EXTREME HABITAT CHALLENGE 2019 – SAHARA

PREMISE

Vision: Extreme Habitat Challenge pushes to explore habitat concepts that are responsible, yet brave to grow human civilization in synchronous with nature + technology + planet.

Design a concept habitat of 1,000 people within area of 0.5mi x 0.5mi, which is able to expand itself to 100,000 (2.5mi x 2.5mi) as needed/desired by the population moving in to the place. The challenge invites ideas that push the boundaries of design using innovative habitat working models, materials, technology, close to zero land costs, a nomadic yet rooted lifestyle.

This design exercise can be considered similar to colonizing a new earth with technology of today. The first 1,000 people prototype habitat will house all the three elements of human life in it – Live, Work and Play.

The first ever Extreme Habitat Challenge competition chooses two major cities (New York, USA x Mumbai, India), connected via the fastest mode of land bound transit (Hyperloop). This site peculiarly with a very less human population density, is a test bench for designing a new habitat will inspire how life should be in similar environments while balancing itself harmoniously between forces of nature.

SUBMISSION GUIDELINES

You have to deliver an architectural outcome on the following site, based on the given issue outlines. The idea can begin at an issue or a program or the history.

  • A maximum 8 nos. – 1880 x 2880 sheet in portrait digital format (JPEG)
  • Answer 6 mandatory questions and 2 self formulated questions in the discussion section as given on the ‘additional materials folder’. This folder contains: Full resolution Map images, Hands on Literature of problem, CAD Drawing file of Site, FAQ Questions, Descriptive Criterion.

Minimum requisites in the sheets (For a complete submission):

  • Site plan (Compulsory)
  • Key conceptual sections x 1 (Minimum)
  • 3D views x 4
  • Cover image of size 2000 x 1000 px or larger in aspect ratio 2:1.
  • Floor plans, images, sketches (if any) can be added to support the entry in the form of additional images.
  • Use exploded views to discuss multi-leveled conceptual models better.
  • Ensure that the final sheets which are submitted do not include your name or any other mark of identification.
  • To learn about the best practices of submission refer to this pdf here. https://goo.gl/fmmcP7
  • Plagiarism of any idea/form/design/image will be disqualified with a notice.

The submission of the entry has to happen on our submission portal at uni.xyz only with the format given on the website. No other mode of submissions will be accepted. In order to avoid last minute rush, plan and try uploading your entries prior to the submission deadline . Check this video tutorial of how to make the submission on the platform .

 

ELIGIBILITY

  1. The competition is open to all students and professionals (Worldwide).
  2. Minimum eligible age for participation is 18 years.
  3. This competition is open for both students and professionals.
  4. Team size is maximum of 4 members per team.
  5. All disciplines are eligible.
  6. Team: Teams with all student participants (with valid id’s required) will be categorized under student teams.
  7. Teams with even one professional participant will be categorized under professional team.

 

 

More: ehc19.uni.xyz

 

Total Prize: $3,000

Typomania 2019 – Typographic Video Contest

About 

Typomania typographic video competition is one of the key events of the festival. The contest exists from the very beginning of the festival. We recieve hundreds of  type videos annualy. The contest participants are designers, motion designers, cartoonists, students and professionals.

Entry submission for Typomania 2019 will be open from March 1 till May 1 2019. Best videos were chosen by an international jury. The announcement of the results and the award ceremony will take place during the closing ceremony of Typomania festival on June 2 2019 in the Museum of Moscow (Moscow, Zubovsky boulevard, 2).

Curator of the videocontest – Vasily Shikhachevskyvideo@typomania.ru

Themes of the videocontest

1.Videos with type playing the key role in them

2.Presentation of a typeface. Video demonstrating the abilities and specificity of a typeface.

  1. Movie titles.Captions for movies, cartoons, TV series, TV programs. Commercial and student works.
  2. Text visualization. Visualization of a song, a poem or of another text.

5.Typomania. Animation of the TYPOMANIA logo (download the festival logo).

Entries

We recieve hundreds of works from Russia, Europe, Asia, America. You can watch them all on our YouTube channel TypomaniaFest.

Prizes

Every year on Typomania festival’s stage the authors of 9 best videos recieve 9 legendary light letters.  Special prizes will also be awarded for the best performance technique. Shortlisted authors will be awarded diplomas. Mailing of prizes and diplomas are at the expense of the festival. Authors of videos that are not included in the short-list, will be sent pdf-diploma of the participant on request.

More: en.typomania.ru

 

International Finsa Award

THE AWARD

The International Finsa Award for Architects & Designers 2019 aims to encourage and challenge students to explore and redesign the use of wood and other ecological and recyclable materials in construction. We believe that the future in construction should continue developing this way and know it is possible to achieve. The award considers the work of both teachers and students or short term graduates, all of whom will be acknowledged and awarded.

2019 EDITION

Woodside Pavilion is a temporary structure designed to house practical art activities for the local community. Conceived as an informal, pop-up space, the purpose of the pavilion is to engage and offer dialogue and collaboration between groups of people who do not normally have the opportunity to meet with or collaborate with practical artists.

THE PRIZE

The International Finsa Award prize for the 2019 edition goes further. We want to add value to the competition by building the winner(s) project. Plus, the supervision and management of the construction by the designers. This will kickstart their careers considering that the competition is only for students or recent graduates (check the Competition Guidelines for more information about elegibility).

