Processagraphy by Ben Frederick

PROCPROCESSOGESSOGRAPHY RAPHY

DESIGN / POETRY DESIGN / POETRY / ART /

/ ART /

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CHEESE BRING MAY 7TH

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PROCESSOGRAPHY

DESIGN / POETRY / ART /

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I have set out to make a processbook that blurs the line between fine art, design, and poetry. Arguing that the act of creating alone is the most important objective, its not about the means in which it was produced although those means add context, the same meaning can exist in all realms of creation.

PRO ESS RAPH

DESIGN / / ART /

OCSOGHY

/ POETRY

I want to thank my friends and family for the support they have given me this semester. It hasnâ&#x20AC;&#x2122;t been easy. Thank you to my professors for giving me structure through out the semester and supporting me in the difficult times that are college.

/ //CONTENT 10

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EVE THIN

ERYNG

/ //What I’ve Learned 12

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Chris Pullman

Chris Pullman is the only person who can be said to have won not one but two of the highest possible honors from AIGA. The first was the Corporate Leadership Award, which the company he shaped, Boston public broadcasting network WGBH, won in 1985. The second was the AIGA Medal, which Pullman himself won in 2002. Chris Pullman was a young teacher at the Yale School of Art when he was recruited by Ivan Chermayeff, who had just redesigned WGBH’s logo, to take charge of the station’s in-house design department. He joined the company as Vice President for Design in 1973. This past spring, after 35 years, he announced that he was stepping down. At an emotional going-away party on October 28, he talked about his three-and-a-half decades at the station. He has kindly given us permission to publish his remarks here. [The Editors]

The chance invitation to work here at WGBH placed me in an environment that was a perfect fit for my temperament, and for my aspirations as a professional and as just a plain person.

1 Work on things that matter. If you possibly can, use your skills and your time to make a difference. Long before I came to WGHB, I developed a preference for non-profit projects. In my freelance work and in my years at the office of George Nelson, the projects that interested me most were the ones for non-profit, pro-social clients. Early on, I decided that I wanted to work someplace that made a positive difference for people, and that affected a lot of people, not some boutique studio doing design for other designers. So when the phone rang and it was Ivan Chermayeff saying that there was an opportunity to work at a TV station in Boston, my first reaction was “definitely not.” This was because my teachers and mentors at Yale had made it clear that the only way to squander a good education faster than going into advertising was to go into television. But I was vaguely curious to see what a TV studio was like, so I decided to just go up and scope the place out. After about 20 minutes with the then General Manager, Michael Rice, it became clear to me that what WGBH was up to was very different from what television in general was up to. So I said “yes,” and have found myself for the past 35 years in the ideal environment to do the kind of work I had hoped to do. In this first lesson I may be preaching to the choir, but I think it is particularly pertinent for young people who may be at their first way station on a longer professional journey. Given all the ways you could use your skills and your valuable time, pick something that serves the greater good. 2 Work with people you like and respect.

Once I came here, I recognized, gradually, why it felt so right as a place to work and associate. I’d like to take this opportunity to share ten lessons I learned in the past 35 years.

Birds of a feather flock together. That is a natural thing. Most of the people here at WGBH are here (or certainly stay here) because of our mission. Certainly, my long tenure has been largely because of the people in this room with whom I’ve shared such personal and heart-warming recollections of our time together. Since April, when I first announced my intention to leave WGBH, the private expression of these feelings has been so gratifying, both personally and professionally, that I recently suggested that maybe we should institute the policy of encouraging individuals to make periodic “mock retirement” announcements, with the goal of releasing more regularly the flow of kind remarks for the nourishment of the individual, since we are otherwise so reticent to praise or encourage others in our busy, self-centered daily lives.

3 Be nice. And be positive. And be respectful of the work of others. Strive to understand each others professional contributions and then respect them (as you would want them to respect you) with your actions and your comments. Remember: we are all applying our own particular skills towards a shared objective. 4 Have high standards. Don’t settle for “whatever.” The corrosive Dilbert mind-set is depressing and demeaning. Wherever you choose to work, don’t give it a foothold. I prefer the “see you and raise you one” escalation of good ideas, even crazy ideas. High standards is something that has set this place apart. Even in hard times, it is important to keep hold of this core distinction, whatever it costs. 5 Have a sense of humor. Humor is the grease of communications. Wit not only engages your head, it engages the other guy’s. Be serious, but don’t take yourself too seriously. Don’t lose sight of the potential to use sly humor to make connections and put people at their ease. 6 Design is not the narrow application of formal skills, it is a way of thinking. I knew this before I came here, but my time here has reinforced this idea. My position, first established in 1973, and unusually high up in the org chart, allowed me (and I should say: expected me) to attend to all aspects of the way this organization expressed itself. My job, and that of scores of designers I have worked with in my area, has been to help define and then express through our work, a consistent, honest and engaging persona for WGBH. (Today’s name for this, by the way, is branding, but it is a process as old as the profession.) This role has led me into a weird soup of assignments: wacko projects like a giant 2 on wheels or a pre-stained dish towel to promote Julia Child’s show; important projects like a capital campaign case statement or the first proposal for AMEX; inspiring projects like the informational graphics for Vietnam: a Television History or four different title sequences over the years for Masterpiece Theater; and gnarly projects like how to help frame the long-term strategic goals for this company.

