process book
Carley Hodgkinson Master of Design Summer 2011
mdes 2011–12
process book summer 2011 carley hodgkinson
contents
3
MDES 6200
6
3 plants and a planter
18
plant as self
22
plant as biotechnology
26
plant as climate
32
plant as system
37 mdes 6030 37
intensive #1 / nscad
38 rudi meyer
40 michael leblanc
48 marlene ivey
55
intensive #2 / parks canada
65
Intensive #3 / david peters
71 Dalhousie freelab 79 thesis development
2
mdes 6200
christopher kaltenbach
third nature In the summer-semester long project, “Third Nature”, we were first asked to choose three plants – for self, biotechnology and local climate – and to design an appropriately related planter. Over the course of the summer, we would then look at each plant in more detail and then finally as a system – as a metaphor for our own design process and thesis development.
3
4
THIRD NATURE
ASSIGNMENT SUMMARIES
ASSIGNMENT 1 / THREE PLANTS AND A PLANTER
In Assignment 1, we were asked to research and choose three plants – one for self, for biotechnology and for climate – and design an appropriate planter. We would then design four posters, one for each of the components, and introduce the major themes for the entire project with these posters. ASSIGNMENT 2 / PLANT AS SELF
In Assignment 2, we looked more deeply into Plant as Self (kale for me), wrote an essay based on course readings and designed a poster that was meant to be more expressive, drawing on metaphor over a straight infographic. I loved this assignment and enjoyed working in a looser and more lyrical language. ASSIGNMENT 3 / PLANT AS BIOTECHNOLOGY
In Assignment 3, we looked more deeply into Plant as Biotechnology (A.Thaliana for me), wrote an essay and designed a poster. This poster was presented as a more literal and research-based infographic, where we were to look deeply at one case study of cause and effect (specific to our plant) and present data/stats in a meaningful way.
THIRD NATURE
ASSIGNMENT SUMMARIES
ASSIGNMENT 4 / PLANT AS CLIMATE
In Assignment 4, we looked more deeply into Plant as Climate (teasel for me), wrote an essay and designed a poster. This poster was presented as somewhere in between the self and biotech / and asked that we dig deep to seek out visual metaphors that would connect a timeline, our plant’s growth cycle, climate and culture. ASSIGNMENT 5 / PLANT AS SYSTEM
In the final assignment for Third Nature, we were to photograph our planters and use a combination of analog and vector graphics to build up an analysis of cause and effect from a case study relating to our own thesis research (and to arrive at a greater connection between the plant projects and our own thesis development.)
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6
ASS. #1
PLANT DECISIONS
Narrowing down the three plants took forever, and went through at least 4 rounds of changes. In the end, despite having to compromise on two of my plants because of availability, I realized that it didn’t matter so much what the plants were: they were simply the catalyst for the conceptual and analytical aspects of the assignments.
ASS. #1
3 PLANTS AND A PLANTER PLANT DECISIONS
The plant as climate was the trickiest, not being able to source local suppliers of native plants. I realized that I was being too literal and rules-y: I should have had much more fun with the selection and trusted gut over what I thought was right.
7
8
ASS. #1
POSTER IDEATION & VISUAL REFERENCE
WORKING OUT MAJOR CHARACTERISTICS OF MY PLANT CHOICES; BELOW, LOOKED AT DIFFERENT VISUALS TO SPARK IDEAS FOR THE POSTERS
THOUGHT ABOUT TOPOGRAPHICAL MAPS / TEXTURE, TO EXPRESS EMOTIONAL BARRIERS
1. Self
family
Brassicicae
common name
2. Technology
Kale
9
FINAL POSTERS
ASS. #1
family
Arabidopsis
common name
Mouse-ear cress
WHAT I WANTED FROM THE INTERIOR HAD NOTHING TO DO WITH ACCESS.*
3. Native
family
Dipsacaceae
common name
Joan Didion, A Book of Common Prayer
Teasel
photo credit: http://www.science.psu.edu/news-and-events/2008-news/Loveland-Curtze5-2008.htm
*
SEVERE HIGH ELEVATED GUARDED LOW
4. Planter
a. Teasel (grows to max 3 feet) b. Kale (grows to 1 foot) c. Cress (grows from 0.5 to 2 feet) d. Potting soil mixed with water retention crystals and nitrogen-rich slow-release plant food
h. }
}
a. b. c.
