2017 Edmund Lee Design Annual by Edmund Lee

2016-2017 ANNUAL

Project Title Project Description

Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

Input

Output

Project Image

55HAUS Introduction 55HAUS is a multidiciplinary platform founded by Edmund Lee and William Lee. 55HUAS has been connecting design thinkers around the world. 55HUAS is still in the incubation period. We are coming back.

Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

First Client : Acura David McDavid Branch

Original Business Card

Final Decision

process

55HAUS Movement #1 “Design should not be overexaggerated by materialism.” Movement #1 represents 55HAUS’s personal statements. Money should not be the main factor that influences design direction. Design needs to be redefined / restructured / shared through passion and honesty.

Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

Manhattan Discovery Map

Manhattan consists of infinite discovery and exploration. First map indicates highly concentrated area with galleries. (Soho and Chelsea) Second map shows Edmund’s personal ‘design inspiring’ venues throughout the city. Download the maps on 55haus.org for free. Let’s explore. Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

Titanic Data Visualization

Lo, Though many years have passed since day she sank For all those who survived, for all those who survived.. Tis God we thank and pray that he in all his wisest ways Will care forever more for those who ended their days. A Prayer For Those Whom Were Taken From Us, 100 Years This Day, Aboard RMS Titanic. May God Watch Over Their Souls In His Kingdom. May They Ever Rest In Peace.

Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

Titanic 1912

Age to Ticket Fare Density Distribution

Maximum Ticket Fare: $512

Age: 0 Minimum Ticket Fare: $3

80 years

3rd class

Did not survive

extrusion / revolve of casualties and survivors graph

3rd class

2nd class

no distribution of life boat

1st class

Survived

passengers who got on one of 16 life boats

2nd class 1st class

Tracking Passenger Graph Each vector indicates a passenger who was on Titanic. The graph represents symmetrical factors with two outcome. Right value which ranges from 0 -16 shows lifeboat number.

Ex. Ms.Jones (age:43) was a 1st Class passenger with a ticket price of $25. When she survived, she was on lifebot #15

Roman Capitals Drafting Motion A Constructed Roman Alphabet by David Lance Goines After studying this amazing book, I made a motion graphic on technical drafting of following letters: R O M A N C A P I T A L S. The clip can be viewed on 55haus.org. Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

A Constructed Roman Alphabet by David Lance Goines

When I was in basic type class last year, our professor, Richard Mehl introduced us the book. One of the assignments from the class was to draw 26 Roman Capital letters. By studying this book, I was able to use drafting method to draw capitals. This year, I made a motion clip that demonstrates techinical drafting of Roman Capital letters. The clip includes animated drafting of following letters. R O M A N C P I T L S. Only vectors were used in the motion. Same 9X9 grid system was used in both technical drafting and motion graphics

Book Cover

Spread of â&#x20AC;&#x2DC;how to construct draftingâ&#x20AC;&#x2122; of letter S.

A fold-out spread of drafted letter Q

Technical Drafting of Roman Capitals from last year

music: Kaytranada - Whatever You Want view: www.55haus.org length: 42 seconds

MTA Personal Commuting App. MTA is a huge part of commuterâ&#x20AC;&#x2122;s life. N train never comes. F train does not run time to time. Donâ&#x20AC;&#x2122;t let MTA ruin your day and night. Now we have the control over incorrect train schedule. Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

2014 - 2015 Customer Satisfaction Facts

74% 52% 83%

Satisfied on-time performance Satisfied getting crowded during rush hours Satisfied MetroCard vending machines

2015 Annual Ridership for 23 st. Station

First two notifications allow the application to provide realtime train information.

Since home is the most used destination for every commuters, setting up ‘home’ train station sets the user on faster commuting schedule. Linking user’s credit card information saves time on refilling values on Metrocard. Each phone’s NFC (Near Field Chip) works as a payment method.

When the application is executed for the first time, the home screen educates a user important function of the app. Top tab indicates how mobile MetroCard can be charged automatically with pre-registered credit card. Right hand tab indicates uptown / downtown realtime train information. Bottom tab represents registering for most often used destinations.