Each of these projects was a puzzle to figure out within the constraints of budgets and timelines, and with respect for the unique context of a particular problem. Whether it was how to draw a dog with low self-esteem or how to convince a company to underwrite a project, all of it was design to me. Ultimately this led to the biggest project of all: the design and construction of our new headquarters. It was an honor and an incredible 5-year high to work on this project. This was the project that for the first time gave us an opportunity to apply the same high standards we insist on for our programming to the physical environment in which we all work and in which we welcome the public. The practice of design — dare I call it “intelligent design?” — has helped WGBH achieve a distinction among broadcasters and public media publishers. It is my hope that the next person to hold this responsibility for the foundation will have as much fun and have as expansive a mandate as I have had. 7 Variety is the spice of life. When I came here in the early 70’ s the trend was toward monolithic design programs governed by a thick and sacred style manual. As I got to understand the business, this strategy seemed to me to make no sense for WGBH. With programming as diverse as The French Chef, NOVA and ZOOM, no one mode of visual expression could

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logically suite this range of content. It occurred to me that in fact variety itself can be a kind of consistency. But when the visual expressions of a company are always and rightfully different, you have to have some other constant that binds the work together, something that lets individual expressions be different, but makes them recognizable as a family of related materials. The goal in this game is to strive for the smallest number of constants and the largest number of variables. And you have to turn to non-visual sources of consistency. So, soon after I got here, I proposed that our design team adopt a set of nonvisual criteria to define “good design” without resorting to the normal formal jargon. If you and your client could answer “yes” to the following questions about a solution, then it probably is a good piece of design: Is it clear? Can I understand what it is, can I read it, can I sense its purpose? Is it accessible? Does it engage me, does it invite me in, is it easy and intuitive to use? Is it appropriate? (to its budget, to the amount of time available to make it, to the language style and level of the audience, to the medium, to the objectives of the project, and to the family of materials it will join, etc.) A final measure, and perhaps the key measure in a business where variety is the norm, is

quality. “Of the highest quality” does not mean expensive. It means thoughtful and well-executed in its genre. If all these things are present in a project, then it is likely to be successful, from a design point of view, and otherwise. 8 Institutions have a character, just like people do. In fact, it is impossible to not have an institutional character or image. It is the sum total of a person’s experience of our staff, our physical plant, our programming and services, our communications — everything we say and do. Every person out there experiences a different assortment of these expressions, but they average out to define our institutional character or persona. This character cannot be contrived. If it is contrived it will only fool people for a little while. Like a person you know who says he is one thing but whose daily behavior suggests another. But a person’s character inevitably shifts as they mature. The same thing happens to companies like ours. Over the years I have observed that our own institutional character has shifted as our own self image has shifted. In the seventies, we identified ourselves as a local public broadcasting station, and we acted locally. We were known by our channel brand: Channel 2. Our self-image as an upstart local broadcaster willing to make a lot out of a little, encouraged a kind of smart-alecky attitude in our local persona. In the eighties, we identified ourselves as a national producer, creating one-third of all prime-time programming on national public television, as we do to this day. The focus shifted to our national, institutional identity and we became more of a big business. In the nineties we identified ourselves as an educational publisher. As media options began to proliferate, we became major publishers of program-related books, we had a catalog and product division, we began to dabble in new media, publishing video-discs and CD’s and producing content for new on-line services like Prodigy. In the 90’s we began to see ourselves as a “content company,” downplaying the “broadcaster” moniker and focusing on our role nationally and internationally as a high quality educational publisher. And now, in this century, we identify ourselves as a major public media producer and distributor, a major driver of public media policy in the future. Each of these shifts in self-perception required a shift in expression for our work, ideally without changing the underlying DNA of the place. We are now approaching the end of this decade. What will our self-perception be in 2010? How will we express it? How can we respond to these natural and gradual shifts while still maintaining our core character, a character that people, both locally and

nationally, know, respect, and willingly support? 9 We’re all in the “understanding business.” This term was first coined by the architect Richard Saul Wurman to define the design profession but it strikes me that, no matter what we call ourselves, what we all do here is ultimately about helping people understand the world and their own life. This is the idea that our mission statement reflects, and is at the heart of our institutional character. And it is what has attracted me to this work all this time. 10 You are what you eat. We are all the result of a lifetime of experiences, some good, some not so good. My 32 years of experiences before I came here prepared me to be useful to a place like this. My 35 years here have enriched me and allowed me to grow in ways I never would have imagined. Now I’m going to see how that diet has prepared me for my next life. I will miss you all. Bye.