 

 

More: ifa.finsa.com

 

BICeBé 2019 International Poster Call

  1. ELIGIBILITY

    1. Contestants may be design students, graphic designers, plastic artists, photographers and graphic producers in general, of any age and nationality, having posters printed between April 2017 and March 2019, except for those submitting as Category D and E that must be unpublished.
    2. Each contestant can submit up to ten (10) posters including series and categories A,B,C & D. Category D which doesn’t accept series. Category E will accept up to two (2) animated GIF, per designer. The maximum limit per designer or studio is up to ten (10) posters and 2 GIFs.
    3. Design technique is free. Format for categories A,B & C may not be less than 50 x 70 cm. In Category D format must be 70 x 100 cm. VERTICAL. In Category E for animated poster format must be 1000 x 1380 pixeles (vertical) and should last 15 seconds.
    4. Posters submited may participate in the following categories:

    Published works
    Category A Cultural posters
    Category B Social posters
    Category C Advertising or commercial posters
    Unpublished works.
    Category D Unpublished posters on the topic: THE ERA OF DISINFORMATION
    Category E Unpublished animated GIF on the topic: WOMEN’S EMPOWERMENT

    Category D & E we will only accept originals & unpublished, not previously printed or digitally published posters (including social networks, blogs, websites or other contests).

  2. ABOUT POSTERS DIGITAL SUBMISSION

    BEFORE SENDING CONSIDER THAT:

    • The designer must provide a valid and active email for future communications.
    • Multiple submissions with different emails are not accepted. In that case we will considered for pre-selection only the first 10 posters.
    • Series are not considered as one poster.
    • Double check your formats and resolution before submitting your work to avoid problems and system rejection.

    POSTER SUBMISSION

    • Go to www.bicebebolivia.com/poster-submission
    • Fill all required information in english or spanish ONLY.
    • In categories A, B, C & D upload your files at 60 cms. tall for vertical width for horizontal, JPG, 8 compression, RGB format at 300 dpi. Each poster must not weigh more than 10 MB.
    • For Category E, submit your animated GIF at 1000 x 1380 pixels (vertical) 15 seconds long and 10 MB of maximun weight.
    • Accept all Rules & Conditions and click send (Point 4).

    If you submitted everything correctly you will receive a confirmation email within the next 48 hoursPlease send files only once to avoid a null participation.

    SUBMISSION DEADLINE: FRIDAY, MARCH 8th, 2019

    (23:59 pm -04:00GMT)
  3. ABOUT EVALUATION AND SELECTION

    1. Posters will be evaluated and selected by a Selection Committee formed by distinguished designers, artists, illustrator and curators designated by the BICeBé.
    2. The oficial announcement of selected posters will be on MONDAY APRIL 22th, 2019 in our website and social networks.
  4. ABOUT SHIPMENT OF SELECTED PRINTED POSTERS

    1. In case of being selected, the designer or studio AGREES —accepting all Rules & Conditions— to send TWO PRINTED POSTERS of each selected poster or choose local printing and transfer US$50 per poster via WESTERN UNION. Not complying with this term would mean automatic elimination from the final jury.
    2. Each selected poster include the Entry Form, that will be emailed to you with our postal address. This form must be printed, filled and attached without damaging the poster. The form must be filled in English or Spanish only.
    3. For those who decide to send their printed posters, consider a tube resistant poster package with protection in order to preserve your work. Not mistreated or folded poster will be accepted. If the poster arrives damaged, the designer will be notified to make the local printing as mentioned at point 4.1.
    4. Selected designer should be pending of BICeBé email communications and send their printed posters or make an effective money transfer within a maximum period of 35 days after the selection announcement.
    5. Submission of printed posters must be made only by public mail services and EMSBICeBé will NOT accept or pay additional costs and taxes of shipments made throughout private companies (DHL, UPS, FEDEX, etc.). The shipment must be sent with NO COMMERCIAL VALUE/SIN VALOR COMERCIAL declared and shall bear the phrase.
  5. ABOUT POSTER CALL CONDITION

    1. The responsible organizer is authorized to reproduce the posters submitted to the contest, in catalogs, exhibitions, promotional editions, electronic media, as well as promotional events of the Biennale whose purposes will be non-profit, respecting the credit of the autors.
    2. All posters will become part of the acquis of the BICeBé®.
    3. The organizers reserve the right to refuse the participation of posters that are considered offensive to morality or culture of any country and that of those who do not comply with the requirements of this solicitation.
  6. ABOUT JURY

    1. The jury will be composed by a panel of prestigious national and international guest designers who will determine the winners, during the week of activities of BICeBé 2019.
  7. ABOUT THE WINNERS

    1. The winners will be announced during the main ceremony on Wednesday, November 20th, 2019.
  8. ABOUT PRIZES

    1. BICeBé will provide a diploma and a catalogue to the first, second and third awarded positions in all categories.
    2. Special awards:

    Category A First Place. Huari Award $us 4.000.-
    Category B First Place. Fundación Viva Award $us 2.000.-
    Category C Primer Lugar. Fundación Solydes Award $us 2.000.-
    Categoría D First Place. Award $us 5.000.-

    Fundación Viva Award to the Best Bolivian Poster of all categories $us 1000.-
    Award to the Best Bolivian Poster in Category D $us 1000.-

    The winner must assume the corresponding taxes in his country, if necessary.