Arrow directions change depending on the userâ&#x20AC;&#x2122;s location. If the user selects Downtown tab, the app shows real-time train information approaching his or her current station.

For mobile MetroCard, payments can be made on the home screen by just typing in wanted value. Userâ&#x20AC;&#x2122;s registered credit card then automatically refills the value in the app. Single and Unlimited value can be purchased through payment tab in the menu.

Most common destinations such as school and workplace shortcut can be added on the bottom tab of the app. Registered tab provides real-time arrival time to the user. Shortcuts can be made in detail through the menu.

When the user is on home screen of a phone, the application sends notification of low balance and train arrival / delay.

MIT Media Lab Projects Visualized

MIT Media Lab is one of the best research institution around the world. Their inventions are changing the world. Recently, Media Lab’s identity was changed to black grid system. I believe that Media Lab ‘colors’ the world. Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

Media Lab has more than 470 on going research projects. The assignment was to redesign a website. When I visited the Media Lab website, I was thrilled to read about the 2016 Spring projects. What if each project was visualized into a graphic poster? I chose three projects: HydroMorph, Microculture, and Fabricology. The professor told me that I should not put any colors on Michael Vierut designed icon system. I owe an apology to Michael for not resisting myself from using colors.

Massachusetts Institute of Technology

Media Lab Projects | Spring 2016

MIT Media Lab Buildings E14 / E15 75 Amherst Street Cambridge, Massachusetts 02139-4307 communications@media.mit.edu http://www.media.mit.edu 617 253-5960

87.

88.

89.

The Language Group Network

The Network Impact in Success

The Privacy Bounds of Human Mobility

that aggregate to form metropolitan identity. We hope that this study will improve our collective understanding of the urban environments we shape and the stories they generate, that it will allow us to more sensitively test and implement real change in our shared public realm and support the invisible narratives it generates.

Shahar Ronen, Kevin Hu, Michael Xu, and CĂŠsar A. Hidalgo Most interactions between cultures require overcoming a language barrier, which is why multilingual speakers play an important role in facilitating such interactions. In addition, certain languages (not necessarily the most spoken ones) are more likely than others to serve as intermediary languages. We present the Language Group Network, a new approach for studying global networks using data generated by tens of millions of speakers from all over the world: a billion tweets, Wikipedia edits in all languages, and translations of two million printed books. Our network spans over eighty languages, and can be used to identify the most connected languages and the potential paths through which information diffuses from one culture to another. Applications include promotion of cultural interactions, prediction of trends, and marketing.

111. Computational Scope and Sequence for a Montessori Learning Environment NEW LISTING

Cesar A. Hidalgo and Miguel Guevara Diverse teams of authors are known to generate higher-impact research papers, as measured by their number of citations. But is this because cognitively diverse teams produce higher quality work, which is more likely to get cited and adopted? Or is it because they possess a larger number of social connections through which to distribute their findings? In this project we are mapping the co-authorship networks and the academic diversity of the authors in a large volume of scientific publications to test whether the adoption of papers is explained by cognitive diversity or the size of the network associated with each of these authors. This project will help us understand whether the larger levels of adoption of work generated by diverse groups is the result of higher quality, or better connections.

112. Microculture

We used 15 months of data from 1.5 million people to show that four points--approximate places and times--are enough to identify 95 percent of individuals in a mobility database. Our work shows that human behavior puts fundamental natural constraints on the privacy of individuals, and these constraints hold even when the resolution of the dataset is low. These results demonstrate that even coarse datasets provide little anonymity. We further developed a formula to estimate the uniqueness of human mobility traces. These findings have important implications for the design of frameworks and institutions dedicated to protecting the privacy of individuals.

113. Proximity Networks

Hiroshi Ishii: Tangible Media

114. Storyboards

NEW LISTING

Seamlessly coupling the worlds of bits and atoms by giving dynamic physical form to digital information and computation.