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After careful and considered review of more than 3,800 entries, the jury of “365: AIGA Annual Design Competitions 30” selected a group of 182 examples of outstanding design produced in 2008. The jury’s selections will be mounted as a public exhibition in September 2009 at the AIGA National Design Center in New York and will travel across the country to AIGA chapters and student groups during 2010. In addition, selections become part of the AIGA Design Archives, are documented in 365: AIGA Year In Design, and the physical artifacts join the AIGA Design Archives at the Denver Art Museum.

selections 2009

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selections 2009

/ //AVATAR 24

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Why Roger Ebert Hates 3-D (And You Should Too) While Avatar was technically impeccable, we have already said that 3D is Hollywood’s next big scam. Film critic, Russ Meyer devotee (amen), and overall good guy Roger Ebert agrees. And he provides a definitive list of reasons: 1. It’s the waste of a dimension. 2. It adds nothing to the experience. 3. It can be a distraction. 4. It can create nausea and headaches. 5. Have you noticed that 3-D seems a little dim? 6. It’s an excuse to buy new digital projectors. 7. Theaters slap on a surcharge of $5 to $7.50 for 3-D. 8. I cannot imagine a serious drama in 3-D (neither can I). 9. Whenever Hollywood has felt threatened, it has turned to technology to save the day. I have to agree with him. I see 3D serving a purpose in interactive experiences like gaming or science visualization, but I hope 3D movies die soon. At least, in its current form. http://gizmodo.com/5528270/why-roger-ebert-hates-3+d-and-you-should-too

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/ //BLUERAVE 28

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The blue rave was a great way to start off the semester, it allowed the studio to work together toward a common goal and create a sense of unity. Besides that, it was incredibly fun.

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The next few pages are dedicated to poetry. This image in the center shows the first draft of the first poem I wrote for my 363 writing class.

Mr. cucumber, mr. cucumber Mr. cucumber, mr. cucumber Oh please take a seat, Right there, in my salad wThank you for joining the Bouquet of taste today. Please donâ&#x20AC;&#x2122;t squeal When I EAT YOU!!! Rather sit in silence as I taste The earth from which you came. Oh, mr. cucumber you are quite the lullaby Maybe I will through salt on you Or hidden valley yo ass. I will travel to the grove And shake your masters hand. Mr. cucumber why, you have stolen A spot in my tummy. Thank you.

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traces of things that once were, a series of poems by ben frederick

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traces of things that once were, This document/electronic communication contains personally identifiable information from a studentâ&#x20AC;&#x2122;s educational record. It is protected by the Family Educational Rights and Privacy Act (20 USC Sec. 1232g) and may not be rereleased, or used for any purpose other than that for which it was intended, without the consent of the student.

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contents 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36.

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The places, scenes

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the places, scenes alone the steam creeps from hollows now hiss tear the wind the naked branches reach for spars light, far to craddle. wood and partial board, pins and western codex block out what lay beyond. sit behind a screen miles from away, A blue lobster egg. Snowball string and maps, a few things me and you.

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traces of things that once were carved victory beneath skin, edge blue end result, cyan dot matrix. charcoal pollinates the rooms creative hideaways, empty of present naked walls breath begging to be pinned, productive artifacts absent.

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thinking of painful situations post crit. on a tuesday afternoon in early april. cost of youth and hued paper pound on silver worn mugs clouded eyes trap keys. illustrate the negative â&#x20AC;&#x153;itâ&#x20AC;? has congealed behind, sent just to be pushed again, broken isotopes. Far from away, silver lies. Over once and once over command c, place. paranoira once cut into a letter.