}
}
d.
}
e. f. g.
}
i.
18-inch cube with hinged cushion top and storage inside
}
THE WORD FOR THIRST INVASIVE MONOCULTURE
e. Rocks/crockery for drainage f. Drainage holes g. Collection pan h. Cushion, approx 2-inches tall i. Storage for gardening supplies j. Poster support and casters
18-inch cube with false bottom for drainage
with magnetic panel for attaching posters; doubles as trellis for Prickly spines! Wear gloves.
j. } events/2008-news/Loveland-Curtze5-2008.htm
photo credit: Some rights reserved by archer10 (Dennis) ww.science.psu.edu/news-and-
Adjustable metal rods
Small white unassuming owers
tall-growing teasel Cubes on casters? Potential for moving plants around for access to best light
Kale is the heaviest feeder; it requires good nutrition, moist soil and good drainage. Can produce all winter
10
LOVE THE CREVASSE AND EXAGGERATED GEOMETRIC FORM LOVE LOVE LOVE THE TERRARIUM / INVITING / DIORAMA / STORYTELLING
INTEGRATE THE PLANTS / DON’T LIKE THE DOUBLE CURVE
ASS. #1
PLANTER VISUAL RESEARCH
11
LEVELS / FURNITURE / HEIGHT
FURNITURE / TEXTURE / MATERIALS CONTRAST
12
ASS. #1
PLANTER DESIGN
What I looked at as visual research and what I was capable of building are two very different things! I stayed largely rectilinear, knowing that I’d be using wood to build the form, and feeling hindered by lack of skill and knowledge with wood.
A LOT OF THE DRAWINGS AWINGS HAD SOME KIND D OF SEAT COMPONENT
TRYING TO FIGURE OUT HOW TO HANG POSTERS
13 HOLES / ANGLES / LEVELS / JOURNEY METAPHOR
14
ASS. #1
PLANTER DESIGN
A ROCKER? WEIRD...WHAT WAS AS I THINKING?
I was inspired by some of the visual research to look at solutions that had holes for the plants to poke through. I liked the angled/geometric planters, too, but I didn’t actively pursue trying to figure out how to build such a thing. I was also thinking about mapmaking / a journey and related visuals: stamp holes, topography, paths and levels. I also wanted something comfortable, where I could sit and be among the plants rather than viewing them as an art installation.
ASS. #1
PLANNING AND BUILDING
15
PLANNING OUT THE WOOD CUTS FROM A 4 X8 SHEET OF 1/2-INCH FIR. I DID THIS AT LEAST A HALF DOZEN TIMES.
THINKING ABOUT PRACTICAL THINGS LIKE DRAINAGE AND PROTECTING THE WOOD FROM WATER DAMAGE
16
ASS. #1
FINAL PLANTER
KALE AND TEASEL SEEDLINGS AT 5 DAYS, 12 DAYS AND AT 4 WEEKS
3 PLANTS & A PLANTER
MY CHUBBY COFFIN
I have never been so frustrated as on the first building day! I couldn’t wrap my head around the math of the 3D view of piecing together the wood, and allowing fo the dado cuts so that the pieces could slide together seamlessly and with greater strength. In the end, I got about 70% of the math right, but missed a couple of critical dado cuts. The wood I chose was thin and of poor quality, and this didn’t help much either when trying to glue and nail the whole thing together. The castors don’t peak out as much as they should, and the end result is, um, kind of a giant chubby coffin. Really, it’s a prototype. I got a lot out of the building process: I’m still hugely intimidated by 3D thinking and by using tools of any kind – but being forced to think through each piece really helped.
ASS. #1
FINAL PLANTER
THE PLANTER PARTITION TOOK 60 LITRES OF SOIL!! YIKES. THE LID SLIDES OPEN ON THE SEATING AREA TO REVEAL THE STORAGE AREA: I KEEP MY WATERING CAN, EXTRA SOIL, SPRITZER AND WATER RETENTION CRYSTALS (ZEBA) IN HERE. BOTTOM PHOTOS: THE THREE PLANTS, AUGUST 12. THE TEASEL IS GROWING THE MOST SUCCESSFULLY, AND IS STARTING TO TAKE OVER THE KALE.