Category D: Unpublished poster
THE ERA OF DISINFORMATION

Technology and social networks have modified our access to information. Day by day we take part of the exchange of information on the reality of the world and our immediate surroundings. Somehow we feel powerful, and it seems we have no time for formal media. That headline in bold and blunt letters seems to be telling us everything we need to know about an event. The photo that shows that public figure in a compromising action is a true irrefutable fact, because it has been share more than a thousand times. However, can we carelessly believe in all the pieces of information to which we are exposed? How can we rightly discern truth, verified information, precise data, and unedited images?

We have played down the importance of distinguishing between known and unknown, in other words, verifying facts and information objectively. Saving time is everything, and a fast finger tap on our mobiles is more convenient. Reading thoughtfully, considering the sources, and deepening our knowledge are not priorities. The information we thoughtlessly get and share, does not have to be a complete falsehood, but it is enough for it to be somewhat credible and compatible with our feelings. As most mainstream communities operate under this logic, we are all accomplices of sharing unverified information almost immediately and we become targets of major advertising strategies and, which is more dangerous, political schemes.

There are no “alternative facts,” but just facts, and there is truth. Sadly, the use of these modern euphemisms does not seem to frighten or bother us anymore.

Fernando Trías de Bes(*) classifies these new so-called “realities” into four categories. The first one is technology, this has led us to live and experience parallel, real, and fictitious worlds all together in a mix. The second is speed, which means we do not care to verify if something is true, as we are only interested in seeing content grow and evolve. The third consists in a loss of confidence in the formal media that we use to trust to obtain information in the past. Finally, the fourth new reality is a desire to confirm the beliefs and feelings by ourselves, this means that we seek and accept only what we think and feel.
Immediacy is our delight. Information is disseminated, as rumor does, thus generating new public opinions. We are free, independent, and we cherish our ability to access information, but we can distinguish which content is false, true, or paid?

Education and methodological research —scientific method — applied to test the reality of facts, provide the only alternatives to move forward and break free from misinformation and being subjects of manipulation. We must look for reliable sources of information to build a conscious, analytical and less influenced society.

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More: bicebebolivia.com
Total Prize: $15.000
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Creative Conscience Awards 2019

 

The Creative Conscience Awards welcome projects by students and graduates (of up to two years) from any creative discipline. The deadline for 2018 has now passed, but we’ll be launching the 2019 awards at the end of this year. The awards are the perfect opportunity to push your curiosity and create the change you want to see in the world. You can enter the awards solo or in a team (of up to six), and can choose your own issue to tackle or work from one of our exciting briefs.

Example Briefs

Our awards scheme searches for exciting projects with a focus on social impact. You can enter anything you like, as long as the project fits into one of our Impact Themes. We also have some exciting briefs that give a starting point if you feel you need it, tackling some of the most relevant issues that our world faces today. This years deadlines have passed, but feel free to download the briefs for your own personal projects, or to start working early on an entry for the 2019 awards. Shortlisted projects are judged by a panel of industry experts based on your creative approach and the potential impact of your project.

Open Brief Background

If you have an issue that you are passionate about, that you believe could help change the world in a positive way you could enter it under our Open Brief. You could identify something that isn’t working for you about the world around you and look for a solution. We’re interested however big or small your ideas are. We are looking for solutions and provocations that will call people to action and can lead to genuine impact. Projects can be conceptual or have the potential to develop into real life-changing solutions. The themes you might wish to explore can be broad and varied. Past projects have included design solutions for food waste, humanitarian aid, education, water shortage, energy efficiency, inclusivity, campaigns & products against FGM, bullying, inequality, poverty, homelessness, child abuse, over-consumption, mental illness, urban living – to list just a few subject areas.

Open Brief Challenge

The Open Brief is your chance to create a project that deals with any issue you’re passionate about solving. Identify something that isn’t working in the world around you and look for a solution, however big or small. We’re looking for solutions and provocations that have the potential to provoke action and have a genuine impact. Projects can be conceptual or have the potential to develop into real life-changing solutions. Past projects have included creative solutions for food waste, humanitarian aid, education, water shortage, energy efficiency, inclusivity, bullying, inequality, poverty, homelessness, child abuse, over-consumption, mental illness, urban living and much more.

Mental Health Background

Negative experiences happen in all of our lives: difficulties with work or finances, the breakdown of a relationship, overwhelming family responsibilities, or a significant setback for example. Mental health can affect anyone. There are many ways we can cope with mental illness: establishing and maintaining relationships, discussing our issues and taking action when possible, however there are stigmas surrounding mental health that we unfortunately need to tackle.

Mental Health Challenge

How can you use your creative skills to aid those with mental health issues? If your life or the life of those around you has been touched by mental health issues, then use these experiences as possible entry points into the brief and as a means of research to explore potential routes and solutions. The challenge really is boundless in however you want to approach it, all we ask is that the outcome is optimistic and empowering towards the audience. Let’s open up and tackle this issue head on to create some real positive change in the world. Here are some useful links to start you off: Movember Onemindinstitute CentreforglobalmentalhealthMind.org.uk

Equality Background

Equality is a human right. Both men and women are entitled to live with dignity and with freedom from want and from fear. Whether this be gender equality as a precondition for advancing development and reducing poverty: empowered women contribute to the health and productivity of whole communities, improving the prospects for the next generation. Or more general human rights for minorities, those under threat of being suppressed or living in fear because of who they are or what they believe.