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Kay Ryan I didn’t know what to expect earlier tonight walking in to Kay Ryan’s poetry reading. Was it going to be boring or what, I guess I am in no place to know anything right now. Greg and me sat next to our friend Sam, and her girl friend. I guess that was nice knowing that Kay Ryan is gay, not that it matters. My best friend since I was four years old came out to me in college. So it was nice. I enjoyed Kay’s voice; it was soft, yet deep with knowing. Not in a bookish way, more of knowing in the sense that she has lived, and seen a thing or two. A knowing in a way a 35 year old waitress at waffle house knows, voice raspy with tar. A knowing of life’s pains and hardships. A knowing in a truthful and humble way. Never talking down, but also not talking up. Just communication, no fear of rejection or humiliation. It was what it was. I found wet coming from my eyes unexpectedly as I sat and listened to Kay recite “Home to Roost.” I think it was the sudden understanding, the image, the emotion, the gravity of the words falling from my eyes. I understood. I guess it was about that point when Sam’s girl friend, Sarah, politely took my note book and wrote, “None of these poems contain the word “I” – intensely personal themes made less personal by the omission.” She put it better than I could; she is after all a poet and a law student, an odd mix. But obviously a fan of Kay Ryan, I guess I am too after tonight. “I find learning unpleasant…” and I found myself laughing… and fumbling to understand what she meant. Maybe it was the lack of mystery that learning makes ever present in ones mind. Of course that is a shallow statement, at times learning can bring new mysteries into ones life. “Glass Slipper” another favorite from the night. I wish she would have read it again. I like how it made me feel dreadfully hopeful, yet incredibly depressed at the same time, reinstating the fact that the sole mate is a fairly tail, and anyone will fit into your glass slipper, even if it is for just a short time. Of course I probably miss understood the context and meaning. “Rhyme compels one to a great number of inaccuracies.” The night came to a close with the Q&A session, which is always blotted with horrid questions and descent answers, nothing that a simple blog wouldn’t tell you. We left soon after, walking back in the cold, Greg and I parted ways. I am humbled to say I have experienced Kay Ryan.

Tuesday 4.27 / 12:0-4:30 / McClung 1210

Home to Roost

Kay Ryan

The chickens are circling and blotting out the day. The sun is bright, but the chickens are in the way. Yes, the sky is dark with chickens, dense with them. They turn and then they turn again. These are the chickens you let loose one at a time and smallâ&#x20AC;&#x201D; various breeds. Now they have come home to roostâ&#x20AC;&#x201D;all the same kind at the same speed.

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Colbertâ&#x20AC;&#x2122;s Fightinâ&#x20AC;&#x2122; Fifth Your grease would make a french fry cry with pride, could polish a Grammy to the shade of American cheese icon of sarcasm, and doritos, I salute you.

polish a Grammy to the shade of American cheese,

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forgetting the night The stain on the wall Melted wax reminds of a night I donâ&#x20AC;&#x2122;t remember. We were at his farm an old family home full of a mans life Intoxicated and sad Generations apart you lay on the kitchen floor our heads together always understanding that nothing will be understood I was out on the porch frustrated with the words that I couldnâ&#x20AC;&#x2122;t say. The wax still clings to the wall a trophy of a night that we got lost in the four of us weeping in sadness it was a contagious freeing experience in an old wooden room the whiskey and wine were dulling my mind but I still remember the feelings that hung in the air pale smoke of loves lost and fights won, of secrets and regret the amnesia.

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/ // 363 34

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forgetting the night the stain on the wall melted wax reminds a farm old family home full mans life intoxicated generations lay on the kitchen floor heads together always understanding that nothing will be understood, that we got lost in the silver of weeping in sadness the whiskey and wine dulling-but I still remember the pale smoke of loves, regret. the amnesia.

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(informal title that reflects that I have learned some-

(informal title that reflects that I have learned something in this class) So we circle up, in a group, one by one recite our poems or some “famous” poet’s, we workshop and crit. To an outsider we probably just look like group therapy. Which is fine if you ask me. Poetry is therapeutic so why not. This class has allowed me to express myself in ways I couldn’t during other creative classes, it rounded me out, made me more productive. If I was feeling burnt-out on design, I’d write some poetry, the poem could inspire a drawing, drawing inspire a design, the cycle begins again. I enjoy all these processes; to define them is the hard part, if a view gets the same emotional response from a poem, a drawing and some form of design, then what is the difference? The physical form? Well yes, but your goal is to communicate in some way. If that can be achieved through any process then is there a difference… the medium looks different, but for me the feeling I get is the same. I learned I just like to make stuff, doesn’t matter what it is, as long as I am making something. I wonder sometimes if I only hold myself back by being in creative classes, what happened to Ben Frederick the doctor or lawyer? Why is it the artist? Or designer or poet? To be honest I am none of those things, I’m not a poet, one must be published to be a poet in my opinion. I’m not an artist… cause well you don’t want to be like “hi, I’m an artist” it just sounds wrong, your only an artist when your introduced as an artist. I suppose the same goes for a designer, and so on. But we are really taking about the same thing, art, poetry, and design; they all use some sort of creativity to send a message to the viewer. Each is about arranging elements on a page, canvas or screen. My actual writing process has been interesting. It is normally in a flurry of emotion that I feel like writing, or “need” to write. (not the oh I have class in 5 min. I better write this poem.) More of a need internally. Some days its stronger than others, some times I don’t want to write at all. Most of my poems are written in 30 min or so. I feel like there needs to be an imidiacy in the process to truly get out what is inside. A filtering of emotions one can go back and erase, and edit. Strip down to the barest form. I don’t think it is necessary for one to fully understand what is going on in my poems, if the viewer says, oh hat sounds odd, pretty, and sad. I did my job, they don’t need to now the specifics of the emotions, just the specifics of the visuals that trigger the emotions, or that are around at the time of the poem. Its odd, but the process worked well for me, I have really enjoyed this class and will continue to write.