90.

bioLogic

Lining Yao, Wen Wang, Guanyun Wang, Helene Steiner, Chin-Yi Cheng, Jifei Ou, Oksana Anilionyte, Hiroshi Ishii BioLogic is our attempt to program living organisms and invent responsive and transformational interfaces of the future. Nature has engineered its own actuators, as well as the efficient material composition, geometry, and structure to utilize its actuators and achieve functional transformation. Based on the natural phenomenon of hygromorphic transformation, we introduce a specific type of living cells as nanoactuators that react to body temperature and humidity change. The living nanoactuator can be controlled by electrical signal and communicate with the virtual world as well. A digital printing system and design simulation software are introduced to assist the design of transformation structure.

91.

HydroMorph NEW LISTING

92.

Inflated Appetite NEW LISTING

Page 16

115. The Dog Programming Language

Salman Ahmad and Sep Kamvar

116. Wildflower Montessori

Sep Kamvar, Kim Smith, Yonatan Cohen, Kim Holleman, Nazmus Saquib, Caroline Jaffe

211. Carpal Skin

Neri Oxman

How can additive fabrication technologies be scaled to building-sized construction? We introduce a novel method of mobile swarm printing that allows small robotic agents to construct large structures. The robotic agents extrude a fast-curing material which doubles as both a concrete mold for structural walls and as a thermal insulation layer. This technique offers many benefits over traditional construction methods, such as speed, custom geometry, and cost. As well, direct integration of building utilities such as wiring and plumbing can be incorporated into the printing process. This research was sponsored by the NSF EAGER award: Bio-Beams: FGM Digital Design & Fabrication.

Carpal Skin is a prototype for a protective glove to protect against Carpal Tunnel Syndrome, a medical condition in which the median nerve is compressed at the wrist, leading to numbness, muscle atrophy, and weakness in the hand. Night-time wrist splinting is the recommended treatment for most patients before going into carpal tunnel release surgery. Carpal Skin is a process by which to map the pain-profile of a particular patient--its intensity and duration--and to distribute hard and soft materials to fit the patient's anatomical and physiological requirements, limiting movement in a customized fashion. The form-generation process is inspired by animal coating patterns in the control of stiffness variation.

212. CNSILK: Computer Numerically Controlled Silk Cocoon Construction

Neri Oxman

213. Digitally Reconfigurable Surface

Neri Oxman and Benjamin Peters

214. FABRICOLOGY: Variable-Property 3D Printing as a Case for Sustainable Fabrication

Neri Oxman

Dog is a new programming language that makes it easy and intuitive to create social applications. A key feature of Dog is built-in support for interacting with people. Dog provides a natural framework in which both people and computers can be sent requests and return results. It can perform a long-running computation while also displaying messages, requesting information, or sending operations to particular individuals or groups. By switching between machine and human computation, developers can create powerful workflows and model complex social processes without worrying about low-level technical details.

Wildflower is an open-source approach to Montessori learning. Its aim is to be an experiment in a new learning environment, blurring the boundaries between home-schooling and institutional schooling, between scientists and teachers, between schools and the neighborhoods around them. At the core of Wildflower are nine principles that define the approach. The Wildflower approach has been implemented by several schools, which serve as a research platform for the development of Montessori materials that advance the Montessori Method, software tools that enable Montessori research, and social software that fosters the growth and connection of such schools.

HydroMorph is an interactive display based on shapes formed by a stream of water. Inspired by the membrane formed when a water stream hits a smooth surface (e.g., a spoon), we developed a system that dynamically controls the shape of a water membrane. This project explores a design space of interactions around water shapes, and proposes a set of user scenarios in applications across scales, from the faucet to the fountain. Through this work, we look to enrich our interaction with water, an everyday material, with the added dimension of transformation.

Neri Oxman, Steven Keating and John Klein

Sepandar Kamvar, Kevin Slavin, Jonathan Bobrow and Shantell Martin Giving opaque technology a glass house, Storyboards present the tinkerers or owners of electronic devices with stories of how their devices work. Just as the circuit board is a story of star-crossed lovers--Anode and Cathode--with its cast of characters (resistor, capacitor, transistor), Storyboards have their own characters driving a parallel visual narrative.