Equality Challenge

Can you think of a way to change current behaviours and inspire people to understand the value brought by treating everyone equally? You may simply want to raise awareness, or perhaps you can think of a way to actively change human behaviour and understanding. Here are some useful links to start you off: Global Goals Rightsinfo Cause2create Creativeequals

Refugee Crisis Background

This brief has been set in partnership with Help Refugees The most basic requirements for refugees to regain their independence are housing, language and employment. Without housing, people become destitute; without the ability to speak the local language, it is very difficult to get a job; without employment independence is almost impossible.

Refugee Crisis Challenge

How can we creatively support the empowerment of refugees in host countries, and improve their access to opportunities? Local language: classes can be expensive and restrictive in terms of the amount that you can study, when and where. What creative solutions could help with this? Employment: refugee unemployment in the UK is 50%, and many refugees are overqualified for the jobs they take. How can we find creative ways to increase people’s chances of finding meaningful work quickly? Integration: how can we build bridges with local communities? Can you find ways to keep community at the heart of these proposals? Empowerment: Can you consider innovative ways for Help Refugees to raise more funds to allow us to do more for empowerment projects? *96p from every pound raised already goes straight to our projects on the ground.

Conscious Consumption Background

We can’t continue to consume and buy ‘stuff’ at our current rate without serious consequences. ‘The story of stuff’ tells us why.

Conscious Consumption Challenge

The Conscious Consumption brief is an opportunity to create solutions to help re-direct our worlds trajectory towards self-destruction. This could explore themes on not just what we consume, but how and why. Where do the things we consume come from, and what are their impact e.g. environmental, psychological and/or societal. What methods could we use to design products that are sustainable and have a minimal or even positive ecological impact? And what would these products be? How could mindsets be shifted (especially in first world countries) away from misguided, and damaging purchasing habits? Why do we consume, and what are the often overlooked motivations for consumption – and are there ways we can nurture or redirect these energies? The solutions to these questions should aim to educate, inspire, excite and encourage new behaviours, so we can consciously consume.

Examples

  • Creating materials/products that do not cause harm to us and our environment (e.g. cradle to cradle)
  • Designing new systems (Donut and sharing economies are examples of this)
  • How can we educate and inform people about their choices in a fun, exciting and positive way.

Reference brands: Patagonia, Fairphones and Rubymoon

The awards ceremony and beyond

If you’re a winner you will receive an invite to our awards ceremony, hosted in London in July. At the ceremony you’ll get to mingle with creatives and professionals from complimentary organisations as well as other winners. Your winning work will be displayed on our site, plus you’ll be invited to be part of the Creative Conscience Collective – a platform to communicate with other winners, past and present, and where exclusive events and opportunities are shared. Beyond the awards, we also help to bring the brightest and most innovative projects to life though our Impact scheme. Providing contacts and mentorship, we support you with your project helping to create tangible impact in the world.

 

More: creativeconscience.org.uk

 

UX Design Awards

About the Awards

The UX Design Awards are a singular international competition with a focus on user experience, a key added value for connected life and work.

With the awards, International Design Center Berlin (IDZ) honors innovative solutions that increase the added value of new applications, technologies and services through positive experiences – and thus contribute to shaping a future-oriented world.

The competition is held annually and presented at the global technology show IFA in Berlin, Germany.

Further details: Participant Benefits.

Creating Experiences

The experiences of customers, employees and stakeholders shape the image of companies and organizations. Positive experiences promote the acceptance of new solutions and strengthen positive identification.

How do we experience our world of life and work, how do we wish to interact with new systems and technologies? Which expectations and wishes do future users have? Which solutions will prevail?

With the knowledge about user motivation, existing solutions can be improved and new business models can be developed. Successful experience design produces offers that increase joy of life through meaningful product experiences and that promote inclusion through intuitive handling.

Accomplished experience design offers real added value by helping people to achieve their goals in effortless and inspiring ways. Positive user experiences strengthen the success of products, systems and services on the global market.

Enhancing Brand Communications

Communicating positive experiences strengthens people relations and inspires brand recognition. Experience design is a strategic element of successful brand building.

The UX Design Awards offer great communication value to enterprises and design consultancies. A distinction for excellent user experience enhances the recognition of brands, skills, products and services in the international marketplace.

The number of competition participants is limited, increasing the prestige of each successful nominee and awarded title. By presenting all nominated solutions at the global technology show IFA, the Awards draw the attention of an international trade audience and the general public alike.

Further information: Participant Information and Competition Procedure.


“Experience or User Experience is not about good industrial design, multi-touch, or fancy interfaces. It is about transcending the material. It is about creating an experience through a device.” – Marc Hassenzahl

Award Titles

The UX Design Awards recognize outstanding user experience in digital and electronic products, services, environments and professional concepts. All distinguished participants acquire an unlimited, worldwide right of use to the assigned titles.

Winners distinguished by the competition Jury are publicly announced at a festive Awards Ceremony during the IFA trade show, ensuring broad publicity.

The following award titles and distinctions are assigned:

Nominations

UX Design Award | Nominated

Among all valid submissions, the Jury nominates a limited number of competition entries. Successfully nominated product solutions and concepts acquire the distinction “UX Design Award | Nominated”. All Nominees are presented in the UX Design Awards exhibition at IFA, the global technology show in Berlin, Germany.

