theoretical and professional knowledge from related fields into interpretation design practice. Through a progressively widening interrogation of the literature, professional contexts, and designed artefacts of interpretation design, this new area of design is examined from a number of perspectives, building up a multi-faceted framework for understanding its historical, conceptual and practical dimensions. A Grounded Theory methodology was adapted to develop the theoretical framework of this study and to gather a wide range of relevant data. The practical outcome of the research was developed using a Pattern Language methodology originating from a problem-based design approach in architecture (Alexander et al 1977) and underpinned the interpretation of data.
Conclusions of the research found that despite invisibility within the discourse of Australian design, designers working in this specialised field of practice have, since the early 1980s, contributed to projects which shape ideas, attitudes and visual representations of natural and cultural heritage in Australia’s most widely visited and valued sites. Designer’s practice is identified as part of an ongoing process of both contributing to Australian cultural narrative and being influenced by the legacy of culture. Contemporary interpretation design is highly cross-disciplinary and collaborative, characterised by a differentiated professional practice with dispersed networks of stakeholders. While interpretation design is located within a larger framework of the professional practice of interpretation, there exists many opportunities to enrich and better inform designers by integrating wider pools of knowledge that intersect the activities of interpretation, including education, tourism, visitor studies and psychology.
Download full document at: http://espace.library.curtin.edu.au/R/?func=dbin_jump_full&local_base=gen01-era02&object_id=132759
are communicated through the designed interface
of interpretation. Interpretation design has emerged as
a new field of design as graphic designers work on com-
plex, large-scale projects that communicate about natural
and cultural heritage sites and objects. Research
into designer’s contribution to interpretation projects indicates
the need for a better dialogue between design-
ers and other team professionals. This paper introduces
a ‘pattern language’ methodology, which proposes a
shared language for use by interdisciplinary teams work-
ing on interpretation. Interviews with designers and a
synthesis of research findings from the fields of interpre-
tation, education, visitor studies and psychology inform
the construction of the pattern language. Articulating
shared concepts from these disciplines as a common
pattern language aims to strengthen the professional
practice nexus between the fields of design and interpretation.
This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne.
Keywords: national identity, tourism, souvenirs
The study gives visibility to this previously undocumented and un-theorised hybrid field of design and creates a thematic conceptual framework within which to locate its historical, conceptual and practical origins. In substantiating interpretation design as a new field, three avenues of enquiry were considered; documentation and analysis of the visual artefacts of interpretation design, locating interpretation design in a wider conceptual and professional context through literature reviews, and consultation with designers in order to understand the challenges and problems in this new mode of design. Further, to facilitate designers to continue to work effectively in highly collaborative, complex and cross-disciplinary professional environments a conceptual collaborative tool was developed for use by interpretation design project teams. The conceptual tool integrates the theoretical and practical findings from this research and is based on a pattern language approach first developed by Christopher Alexander et al (1977).
The research is conducted from a design perspective, and integrates theoretical and professional knowledge from related fields into interpretation design practice. Through a progressively widening interrogation of the literature, professional contexts, and designed artefacts of interpretation design, this new area of design is examined from a number of perspectives, building up a multi-faceted framework for understanding its historical, conceptual and practical dimensions. A Grounded Theory methodology was adapted to develop the theoretical framework of this study and to gather a wide range of relevant data. The practical outcome of the research was developed using a Pattern Language methodology originating from a problem-based design approach in architecture (Alexander et al 1977) and underpinned the interpretation of data.
Conclusions of the research found that despite invisibility within the discourse of Australian design, designers working in this specialised field of practice have, since the early 1980s, contributed to projects which shape ideas, attitudes and visual representations of natural and cultural heritage in Australia’s most widely visited and valued sites. Designer’s practice is identified as part of an ongoing process of both contributing to Australian cultural narrative and being influenced by the legacy of culture. Contemporary interpretation design is highly cross-disciplinary and collaborative, characterised by a differentiated professional practice with dispersed networks of stakeholders. While interpretation design is located within a larger framework of the professional practice of interpretation, there exists many opportunities to enrich and better inform designers by integrating wider pools of knowledge that intersect the activities of interpretation, including education, tourism, visitor studies and psychology.
Download full document at: http://espace.library.curtin.edu.au/R/?func=dbin_jump_full&local_base=gen01-era02&object_id=132759
are communicated through the designed interface
of interpretation. Interpretation design has emerged as
a new field of design as graphic designers work on com-
plex, large-scale projects that communicate about natural
and cultural heritage sites and objects. Research
into designer’s contribution to interpretation projects indicates
the need for a better dialogue between design-
ers and other team professionals. This paper introduces
a ‘pattern language’ methodology, which proposes a
shared language for use by interdisciplinary teams work-
ing on interpretation. Interviews with designers and a
synthesis of research findings from the fields of interpre-
tation, education, visitor studies and psychology inform
the construction of the pattern language. Articulating
shared concepts from these disciplines as a common
pattern language aims to strengthen the professional
practice nexus between the fields of design and interpretation.