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benfrederick // bfreder2@utk web.utk.edu/~bfreder88 865.216.7768 EDUCATION // University of Tennessee Knoxville TN, BFA Graphic Design 3.57GPA Farragut High School Class of 2007 The Tennessee Governor’s School for the Arts EXPERIENCE // Habitat for Humanity Spring 2010 Metro Pulse June 2009 - December 2009 Smoky Mountain Brewery & Restaurant June 2008 – November 2008 E-Shipping inc. Pakmail February 2005 – August 2007 SKILLS // AWARDS / HONOURS // Proficient in Illustrator / 2010 InDesign / Photoshop / 63rd Annual Student Art Competition After Effects / HTML / CSS / University of Tennessee Bookstore Award “Fine Art” processes / for “untitled” Silver Point / Digital Photography University of Tennessee Bookstore Award // for “process book fall 09” KMA Associate Membership Award for “untitled” 2009 Teaching_Philosophy.HDS Featured in book by Can Birand on his teaching philosophy and student work produced. AIGA President of UTK student chapter 2008 Book Store Materials Scholarship Graphic design scholarship Grand Prize Farragut Press Photography Contest 2007 Best Print in East Tennessee Regional Student Art Exhibition 2006 $12,000 Scholarship Watkins College of Art / Design $8,000 Scholarships MICA

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/ //SolarDecathlon 42

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/ //SolarDecathlon 44

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Erstmalig in Deutschland! Das surPLUShome in Essen Das Siegerhaus des Solar Decathlon 2009 – surPLUShome – wird erstmalig im Rahmen der Kulturhauptstadt RUHR.2010 auf dem Burgplatz in Essen ausgestellt werden. Das Haus kann dort ab dem 27. April bis zum 04. Juni immer dienstags bis sonntags von 11.00 bis 18.00 Uhr besichtigt werden. An diesen Tagen findet immer um 12.00 Uhr eine öffentliche Führung statt.

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Untitled. You can tell love on a clock, Blue eye surprise, Cut like soft rock, Sharp dog bite, Kiss of hot mud, Thatâ&#x20AC;&#x2122;s how it happens. Cool cloud hugs Bruise a though throat A wavering ruin of belief. Crack reality a tamarack. Swing the tough slang Like the sun in the rain. Times almost out, Wavering frogs hesitate to kiss, But no spell exists. The bruise, red. Like the blood of the undead. Dead loves lays wake for time.

/ //SolarDecathlon 54

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/ //SolarDecathlon 58

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/ //SolarDecathlon 62

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After experimenting with a few forms, I choose to trace the Living Light house from an architectural drawing, then using that form to create and new form, which hopefully results in an interesting logo. The process was playful and I learned a lot about the capabilities of illustrator.

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At this point I was very pleased with the results of my experiments and playfulness, I had crated a form that is both mechanical and organic, like the house, it references the sun, and flowers, or a cog wheel, many double meanings can be applied to such a form. I just needed to refine my ideas on the feel of the brand â&#x20AC;&#x153;Living Lightâ&#x20AC;?

/ //SolarDecathlon 352

tubul ar photovoltaic system— integr

deformation analysis

1 stress analysis

structur al fr ame—

Tube truss designed for static and transportation loads

352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7

inspiration— The material palette, double core organization and the our proposal were inspired by the cantilevered

daylight with shading

wall section through south doubl

daylight without shading

spatial organization—

Services are pushed to perimeter cores, allowing for greater flexibility

1 tubul ar photovoltaic system 2 overhang Blocks summer sun

1 electical diagram

3 overhang Allows winter sun

electric al system—

9.7 kwh tubular photovoltaic system

4 gl azing system

Incorporates thermal shade to prevent winter night heat loss

5 gl azing system Incorporates protected horizontal blinds outside of conditioned space

6 in summer Air is ventilated from cavity to reduce heat loss

Outside Exhaust

mechanic al system— mechanical diagram

Air to air heat pump augmented with warm air gain from pv tubes and thermal strorage

in winter Warm air may be allowed into conditioned space by operable windows in the inner facade

modul ar pl antings Create engineered wetland

9 external covered air intake 10 adjustable foundation

4 ated inner gl a ss insul fac ade spatial overlaps

12 single pane exterior gl a ss fac ade 13 integr ated led lighting

flexible connections

1 House transported in one piece 2 Place jacks in correct locations 3 Wood deck frames set in place 4 Deck surfaces and planters installed 5 Plants, signage attached, roof extended circulation

integr ated house and l andsc ape

livinglight

[north fac ade]

fr ameless gl azing system 4 1/4" x 1 3/4 kallwall trifab 450 aluminum

frame with 1/4" single glazing 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 interior gl azing system 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7

tubul ar photovoltaic system— integrates all systems

In developing the concept of Living Light, our team identified six overlapping strategies:

Operable 1" double glazing panel 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 in custom wood frame

deformation analysis

interior gl azing system 2" fixed panels composed of 2 layers of 1/2" perforatedplywood panels with 1" layer of nanogel insulation between

[south fac ade]

interior gl azing system 2" operable panels composed of 2 layers of 1/2" perforated plywood panels with 1" layer of nanogel insulation between

harvest the sun’s energy

leave a small footprint

Like the leaves of a plant, the integrated roof-top array provides energy and shade for the home. The 9 kw array is comprised of 72 hollow acrylic half-cylinder tubes 18 feet in length with the flat of each tube angled at 30 degrees. Air drawn through the tubes cools the photovoltaics and supplies tempered air as needed to an internal heat pump with thermal storage tank and desiccant based humidity control. A closed loop brine solution running within the tubes provides preheated water to a heat pump water heater. led strips imbedded in the acrylic provide night lighting. The entire system is assembled from readily available products and is designed to be equally at home on the roof of the Living Light home or as a retrofit to existing structures.

In addition to producing it own power, the house touches the land lightly and is designed to take advantage of sustainable materials and construction methods. The structural frame of the home is a tubular truss comprising the center section of a double-drop semi trailer. This allows for the majority of all construction to take place in a controlled interior environment and minimizes the need to expend energy re-erecting the structure on site. To minimize carbon footprint, local wood is used extensively as exterior and interior finish.

352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7

interior gl azing system Custom wood frame with fixed 1" double glazing fr ameless gl azing system 4 1/4" x 1 3/4 kallwall trifab 450 aluminum frame with 1/4" single glazing

d f

floor pl an

maximize transparency and view

give people control of light, view, and ventilation The north and south facades incorporate inner and outer glass panes with motorized shades and horizontal blinds sandwiched in between. Operable panels allow outside air to be admitted when humidity is acceptable.

allow space to transform

Inspired by the natural beauty of Southwith function ern Appalachia, the Living Light team Two cores organize the daily rituals of took as a challenge the creation of an life. The public core contains most energy efficient living area connected kitchen appliances and is near the spatially and visually to the landscape island. The millwork of the public core outside. This was achieved through the can be entirely closed to hide its use of fixed aerogel panels on the north, function while the island extends fr ame— from 2 to 8 people. s t rmoveable e s s a n athermal l y s i s shades on the south, structur to al accommodate Tube truss The designed for core staticcontains and transportation and multi-pane glazing throughout. opposite the more loads private elements of bed and bath. The adjacent entertainment center acts as a footboard and defines the space of the bed when in use and folds out to become a desk when the Murphy bed live compact is stored. The Living Light home is intended as a retreat from the visual and physical clutter of the Information Age while integrating technology seamlessly into the design. Inspired by the cantilever d a ybarns l i g h tof wSouthern i t h s h aAppalachia, ding the floor plan organizes support spaces into two dense cubes of program framing the open living space in between. The greatest luxuries in the Living Light home are volume and light.

daylight without shading

1 Inner cavity of tube allows for air circulation to cool pv’s and pre-heat incoming air 2 Inner cavity of tube accomodates brine based heat exchanger for hot water 3 Integrated led strips and Fresnel lenses allow efficient night lighting 4 Typical 6" modular panels produce power and act as sun shading

wall section through south double fac ade

1 tubul ar photovoltaic system

2 overhang Blocks summer sun

b entry airlock

3 overhang

l aundry / coats

electical diagram

electric al system—

9.7 kwh tubular photovoltaic system

mechanic al

Allows winter sun

4 gl azing system

j g

f i

Incorporates thermal shade to prevent winter night heat loss

5 gl azing system Incorporates protected horizontal blinds outside of conditioned space

6 4

kitchen wall

kitchen isl and Extendable to seat 8

4 3

north

3/16" = 1'–0"

Services are pushed to perimeter cores, allowing for greater flexibility

outdoor public space With integrated seating, storage and grill

spatial organization—

352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7 352'8&(' %< $1 $872'(6. ('8&$7,21$/ 352'8&7

d prominent overhang of d barns of Appalachia

livinglight

entertainment center With fold out desk

6 in summer

Air is ventilated from cavity to reduce heat loss

7 in winter

fold out murphy bed 3 Wardrobe

a al system— mechanic

Outside Exhaust

ada accessible bathroom

mechanical diagram

Air to air heat pump augmented with warm air gain from pv tubes and thermal strorage

Warm air may be allowed into conditioned space by operable windows in the inner facade

8 modul ar pl antings

Create engineered wetland

exit airlock

external covered air intake

exterior private space With integrated seating and storage

adjustable foundation

native appal achian wetl and Composed of sedge and horsetail

12 8

insul ated inner gl a ss fac ade

spatial overlaps

longitudinal section

12 single pane exterior gl a ss fac ade

3/16" = 1'–0"

13 integr ated led lighting

9 flexible connections

circulation

integr ated house and l andsc ape

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Playing with the logotype and further lead me to the font choice, while I could still explore this further I feel like for the purpose of this project I have found my identity.