Ken Nakagaki, Pasquale Totaro, Jim Peraino, Thariq Shihipar, Chantine Akiyama, Yin Shuang, Anthony Stuart, Hiroshi Ishii

210. Building-Scale 3D Printing

Josh Sarantitis, Sepandar Kamvar, Yonatan Cohen, Kathryn Grantham and Lisa DePiano Microculture gardens are a network of small-scale permaculture gardens that are aimed at reimagining our urban food systems, remediating our air supply, and making our streets more amenable to human-scale mobility. Microculture combines micro-gardening with the principles of permaculture, creatively occupying viable space throughout our communities for small-scale self-sustaining food forests. Micro-gardens have proven to be successful for the production of a broad range of species, including leafy vegetables, fruit, root vegetables, herbs, and more. Traditionally, container-based micro-gardens occupy approximately one meter of space or less and are made from found, up-cycled materials. Our innovations involve the combining of permaculture and micro-gardening principles, developing materials and designs that allow for modularity, mobility, easy replicability, placement in parking spots, and software that supports the placement, creation, and maintenance of these gardens.

Cesar A. Hidalgo and Yves-Alexandre DeMontjoye

installation we redeem the Tower of Babel by creating its antithesis. We will construct a virtuous, decentralized, yet highly communicative building environment of cable-suspended fabrication bots that together build structures bigger than themselves. We explore themes of asynchronous motion, multi-nodal fabrication, lightweight additive manufacturing, and the emergence of form through fabrication. (With contributions from Carlos Gonzalez Uribe and Dr. James Weaver (WYSS Institute and Harvard University))

CNSILK explores the design and fabrication potential of silk fibers inspired by silkworm cocoons for the construction of woven habitats. It explores a novel approach to the design and fabrication of silk-based building skins by controlling the mechanical and physical properties of spatial structures inherent in their microstructures using multi-axis fabrication. The method offers construction without assembly, such that material properties vary locally to accommodate for structural and environmental requirements. This approach stands in contrast to functional assemblies and kinetically actuated facades which require a great deal of energy to operate, and are typically maintained by global control. Such material architectures could simultaneously bear structural load, change their transparency so as to control light levels within a spatial compartment (building or vehicle), and open and close embedded pores so as to ventilate a space.

The digitally reconfigurable surface is a pin matrix apparatus for directly creating rigid 3D surfaces from a computer-aided design (CAD) input. A digital design is uploaded into the device, and a grid of thousands of tiny pins, much like the popular pin-art toy are actuated to form the desired surface. A rubber sheet is held by vacuum pressure onto the tops of the pins to smooth out the surface they form; this strong surface can then be used for industrial forming operations, simple resin casting, and many other applications. The novel phase-changing electronic clutch array allows the device to have independent position control over thousands of discrete pins with only a single motorized "push plate," lowering the complexity and manufacturing cost of this type of device. Research is ongoing into new actuation techniques to further lower the cost and increase the surface resolution of this technology.

Rapid prototyping technologies speed product design by facilitating visualization and testing of prototypes. However, such machines are limited to using one material at a time; even high-end 3D printers, which accommodate the deposition of multiple materials, must do so discretely and not in mixtures. This project aims to build a proof-of-concept of a 3D printer able to dynamically mix and vary the ratios of different materials in order to produce a continuous gradient of material properties with real-time correspondence to structural and environmental constraints. Alumni Contributors: Mindy Eng, William J. Mitchell and Rachel Fong

Chin-Yi Cheng, Hiroshi Ishii, Jifei Ou, Wen Wang and Lining Yao As part of human evolution and revolution, food is among the earliest forms of human interaction, but it has remained essentially unchanged from ancient to modern times. What if we introduced engineered and programmable food materials? With that change, food can change its role from

April 2016

MIT Media Lab

Page 20

April 2016

MIT Media Lab

Page 36

April 2016

MIT Media Lab

Media Lab Research

MIT media lab

https:// www.research.medialab.edu

media lab research social comput

Media Lab Research

MIT media lab

https:// www.research.medialab.edu

MIT media lab

https:// www.research.medialab.edu

social computing social computing

87.

88.

89.