Jury Awards

UX Design Award | Product

The competition jury honors excellent product solutions with the title “UX Design Award | Product”. The Product Awards recognize market-ready solutions that address highly relevant use cases, combining excellent design and user experience qualities in specific product areas. The number of Product Awards assigned each year is determined by the jury panel.

UX Design Award | Concept

By assigning the title „UX Design Award | Concept“ the jury recognizes forward-thinking application concepts and visionary use cases with high UX potential. The number of annual Concept Awards is decided by the competition jury.

UX Design Award Gold

One outstanding product solution or concept may be honored with the premium title “UX Design Award Gold”. The jury awards the Gold title to solutions representing an exceptional level of innovation and consistent user experience excellence. The Gold Award Winner is considered as the “best of the best” in each competition year.

Audience Award

UX Design Award | Public Choice

Users worldwide assign the title “UX Design Award | Public Choice” among all competition nominees. The Public Choice Award is determined through an extensive online vote. The winner of the Public Choice is announced at the beginning of November, ensuring additional communication opportunities.

Further information: Entries for the UX Design Awards competition

Competition Entries

The shift from individual products and services towards connected ecosystems, the Internet of Everything, requires interdisciplinary concepts and a cross-sectoral approach.

In a connected world, meaningful user experiences act consistently across products, services and applications, dissolving traditional product categories.

Consequently, UX Design Awards eschew narrowly defined product classes. The competition is open for submissions in the following areas:

Product Solutions

Launched or market ready products, services, environments

Entries for the “UX Design Award | Product” may include for instance: Electronic products, digital applications, apps, software-based solutions, services, physical and virtual spaces containing electronic functions or digital touchpoints. Entries must have either been launched on the market no longer than two calendar years prior to their submission date, or should be planned for a launch within the year of submission.

Concepts

Product studies, product- and service prototypes, interaction concepts, research projects

Entries for the “UX Design Award | Concept” may include for instance: Technological product studies, product or service prototypes, pioneering interaction solutions, research projects or solutions not (yet) intended for a market entry. The development process must have begun no longer than two calendar years prior to the submission date.

Further information: Evaluation Criteria and How to enter the UX Design Awards competition

Evaluation Criteria

User experience covers all aspects of emotional, cognitive and physical interactions with a product solution or service. This comprises user expectations (context and anticipation), the use process itself and the lasting impression (emotional identification or distancing). Successful submissions must solve a challenge in an elegant and useful way.

Requirements for a Nomination

To be nominated for the competition, submissions must fulfill a majority of the fundamental questions listed below. This ensures a comparably high level in user experience design among all award nominees. Applications must be self-explanatory and must clearly convey the user-centered approach.

Preconditions for Award Considerations

To qualify for an award, nominated solutions must excel in a majority of the evaluation criteria listed below. Impact, relevance and innovativeness range among key jury benchmarks. Prospective award winners should –

  • Generate new added value for a relevant user group;
  • Significantly improve a situation;
  • Open up novel application fields;
  • Enhance human knowledge and abilities;
  • Further inclusion and participation;
  • Reveal innovative approaches to solve an existing challenge;
  • Anticipate pioneering solutions for future challenges;
  • Skillfully apply novel technologies to generate compelling user benefits.

Jury Evaluation Criteria

The following criteria should be regarded as guidelines, supporting the competition judges in their individual decision-making process.

1. Fundamental Questions

What is the objective of the product solution?

The objective of use and problem-solving potential must be clearly identifiable for the user.

Is the solution straightforwardly accessible?

Access must be intuitive. All functions, assistance and feedback must be comprehensible and should support the user process.

How well is the product solution designed?

The visual and formal design must be convincing and consistent. Form, function and materials must be in an appropriate balance with one another.

How have users been integrated in the development process?

The product development must be based on a user-centered process; the quality of the research methods and their subsequent integration are decisive for the success of the product.

2. Use Flow

Is the use sequence intuitive?

Information architecture, symbols and the use of color must be self-explanatory and contribute to intuitive user guidance that is consistent with user expectations. Thereby, learning time should be minimal.

Is the solution universally comprehensible?

A wide range of different users must be able to securely operate the product solution in various situational scenarios; errors must be easy to correct.

How should the emotional and cognitive aspects be assessed?

The sum of expectations, behaviors and reactions before, during and after use must be predominantly positive.

3. Contents and Functions

Do the functions and media support the objectives of use?

The functions must correspond to the objectives of use; unnecessary actions and interactions should be avoided; appropriate information and media must support the communication objectives.

Are the contents appropriate?

The quality of the contents used must be in accordance with the context and objective of use.

4. Design and Service Quality

Is the product customizable?

Adaptations to different expectations and user requirements should be facilitated.

Is a high service quality guaranteed?

The service must be coherent and offer a positive user experience across all touchpoints.

5. Relevance and Innovation Value

Is the submission relevant?

The product must offer genuine or new added value for relevant user groups, or should represent a significant improvement to a usage situation.

How innovative is the product solution?

The entry should set new standards as a whole or in individual areas. Innovative solutions distinguish themselves through scalable business models that enable novel application fields, support participation and further knowledge exchange. They enhance human abilities by way of advanced technologies, data analysis or artificial intelligence.