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PV ARRAY

INACTIVE

PRIVATE SLEEPING PUBLIC DINING ENTERTAINING

COMBINER

PRIVATE LESUIRE / WORK 6AM

6AM

6PM

DC DISCONNECT

OUTSIDE AIR

PV PANELS TUBE COLLECTORS

INVERTER

OCPD

HEATING

DRYER

DOMESTIC HOTŁ WATER SUPPLY

DOMESTIC

HOTŁ WATER

THERMAL STORAGEŁ (WATER) 120F secondary

SOLAR THERMAL COLLECTORSŁ (CLOSED LOOP)

M M

SMART GRID METER

DOMESTICŁ COLD WATER

METER

MAIN PANEL

RESIDENTIAL

SUPPLY AIR (HIGH VELOCITY)

FUTURE

DESICCANT

COOLING (DX COIL)

AC DISCONNECT

OUTSIDE Ł EXHAUST

INVERTER LOAD CENTER

BUILDING GROUNDING ELECTRODE

HEAT RECOVERY VENILATOR

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USER CONTROLLED DAY LIGHT

SUNLIGHT GIVES POWER

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/ // Thoughts on Flash 94

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Apple has a long relationship with Adobe. In fact, we met Adobe’s founders when they were in their proverbial garage. Apple was their first big customer, adopting their Postscript language for our new Laserwriter printer. Apple invested in Adobe and owned around 20% of the company for many years. The two companies worked closely together to pioneer desktop publishing and there were many good times. Since that golden era, the companies have grown apart. Apple went through its near death experience, and Adobe was drawn to the corporate market with their Acrobat products. Today the two companies still work together to serve their joint creative customers – Mac users buy around half of Adobe’s Creative Suite products – but beyond that there are few joint interests. I wanted to jot down some of our thoughts on Adobe’s Flash products so that customers and critics may better understand why we do not allow Flash on iPhones, iPods and iPads. Adobe has characterized our decision as being primarily business driven – they say we want to protect our App Store – but in reality it is based on technology issues. Adobe claims that we are a closed system, and that Flash is open, but in fact the opposite is true. Let me explain.

Apple has many proprietary products too. Though the operating system for the iPhone, iPod and iPad is proprietary, we strongly believe that all standards pertaining to the web should be open. Rather than use Flash, Apple has adopted HTML5, CSS and JavaScript – all open standards. Apple’s mobile devices all ship with high performance, low power implementations of these open standards. HTML5, the new web standard that has been adopted by Apple, Google and many others, lets web developers create advanced graphics, typography, animations and transitions without relying on third party browser plug-ins (like Flash). HTML5 is completely open and controlled by a standards committee, of which Apple is a member. Apple even creates open standards for the web. For example, Apple began with a small open source project and created WebKit, a complete open-source HTML5 rendering engine that is the heart of the Safari web browser used in all our products. WebKit has been widely adopted. Google uses it for Android’s browser, Palm uses it, Nokia uses it, and RIM (Blackberry) has announced they will use it too. Almost every smartphone web browser other than Microsoft’s uses WebKit. By making its WebKit technology open, Apple has set the standard for mobile web browsers. Second, there’s the “full web”. Adobe has repeatedly said that Apple mobile devices cannot access “the full web” because 75% of video on the web is in Flash. What they don’t say is that almost all this video is also available in a more modern format, H.264, and viewable on iPhones, iPods and iPads. YouTube, with an estimated 40% of the web’s video, shines in an app bundled on all Apple mobile devices, with the iPad offering perhaps the best YouTube discovery and viewing experience ever. Add to this video from Vimeo, Netflix, Facebook, ABC, CBS, CNN, MSNBC, Fox News, ESPN, NPR, Time, The New York Times, The Wall Street Journal, Sports Illustrated, People, National Geographic, and many, many others. iPhone, iPod and iPad users aren’t missing much video. Another Adobe claim is that Apple devices cannot play Flash games. This is true. Fortunately, there are over 50,000 games and entertainment titles on the App Store, and many of them are free. There are more games and entertainment titles available for iPhone, iPod and iPad than for any other platform in the world.

First, there’s “Open”. Third, there’s reliability, security and performance. Adobe’s Flash products are 100% proprietary. They are only available from Adobe, and Adobe has sole authority as to their future enhancement, pricing, etc. While Adobe’s Flash products are widely available, this does not mean they are open, since they are controlled entirely by Adobe and available only from Adobe. By almost any definition, Flash is a closed system.