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ASS. #2
BRAINSTORMING
LITERAL TRANSLATION OF SELF: PHYSICAL AND PERSONALITY TRAITS
ASS. #1
PLANT AS SELF REFINING
Once I stopped focusing solely on self (as with the brainstorm opposite) and looked toward family history, relationships and identity through geography, kale emerged as a choice that resonated beyond purely physical traits.
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ASS. #2
POSTER VISUAL RESEARCH LA SAGRADA FAMILIA GAUDI / FORMS FOUND IN NATURE JULIE MORSTAD ILLUSTRATION EPHEMERAL RELATIONSHIPS
NOGUCHI SCUPLTURE SHAPE AS MISSED COMMUNICATION DIATOMS, KALE CELLS SPIRULINA
LIGHT SCUPLTURE / ANGLES / BLURRING / SEEING BUT NOT UNDERSTANDING / CONVERSATION
ASS. #2
21
FINAL POSTER
0%
-10%
-20%
FINAL SELF POSTER:
{
used the kale seeds as the measurements; used ideas of anchoring, layering, blurring and pulling apart the structure of something as metaphors for conversation and family relationships
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ASS. #3
RESEARCH
Arabidopsis is widely used in plant basic research. Its entire genome is known and mapped. It’s a gateway to relevant and current social and political interests: funding for US Department of Defense (DoD) projects and longterm food security.
ASS. #3
PLANT AS BIOTECHNOLOGY VISUAL RESEARCH
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ASS. #3
POSTER FIRST ITERATION
arabidopsis thaliana / mouse-ear cress homeland security
GENETIC MODIFICATION GENE SPLICING AND RECOMBINATION
ARABIDOPSIS IS A MODEL GENETIC ORGANISM BECAUSE ITS ENTIRE GENETIC CODE IS KNOWN AND MAPPED. ARABIDOPSIS CAN BE GENETICALLY MODIFIED TO RESPOND TO EXTERNAL THREATS IN THE FORM OF MICROBES, INSECTS, CHEMICALS AND HORMONES.
F1 + F1 = F2
ARABIDOPSIS IS BEING DEVELOPED AS A SENTINEL PLANT IN THE WAR ON TERROR. ARABIDOPSIS CAN BE GENETICALLY MODIFIED TO CHANGE COLOUR WHEN IT DETECTS MINUTE QUANTITIES OF AGENTS OF BIOLOGICAL WARFARE, LIKE DEADLY NERVE TOXINS.
BY SPLICING TOGETHER A KNOWN GENE FROM ONE STRAIN WITH A KNOWN GENE FROM A SECOND STRAIN, RECOMBINANT VARIETIES OF ARABIDOPSIS CAN BE ENGINEERED FOR SPECIFIC RESPONSES.
Novichoks
SIGNAL TRANSDUCTION HOW A PLANT CELL RECEIVES MESSAGES
PHYSICAL RESPONSE HOW THE PLANT REACTS
anthrax!
1 2 3 4 5 6 7
EXTERNAL STIMULATION PROTEIN MOLECULE DOCKS TO EXTERIOR OF CELL WALL. EACH PROTEIN HAS A SPECIFIC DOCK THAT FITS LIKE A LOCK AND KEY. SIGNAL PATHWAY THE PROTEIN STIMULATES A SIGNAL CASCADE THROUGH THE CELL MEMBRANE. INTERNAL COMMUNICATION A SECOND PROTEIN ON THE INSIDE OF THE CELL RESPONDS TO THE EXTERNAL MESSAGE AND MAKES CONTACT WITH THE CELL NUCLEUS. RNA INSIDE THE NUCLEUS, A STRAND OF RNA IS PRODUCED. DNA CELLULAR ORGANS READ THE RNA AND CREATE A RELATED STRAND OF DNA. THE DNA IS A BLUEPRINT TO MAKE A PROTEIN. PROTEIN THE NEWLY-MADE PROTEIN STRAND FORMS INTO A COMPLEX4-DIMENSIONAL STRUCTURE AND EXITS THE CELL MEMBRANE. THE PROTEIN IS THE CELL’S RESPONSE TO THE EXTERNAL STIMULUS. PROTEIN RESPONSE THE PROTEIN CAN NOW GO AND START A CHAIN OF EVENTS THAT WILL PRODUCE A PHYSICAL RESULT, E.G. CAUSE THE CELL TO FLUORESCE
VX
Soman
Cyclosarin
Sarin
food security
ARABIDOPSIS IS ALSO BEING MODIFIED FOR RESISTANCE TO TOXIC SOIL. 40–50% OF THE EARTH’S SOILS ARE CURRENTLY UNUSABLE BECAUSE OF ALUMINUM TOXICITY. MOST OF THESE SOILS ARE FOUND IN IMPOVERISHED NATIONS.