The Language Group Network

Shahar Ronen, Kevin Hu, Michael Xu, and CĂŠsar A. Hidalgo

The Network Impact in Success

Cesar A. Hidalgo and Miguel Guevara

The Privacy Bounds of Human Mobility

Cesar A. Hidalgo and Yves-Alexandre DeMontjoye

Most interactions between cultures require overcoming a language barrier, which is why multilingual speakers play an important role in facilitating such interactions. In addition, certain languages (not necessarily the most spoken ones) are more likely than others to serve as intermediary languages. We present the Language Group Network, a new approach for studying global networks using data generated by tens of millions of speakers from all over the world: a billion tweets, Wikipedia edits in all languages, and translations of two million printed books. Our network spans over eighty languages, and can be used to identify the most connected languages and the potential paths through which information diffuses from one culture to another. Applications include promotion of cultural interactions, prediction of trends, and marketing.

Diverse teams of authors are known to generate higher-impact research papers, as measured by their number of citations. But is this because cognitively diverse teams produce higher quality work, which is more likely to get cited and adopted? Or is it because they possess a larger number of social connections through which to distribute their findings? In this project we are mapping the co-authorship networks and the academic diversity of the authors in a large volume of scientific publications to test whether the adoption of papers is explained by cognitive diversity or the size of the network associated with each of these authors. This project will help us understand whether the larger levels of adoption of work generated by diverse groups is the result of higher quality, or better connections.

Hiroshi Ishii: Tangible Media

Seamlessly coupling the worlds of bits and atoms by giving dynamic physical form to digital information and computation.

90.

bioLogic

91.

HydroMorph NEW LISTING

92.

Inflated Appetite NEW LISTING

Page 16

Ken Nakagaki, Pasquale Totaro, Jim Peraino, Thariq Shihipar, Chantine Akiyama, Yin Shuang, Anthony Stuart, Hiroshi Ishii HydroMorph is an interactive display based on shapes formed by a stream of water. Inspired by the membrane formed when a water stream hits a smooth surface (e.g., a spoon), we developed a system that dynamically controls the shape of a water membrane. This project explores a design space of interactions around water shapes, and proposes a set of user scenarios in applications across scales, from the faucet to the fountain. Through this work, we look to enrich our interaction with water, an everyday material, with the added dimension of transformation. Chin-Yi Cheng, Hiroshi Ishii, Jifei Ou, Wen Wang and Lining Yao As part of human evolution and revolution, food is among the earliest forms of human interaction, but it has remained essentially unchanged from ancient to modern times. What if we introduced engineered and programmable food materials? With that change, food can change its role from

April 2016

MIT Media Lab

210. Building-Scale 3D Printing

Neri Oxman, Steven Keating and John Klein

211. Carpal Skin

Neri Oxman

212. CNSILK: Computer Numerically Controlled Silk Cocoon Construction

Neri Oxman

213. Digitally Reconfigurable Surface

Neri Oxman and Benjamin Peters

214. FABRICOLOGY: Variable-Property 3D Printing as a Case for Sustainable Fabrication

Neri Oxman

Page 36

April 2016

MIT Media Lab

111. Computational Scope and Sequence for a Montessori Learning Environment NEW LISTING

112. Microculture

Sepandar Kamvar, Yonatan Cohen, Kimberly Smith and Sanjoy Mahajan As part of our motivation to expand the classic Montessori curriculum and to address contemporary proficiencies, we are designing materials for teaching the fundamentals of computation. The project consists of developing both materials and their scope and sequence as tangible, direct and non-digital micro lessons. Montessori Teaching Materials are a fundamental part of Montessori education. They are tactile, sensorial and self-correcting; they explain an isolated principle in a prescribed way; yet coexist in an environment of other lessons and materials with which they correspond and communicate. Josh Sarantitis, Sepandar Kamvar, Yonatan Cohen, Kathryn Grantham and Lisa DePiano Microculture gardens are a network of small-scale permaculture gardens that are aimed at reimagining our urban food systems, remediating our air supply, and making our streets more amenable to human-scale mobility. Microculture combines micro-gardening with the principles of permaculture, creatively occupying viable space throughout our communities for small-scale self-sustaining food forests. Micro-gardens have proven to be successful for the production of a broad range of species, including leafy vegetables, fruit, root vegetables, herbs, and more. Traditionally, container-based micro-gardens occupy approximately one meter of space or less and are made from found, up-cycled materials. Our innovations involve the combining of permaculture and micro-gardening principles, developing materials and designs that allow for modularity, mobility, easy replicability, placement in parking spots, and software that supports the placement, creation, and maintenance of these gardens.