Further information: How to enter the UX Design Awards competition

Awards Website

  • Permanent presentation of each nominated product solution in the Awards online exhibition including product image, video and description, company information and logotype.
  • Visual highlight of each Award Winner including individual jury statement.

Social Media and Newsletters

  • Announcements, reviews, films and individual features on FacebookTwitter and Vimeo.
  • Announcements and reviews in International Design Center Berlin newsletters to more than 6,000 recipients (design afficionados, design consultancies, corporations and multipliers).

Catalogue

  • Full page presentation of each nominated product solution (download 2016 edition).
  • Distribution at IFA: Awards exhibition, press and trade visitors, Award ceremony guests.
  • Print run: 20.000 (English / German)

Fair Communications

  • Flyer distribution at IFA: Awards exhibition, IFA press conference / visitor informations / trade visitor bags (print run: 40.000).
  • Highlight in the official IFA fair guide app
  • Highlight as an IFA Special Area

 

More: ux-design-awards.com

 

SMACH 2019 Call For Artists

SMACH 2019

SMACH is an international call for artists. The fourth edition of SMACH 2019 puts the the word ‘Heimat’ as it’s main focus, this is not a simple word. It is well known that the word proves untranslatable in many languages, English and Italian included. The language barrier reduces its meaning to concepts such as “motherland” are banal, if not completely misleading.

‘Heimat’ is indicative of a form of identity much stronger than a single word can transmit. It does not just refer to a place, but rather a set of shared and spontaneous values which have to do with life from infancy. The mention of which triggers a positive sensation in us when one thinks of our origins, thinks of our identity, or, on the contrary, the sense of solitude and impotency we feel when the loss of such tie is hinted at.

THE 10 LOCATIONS OPEN FOR ENTRIES

1. Plaies y Alfur
2. Ciastel de Tor
3. Val dl’Ert
4. Chi Jus
5. Pra de Pütia
6. Forcela de Furcia
7. Pares
8. Plan de Corones
9. Fanes

Submission

We are looking for artwork to be used on various locations, sites and buildings.

Deadline for submitting the proposals is March 17th and the 2019 Project dates are December 2018 – September 2019.
The event is organized and coordinated by: the Cultural Association SMACH, with the support of several cultural organizations that take care of the promotion of the area, culture and ladin language.

Project’s content:

SMACH, constellation of art, culture and history in the Dolomites. The artwork, installations and artistic interventions will be realized by individual artists or groups of artists. The artworks will be exhibited in places of historical and cultural interest in the municipalities of San Martin de Tor and Mareo. This project aims are to deepen peoples interest for art, as well as bringing awareness to the region. The artistic interventions will aim to grow people’s interest for the art, not only as a form of autonomous language, but also as a promotion for the territory. The artists should create a deep understanding of the history, the tradition, the architecture, the nature of the proposed sites and reflect this in their works. SMACH prides itself in being one with “art and nature”, where the latter acts as a place for artistic action, designed and conceived specifically for the various sites; despite the intertwining, integration of the work of art in nature, a contrast is always created between human intervention and the natural evolution implicit in the environment.

The theme of this edition is “Heimat”:

The fourth edition of SMACH puts the word Heimat in central focus: this is not a simple word. It is well known that the word proves untranslatable in many languages, English and Italian included. Attempts to reduce its meaning to concepts such as “motherland” are banal, are not completely misleading. Heimat is indicative of a form of identity much stronger than a single word can transmit. It does not just refer to a place, but rather a set of shared and spontaneous values which have all to do with life from infancy and mention of which triggers a positive sensation in us when we think of our origins, think of our identity, or, on the contrary, the sense of solitude and impotency we feel when the loss of such tie is hinted at.

The places and sites where the artworks will be exhibited can be reached by walking along the paths. The areas are located between 1,100 and 2,300 meters above sea level:

1. Plaies y Alfur
2. Ciastel de Tor
3. Val dl’Ert
4. Chi Jus
5. Pra de Pütia
6. Forcela de Furcia
7. Pares
8. Plan de Corones
9. Fanes
10. Senes

Aim and purpose of the project:

The aim is to approach through works of contemporary art the theme “Heimat”. What interests the locals and visitors the most in the landscapes, in the unique wonders of nature, in the towns and villages and in the buildings of the municipalities of San Martin de Tor and Mareo area should be increased by the exhibition. All sites share common values in terms of nature, history and culture. The artists will have priority access to the contents, places and background. The projects will be places and set up at the various sites. The attractions will draw in visitors, who can enjoy discovering nature of the present and the past and everyday life in Val Badia – one of the best known and most visited valleys in the Dolomites. The purpose of SMACH will be achieved if the exhibited works ignite the curiosity of people for the project as a whole. Artists and visitors unable to get to the ten locations will have the opportunity to gain access to the content and background through written and virtual accounts on our website www. Smach.it. Once the project has ended in September 2019, we are continuing to keep SMACH documented online.

Important instructions from the jury:

All the SMACH locations must be treated with the utmost respect. These locations are sensitive biologically, environmentally and agriculturally. The artworks and the artistic interventions, which could be harmful or damaging to natural surroundings will not be taken into consideration.

Accessories:

Through a QR Code, visitors will be given information on the content, background and in-depth analysis that inspired the artists and their works of art. Information will be available in Ladin, Italian, German and English. Tables will be produced providing relevant information, while a catalogue on the SMACH project will also be published.