Symantec recently highlighted Flash for having one of the worst security records in 2009. We also know first hand that Flash is the number one reason Macs crash. We have been working with Adobe to fix these problems, but they have persisted for several years now. We don’t want to reduce the reliability and security of our iPhones, iPods and iPads by adding Flash. In addition, Flash has not performed well on mobile devices. We have routinely asked Adobe to show us Flash performing well on a mobile device, any mobile device, for a few years now. We have never seen it. Adobe publicly said that Flash would ship on a smartphone in early 2009, then the second half of 2009, then the

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first half of 2010, and now they say the second half of 2010. We think it will eventually ship, but we’re glad we didn’t hold our breath. Who knows how it will perform? Fourth, there’s battery life. To achieve long battery life when playing video, mobile devices must decode the video in hardware; decoding it in software uses too much power. Many of the chips used in modern mobile devices contain a decoder called H.264 – an industry standard that is used in every Blu-ray DVD player and has been adopted by Apple, Google (YouTube), Vimeo, Netflix and many other companies. Although Flash has recently added support for H.264, the video on almost all Flash websites currently requires an older generation decoder that is not implemented in mobile chips and must be run in software. The difference is striking: on an iPhone, for example, H.264 videos play for up to 10 hours, while videos decoded in software play for less than 5 hours before the battery is fully drained. When websites re-encode their videos using H.264, they can offer them without using Flash at all. They play perfectly in browsers like Apple’s Safari and Google’s Chrome without any plugins whatsoever, and look great on iPhones, iPods and iPads. Fifth, there’s Touch. Flash was designed for PCs using mice, not for touch screens using fingers. For example, many Flash websites rely on “rollovers”, which pop up menus or other elements when the mouse arrow hovers over a specific spot. Apple’s

revolutionary multi-touch interface doesn’t use a mouse, and there is no concept of a rollover. Most Flash websites will need to be rewritten to support touch-based devices. If developers need to rewrite their Flash websites, why not use modern technologies like HTML5, CSS and JavaScript? Even if iPhones, iPods and iPads ran Flash, it would not solve the problem that most Flash websites need to be rewritten to support touch-based devices. Sixth, the most important reason. Besides the fact that Flash is closed and proprietary, has major technical drawbacks, and doesn’t support touch based devices, there is an even more important reason we do not allow Flash on iPhones, iPods and iPads. We have discussed the downsides of using Flash to play video and interactive content from websites, but Adobe also wants developers to adopt Flash to create apps that run on our mobile devices. We know from painful experience that letting a third party layer of software come between the platform and the developer ultimately results in sub-standard apps and hinders the enhancement and progress of the platform. If developers grow dependent on third party development libraries and tools, they can only take advantage of platform enhancements if and when the third party chooses to adopt the new features. We cannot be at the mercy of a third party deciding if and when they will make our enhancements available to our developers. This becomes even worse if the third party is supplying a cross platform development tool. The third party may not adopt enhancements from one platform unless they are available on all of their supported platforms. Hence developers only have access to the lowest common denominator set of features. Again, we cannot accept an outcome where developers are blocked from using our innovations and enhancements because they are not available on our competitor’s platforms. Flash is a cross platform development tool. It is not Adobe’s goal to help developers write the best iPhone, iPod and iPad apps. It is their goal to help developers write cross platform apps. And Adobe has been painfully slow to adopt enhancements to Apple’s platforms. For example, although Mac OS X has been shipping for almost 10 years now, Adobe just adopted it fully (Cocoa) two weeks ago when they shipped CS5. Adobe was the last major third party developer to fully adopt Mac OS X. Our motivation is simple – we want to provide the most advanced and innovative platform to our developers, and we want them to stand directly on the shoulders of this platform and create the best apps the world has ever seen. We want to continually enhance the platform so developers can create even more amazing, powerful, fun and useful applications. Everyone wins – we sell more devices because we have the best apps, developers reach a wider and wider audience and customer base, and users are continually delighted by the best and broadest selection of apps on any platform.

Conclusions. Flash was created during the PC era – for PCs and mice. Flash is a successful business for Adobe, and we can understand why they want to push it beyond PCs. But the mobile era is about low power devices, touch interfaces and open web standards – all areas where Flash falls short. The avalanche of media outlets offering their content for Apple’s mobile devices demonstrates that Flash is no longer necessary to watch video or consume any kind of web content. And the 200,000 apps on Apple’s App Store proves that Flash isn’t necessary for tens of thousands of developers to create graphically rich applications, including games. New open standards created in the mobile era, such as HTML5, will win on mobile devices (and PCs too). Perhaps Adobe should focus more on creating great HTML5 tools for the future, and less on criticizing Apple for leaving the past behind. Steve Jobs April, 2010

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