113. Proximity Networks NEW LISTING

114. Storyboards

Sepandar Kamvar, Ayesha Bose, Connie Liu, Nazmus Saquib and Dwayne George A crucial part of Montessori education is observation of the students, so teachers can assist individuals and structure the environment as needed. Our work aims to assist this observation by measuring proximity of students through Simblee COM sensors. We provide detailed visualizations in a dashboard-style interface to both teachers and parents. This dashboard helps teachers individualize their own methods to facilitate a child's growth in the classroom. Sepandar Kamvar, Kevin Slavin, Jonathan Bobrow and Shantell Martin Giving opaque technology a glass house, Storyboards present the tinkerers or owners of electronic devices with stories of how their devices work. Just as the circuit board is a story of star-crossed lovers--Anode and Cathode--with its cast of characters (resistor, capacitor, transistor), Storyboards have their own characters driving a parallel visual narrative.

115. The Dog Programming Language

Salman Ahmad and Sep Kamvar

116. Wildflower Montessori

Sep Kamvar, Kim Smith, Yonatan Cohen, Kim Holleman, Nazmus Saquib, Caroline Jaffe

Page 20

April 2016

MIT Media Lab

WATT Energy Inc.

Sick of paying for electricity bills? What if we can pay for the bills by walking on sidewalks? WATT is a electricity generating platform powered by pedestrians. Letâ&#x20AC;&#x2122;s walk for energy. Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

sidewalk powered by

Watt is a system that absorbs pedestriansâ&#x20AC;&#x2122; kinetic energy which converts into usable electricity. By installing piezoelectric sensors under floors or planes where they have in contact with pedestriansâ&#x20AC;&#x2122; feet, electricity can be collected and be used for any objects that require electricity. Everything. What if we can produce electricity by ourselves? We create free energy every day: walking which is our kinetic energy. What if we can convert this free energy into usable electricity. New York City has the highest pedestrian traffic rate in the world. What if 8.5 million New Yorkers walk for this free energy? Piezoelectricity is the appearance of an voltage across the sides of a crystal when one applies mechanical stress, such as pressure. When vibration or pressure is applied to the piezo sensor, voltage is created. This created voltage can be stored in Watt captivator or as known as battery, then be sent to units through pre-existing channels. Batteries connected to Watt tiles can be installed into any structures ranging from an apartment unit to the most populated Grand Central Station lobby to even the outdoor sidewalks.

It all starts from the mother nature. Birth of electricity starts with natural resources like coal, oil, natural gas, and wood. Suppliers then transport collected natural resources to energy hubs in order to store before sent to the generators. Energy Hubs then apply cost on these natural resources in order to sell them to generators, as know as power plants. Most common power plants are fossilfueled power plant, combined cycle power plant, nuclear power plant and hydropower plant. Generated electricity is then sent to transmission substation which is the station that stores electricity to different stations through high voltage lines, known as the tower. Area substations receive the electricity then send through power lines that are installed under the ground of the city. Pre-installed transformer converts electricity into domestic size then sends to apartment units through feeders. Electrical meter indicates how much electricity you received and spent through electrical socket. All you have to do is pull the light switch and get charged for monthly electricity bill. - WATT Promo Script

100%

9:41 AM

$12.75

9/27

deducted out of

9/28

$85.07

9/29

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watt watts

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monthly bills

10.8%

$75

Aug

Oct

$50

Highline Park

$25

10 11 12

This Month

Union Sq. Park

your favorite watt zone

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Wall St.

Soho

1189 watts / month

Wall St.