Cultural activities:

In collaboration with a number of associations, institutions and private businesses – both local and supra-municipal – events will be held alongside the art projects. The ultimate aim of the project is to revive the kind of niche culture that is typical of smaller communities as supposed to that of popular culture. The events will be intercultural and will extend beyond physical and language barriers.

Prizes and expenses:

Ten sites will be selected by the jury: ten works for ten locations.
The ten selected artworks and projects will receive a prize of euro 2,000.00 each (net after taxes and deductions, where applicable).
The artists themselves will have to take care of the materials, the transport and the positioning of their works.
During the installation period, the organization will provide the artists with board and lodging (half board) for a maximum stay of 4 nights in San Martin de Tor.
The artists will grant to the organizers the chance to purchase the exhibited works when the project SMACH ends in September.
Once the project is over, the artists will have to remove from the locations the artworks at their own expense (until the 15th of september).

Jury:

Gehard Demetz, artist
Gianluca D’Incà Levis, Initiator und Künstlerischer Leiter von Dolomiti Contemporanee
Guus van den Hout, former curator at the MET New York
Julia Bornefeld, artist
Michael Petry, director of the MOCA, Museum of Contemporary Art, London

Terms and conditions to submit the competition:

The competition is open to all.
Anyone wishing to take part can choose to submit at most 2 proposal also for more locations.
The artists have no boundaries for the design and the size of the work.
The artists must indicate the location where the work should be placed. Otherwise the members of the jury will choose the most suitable site.
For the installation of the works the organizers will give advices and information, but there is no active or financial help foreseen.
Visual material should be attached to the submission e-mail (e.g.: drawings of the project, renderings or collages etc.)
Only the artworks that have characteristics and conditions in order to be made and exhibited throughout the summer will be prized.
If the organisation team notices activities that cause a relevant natural damage during the installation, the artist can be excluded.
17th of march 2019: Last term to submit the works to SMACH in digital format (pdf format A4 or A3) by e-mail or via wetransfer.com at info@smach.it (you will receive a return message (OK) to confirm that your work is enrolled to the competition.
12th of april 2019: communication of the selected artworks through the website
3rd to 9th of june 2019: Setup of the works on site (weather permitting)
6th of july 2019: vernissage
8th of september 2019: end of the exhibition
Until the 15th of september: desinstallation of the artworks
Since SMACH is an open air exhibition, the artworks cannot be guarded and therefore it is not possible to guarantee their condition.
All the decisions taken by the jury of SMACH are final

It follows the competition registration form: English form.

Project

SMACH is a land-art project born in 2012. It is a biennial open air exhibition that represents the combination of “art and nature”, where the latter acts as the display of the artistic creations, designed and tailored specifically to various sites. It started from an international art competition that celebrates where the involved artists, staged their works in places of historical and cultural interests in San Martin de Tor and Marebbe.

Their artworks have the aim of sparking people’s interest for art and enhancing the area of the Dolomites in which they are immersed. Through a dialogue between art and nature, the artists want to promote thorough and ongoing consciousness of the historical, cultural and traditional aspects of the area.

Since the beginning, the project is grown and in 2018, the non-profit cultural association SMACH was founded to warrant the project’s goals: the biennial art competition, the art valley and collateral events.

More: Smach 2019

 

Total Prize: €2.000

SEGD Global Design Awards 2019

The 2019 SEGD Global Design Awards, the only international awards program focused on user experiences in the built environment, officially opened for entries.

The SEGD Global Design Awards have set the standard of excellence for environmental graphic design and experiential graphic design for over 30 years-honoring design work that connects people to place by providing direction, content and compelling experiences in public spaces-since 1987.

“The SEGD Global Design Awards are the only awards exclusively for experiential graphic design,” says Clive Roux, CEO of SEGD. “That means your projects will be reviewed by jury experts in your field like Lance Wyman, Lee Skolnick, Refik Anadol and this year’s Jury Chair, Kathy Fry.”

The multidisciplinary SEGD Global Design Awards jurors evaluate submissions on criteria that includes: connecting people to place, creating a memorable user experience and solving the client’s objective or design challenge. The jury will be composed of nine highly respected practitioners, from around the world who represent a range of design disciplines.

The seven entry categories reflect the core practice areas of Experiential Graphic Design: Digital Experience Content, Exhibition, Interactive Experience, Placemaking and Identity, Public Installation, Strategy/Research/Planning and Wayfinding. Honor and Merit design award winners will be chosen from submissions in each category. A Best of Show Award will be chosen from among the Honor awards and a Sylvia Harris Award winner will be selected from all submissions for a project which exemplifies design for the public good in honor of the legacy of Sylvia Harris, founder of Citizen Research & Design.

The deadline for submissions is January 31, 2019. Submissions will be accepted with late fees through February 14, 2019.

 

More: segd.org

 

Art Olympia 2019 International Open Art Competition

Art Olympia is an open art competition held as a biennial event with the goal of discovering talented artists around the world and supporting their activities. It aims to promote exchanges of the world’s various cultures through arts.

Art Olympia seeks two-dimensional artworks which can be representational or abstract; oil, acrylic, watercolour, pastel, mineral pigments, print, charcoal, digital/multimedia art, mixed media, photography, etc. (calligraphy, video, sculpture, and group/ collaboration works are not accepted).