49 St N

1275 watts

199

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200

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watt Times Square

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Sam

Aiden

Matt

Edmund

Felix

9 pt

18 pt

36 pt

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R 88 G 89 B 91

R 241 G 242 B 242

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R 237 G 26 B 61

Bruno Mars LP ‘limited’ Packaging Collaboration with Capitol Records Here is Bruno Mars Limited Edition LP Packaging. Only the airtist’s unveiled tracks are included. Please visit 55haus.org for packaging inquiries. Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

Invisible Cities by Italo Calvino. Visualization

Collaboration with Capitol Records Here is Bruno Mars Limited Edition LP Packaging. Only the airtistâ&#x20AC;&#x2122;s unveiled tracks are included. Please visit 55haus.org for packaging inquiries. Form Study Technology Experimental Graphic Design Entrepreneurship Information Graphics Interaction Design Motion Graphics Typography Silk Screen Packaging Branding

Intro.

Kublai Khan does not necessarily believe everything Marco Polo says when he describes the cities visited on his expeditions, but the emperor of the Tartars does continue listening to the young Venetian with greater attention and curiosity than he shows any other messenger or explorer of his. In the lives of emperors there is a moment which follows pride in the boundless extension of the territories we have conquered, and the melancholy and relief of knowing we shall soon give up any thought of knowing and understanding them. There is a sense of emptiness that comes over us at evening, with the odor of the elephants after the rain and the sandalwood ashes growing cold in the braziers, a dizziness that makes rivers and mountains tremble on the fallow curves of the plain spheres where they are portrayed, and rolls up, one after the other, the dispatches announcing to us the collapse of the last enemy troops, from defeat to defeat, and flakes the wax of the seals of obscure kings who beseech our armies’ protection, offering in exchange annual tributes of precious metals, tanned hides, anti tortoise shell. It is the desperate moment when we discover that this empire, which had seemed to us the sum of all wonders, is an endless, formless ruin, that corruption’s gangrene has spread too far to be healed by our scepter, that the triumph over enemy sovereigns has made us the heirs of their long undoing. Only in Marco Polo’s accounts was Kublai Khan able to discern, through the walls and towers destined to crumble, the tracery of a pattern so subtle it could escape the termites’ gnawing.

moti n.

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From there, after six days and seven nights, you arrive at Zobeide, the white city, well exposed to the moon, with streets wound about themselves as in a skein. They tell this tale of its foundation: men of various nations had an identical dream. They saw a woman running at night through an unknown city; she was seen from behind, with long hair, and she was naked. They dreamed of pursuing her. As they twisted and turned, each of them lost her. After the dream they set out in search of that city; they never found it, but they found one another; they decided to build a city like the one in the dream. In laying out the streets, each followed the course of his pursuit; at the spot where they had lost the fugitiveâ&#x20AC;&#x2122;s trail, they arranged spaces and walls differently from the dream, so she would be unable to escape again. This was the city of Zobeide, where they settled, waiting for that scene to be repeated one night. Non of them, asleep or awake, ever saw the woman again. The cityâ&#x20AC;&#x2122;s streets were streets where they went to work every day, with no link any more to the dreamed chase. Which, for that matter, had long been forgotten. New men arrived from other lands, having had a dream like theirs, and in the city of Zobeide, they recognized something of the streets of the dream, and they changed the positions of arcades and stairways to resemble more closely the path of the pursued woman and so, at the spot where she had vanished, there would remain no avenue of escape. The first to arrive could not understand what drew these people to Zobeide, this ugly city, this trap.

In Chloe, a great city, the people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping. A girl comes along, twirling a parasol on her shoulder, and twirling slightly also her rounded hips. A woman in black comes along, showing her full age, her eyes restless beneath her veil, her lips trembling. A tattooed giant comes along; a young man with white hair; a female dwarf; two girls, twins, dressed in coral. Something runs among them, an exchange of glances like lines that connect one figure with another and draw arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene: a blind man with a cheetah on a leash, a courtesan with an ostrich-plume fan, an ephebe, a Fat Woman. And thus, when some people happen to find themselves together, taking shelter from the rain under an arcade, or crowding beneath an awning of the bazaar, or stopping to listen to the band in the square, meetings, seductions, copulations, orgies are consummated among them without a word exchanged, without a finger touching anything, almost without an eye raised.

In Eudoxia, which spreads both upward and down, with winding alleys, steps, dead ends, hovels, a carpet is preserved in which you can observe the city’s true form. At first sight nothing seems to resemble Eudoxia less than the design of that carpet, laid out in symmetrical motives whose patterns are repeated along straight and circular lines, interwoven with brilliantly colored spires, in a repetition that can be followed throughout the whole woof. But if you pause and examine it carefully, you become convinced that each place in the carpet corresponds to a place in the city and all the things contained in the city are included in the design, arranged according to their true relationship, which escapes your eye distracted by the bustle, the throngs, the shoving. All of Eudoxia’s confusion, the mules’ braying, the lampblack stains, the fish smell is what is evident in the incomplete perspective you grasp; but the carpet proves that there is a point from which the city shows its true proportions, the geometrical scheme implicit in its every, tiniest detail. It is easy to get lost in Eudoxia: but when you concentrate and stare at the carpet, you recognize the street you were seeking in a crimson or indigo or magenta thread which, in a wide loop, brings you to the purple enclosure that is your real destination. Every inhabitant of Eudoxia compares the carpet’s immobile order with his own image of the city, an anguish of his own, and each can find, concealed among the arabesques, an answer, the story of his life, the twists of fate. An oracle was questioned about the mysterious bond between two objects so dissimilar as the carpet and the city. One of the two objects - the oracle replied - has the form the gods gave the starry sky and the orbits in which the worlds revolve; the other is an approximate reflection, like every human creation. For some time the augurs had been sure that the carpet’s harmonious pattern was of divine origin. The oracle was interpreted in this sense, arousing no controversy. But you could, similarly, come to the opposite conclusion: that the true map of the universe is the city of Eudoxia, just as it is, a stain that spreads out shapelessly, with crooked streets, houses that crumble one upon the other amid clouds of dust, fires, screams in the darkness.

In Esmeralda, city of water, a network of canals and a network of streets span and intersect each other. To go from one place to another you have always the choice between land and boat: and since the shortest distance between two points in Esmeralda is not a straight line but a zigzag that ramifies in tortuous optional routes, the ways that open to each passerby are never two, but many, and they increase further for those who alternate a stretch by boat with one on dry land. And so Esmeralda’s inhabitants are spared the boredom of following the same streets every day. And that is not all: the network of routes is not arranged on one level, but follows instead an up-and down course of steps, landings, cambered bridges, hanging streets. Combining segments of the various routes, elevated or on ground level, each inhabitant can enjoy every day the pleasure of a new itinerary to reach the same places. The most fixed and calm lives in Esmeralda are spent without any repetition. Secret and adventurous lives, here as elsewhere, are subject to greater restrictions. Esmeralda’s cats, thieves, illicit lovers move along higher, discontinuous ways, dropping from a rooftop to a balcony, following gutterings with acrobats’ steps. Below, the rats run in the darkness of the sewers, one behind the other’s tail, along with conspirators and smugglers: they peep out of manholes and drainpipes, they slop through double bottoms and ditches, from one hiding place to another they drag crusts of cheese, contraband goods, kegs of gunpowder, crossing the city’s compactness pierced by the spokes of underground passages. A map of Esmeralda should include, marked in different colored inks, all these routes, solid and liquid, evident and hidden. It is more difficult to fix on the map the routes of the swallows, who cut the air over the roofs, dropping long invisible parabolas with their still wings, darting to gulp a mosquito, spiraling upward, grazing a pinnacle, dominating from every point of their airy paths all the points of the city.

Outro.

"The inferno of the living is not someÂthing that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of the inferno, are not inferno, then make them endure, give them space."

â&#x20AC;&#x201D; Marco Polo

Outro, 16 -17 Portfolio. â&#x20AC;&#x201D; Edmund Lee

Thank You Thanks to My Parents, Margaret Lee Robert Lee God And my mentors, George Tscherny Eileen Hedy Schultz Richard Mehl Ryan Dunn / Wyeth Hansen Matthew Delbridge / Felix Wang Lawrence Buchanan Ori Kleiner