Art Olympia embodies the following three concepts:

• HUB – Discover talented artists and direct them to where they might have more potential
• Excavation – Discover artists with potential to be recognized internationally
• Practice – Creation of new art for the next generation by international artists

Each artist is limited to three images. In addition to the General Category, there is also an “Open category” as well as a “Student category” aimed at supporting young artists.

Artworks of approximately 160 pieces (80 pieces from Japan and 80 pieces outside of Japan) will be selected and undergo a final review in Tokyo by a panel of great judges invited from around the world.

Eligibility

Open to artists from all over the world.

Prize

For All-Entrants Category, the first prize winner will receive 120,000 USD, the second prize winner 30,000 USD, and the third prize winner 20,000 USD along with the Art Olympia original trophies. The forth prize winner will receive 3,000 USD, the fifth 2,000 USD, and the sixth 1,000 USD.

For Student Category, the first prize winner will receive 20,000 USD, the second 10,000 USD, and the third 5,000 USD along with the Art Olympia original trophies. The fourth prize winner will receive 3,000 USD, the fifth 2,000 USD, and the sixth 1,000 USD.

Separately from the top 160 finalists, Art Olympia will recognize 200 additional great works with an honourable mention, and another 640 fine works with a semi-honourable mention.

 

More: artolympia.jp

 

Total Prize: $120,000

Prix Ars Electronica 2019

The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette, prize money ranging up to € 10,000 per category and an opportunity to showcase their talents at the famed Ars Electronica Festival in Linz.

The submission phase for the Prix Ars Electronica 2019 will begin in January 2019!

The Prix Ars Electronica was launched in 1987 by Ars Electronica co-founder Hannes Leopoldseder. The categories at the outset were Computer Graphics, Computer Animation and Computer Music. In 1990, Interactive Art enhanced the array. A category especially for kids and young people was introduced in 1998. A prize for Digital Communities and [the next idea] voestalpine Art and Technology Grant premiered in 2004, followed by Hybrid Art in 2007. The Prix Ars Electronica’s most recent innovations came in 2014 with the introduction of a Golden Nica honoring the Visionary Pioneers of Media Art, and the reconfiguration of two pairs of categories—Hybrid Art and Digital Musics & Sound Art; Interactive Art and Digital Communities—which now alternate in a biennial rhythm. The Prix’s highly diversified dramatis personae has included internationally renowned artists (Karlheinz Stockhausen, Roy Ascott, Lynn Hershman, Toshio Iwai / Ryuichi Sakamoto, Chris Cunningham / Aphex Twin), Oscar winners (John Lasseter, Chris Landreth) and creative young trailblazers (Graffiti Research Lab).

Categories and Prizes

Computer Animation 1 Golden Nica 10.000 Euro 2 Awards of Distinctions up to 12 Honorary Mentions
Interactive Art +* 1 Golden Nica 10.000 Euro 2 Awards of Distinctions up to 12 Honorary Mentions
Digital Communities* 1 Golden Nica 10.000 Euro 2 Awards of Distinctions up to 12 Honorary Mentions
Digital Musics & Sound Art* 1 Golden Nica 10.000 Euro 2 Awards of Distinctions up to 12 Honorary Mentions
Hybrid Art* 1 Golden Nica 10.000 Euro 2 Awards of Distinctions up to 12 Honorary Mentions
u19 – CREATE YOUR WORLD 1 Golden Nica 3.000 Euro 2 Awards of Distinctions 800 Euro, 1 prize to contestants age 10 and under, 1 prize to the 11 to 14 year-olds up up to 10 Honorary Mentions
Visionary Pioneers of Media Art 1 Golden Nica

* The prizes in the categories “Interactive Art”, “Digital Communities”, “Digital Musics & Sound Art” and “Hybrid Art” are not awarded annually but alternately every two years.

Events of the Prix Ars Electronica during the Ars Electronica Festival

During the Ars Electronica Festival in September, the Golden Nicas, Awards of Distinction and Honorary Mentions are awarded with pomp at the Ars Electronica Gala. The winners of the Golden Nicas and Awards of Distinction are also invited to present their projects at the Prix Ars Electronica Forums which are held over a number of days. The Ars Electronica Festival presents the CyberArts Exhibition annually as one of its main shows. It showcases a selection of winning projects of the latest Prix Ars Electronica. The Museum of the Future, on the other hand, devotes a special exhibition for an entire year to the projects from the youth competition “u19–Create Your World”. Formatted specially for the Festival, the award-winning works from the category “Computer Animation / Film / VFX” are shown at the Ars Electronica Animation Festival with the Electronic Theatre. The “Digital Musics & Sound Art” winners present their works in the form of concerts conceived as part of the programme of Ars Electronica Nightlines.

Credits

The Prix Ars Electronica is staged jointly by Ars Electronica Linz GmbH & Co KG in cooperation with the OK Center for Contemporary Art and Brucknerhaus Linz. The Golden Nica statuettes are presented to each year’s winners at the Ars Electronica Festival in early September. The Prix Ars Electronica is one of the world’s premier awards honoring creativity and innovativeness in the use of digital media. Idea: Hannes Leopoldseder, Concept: Christine Schöpf and Gerfried Stocker, Head of Department Festival Ars Electronica/Prix Ars Electronica: Martin Honzik, Head of Prix Ars Electronica: Emiko Ogawa info.prixars@aec.at, 0043-732-7272-781

More: ars.electronica.art

 

Total Prize: €53,000