MILITARY AGENDA PARANOIA FEAR XENOPHOBIA CONTROL PROTECTIONISM ALLOCATION OF FUNDS
SOCIAL AGENDA GMO MONOCULTURE PROFIT-POTENTIAL NEEDS OF DEVELOPING NATIONS SUBSISTENCE VS LARGESCALE FARMING LONGTERM CONSEQUENCES?
INITIAL FEEDBACK ON FIRST DRAFT:
Reliance on text over visuals; trying to tackle too many topics in one poster.
WORKING OUT A NEW APPROACH TO FINAL POSTER
POSTER FINAL ITERATION
ASS. #3
HOMELAND SECURITY
2003 $3.5M
FOR PENN STATE SCIENTISTS TO GENETICALLY ENGINEER "SENTINEL PLANTS" TO PERFORM ANTI-TERRORISM TASKS
GENETIC TOOL USED IN BASIC
{
:
EFFECT
OF WORLD’S ARABLE LANDS
UNUSABLE BECAUSE OF ALUMINUM TOXICITY
}
{
CAUSE
TOXIC SOIL
SENTINEL PLANT GLOWS GREEN
:
EFFECT
}
RESISTANT STRAIN IS HEALTHY
BESIDES SENSING THE PRESENCE OF CHEMICAL WARFARE AGENTS OR ANIMAL PATHOGENS SUCH AS ANTHRAX, SENTINEL PLANTS COULD HELP MAY ALSO BE DESIGNED TO DETECT AND SIGNAL THE PRESENCE OF EXPLOSIVES IN SOIL, WHICH WOULD AID IN REMOVING LAND MINES. {LAKSHMI SANDHANA}
BY BIOAGENT
FROM GENETICALLY MODIFIED SEED
CAUSE
BIOTERROR ATTACK
SENTINEL PLANT ATTACKED
SENTINEL PLANTS GROWN
PLANT RESEARCH. GENE SPLICING AND RECOMBINATION
40–50%
US DEPARTMENT OF DEFENSE FUNDING
1
ANTHRAX BACTERIA DOCK AT CELL WALL
2
A SIGNAL PATHWAY ALERTS THE NUCLEUS
+
3
=
4
THE CELL’S MACHINERY MAKES RNA AND DNA (THE BLUEPRINT) THE CELL’S MACHINERY MAKES A PROTEIN (THE RESPONSE)
FEEDBACK ON FINAL ITERATION:
lose the title / too much real estate, decorative function only Go deeper intp one aspect e.g. aluminum resistance / one country, one crop, famine statistics / impact Explain difference between what’s happening in the lab with Arabidopsis and how the basic research translates to the outside world (distinction not clear)
ALUMINUM RESISTANCE CREATED BY SAME STEPS
IS A POWERFUL
2011
GREEN FLUORESCENCE
(MOUSE-EAR CRESS)
vs
SENTINEL PLANT SIGNALS DANGER
A. THALIANA
GENETIC ENGINEERING
FOOD SECURITY
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ASS. #4
RESEARCH
FIGURING OUT WHAT KIND OF PLANTS CAN LIVE IN NOVA SCOTIA
TEASEL IS A WEED WITH A TAPROOT SYSTEM: IT’S VERY DIFFICULT TO KILL BECAUSE OF ITS HARDY ROOTS
ASS. #4
PLANT AS CLIMATE VISUAL RESEARCH
INFO DESIGN: ZONES OF INFLUENCE, MAPPING, SUBTLE COLOUR PALETTE, TEXT IS CONTROLLED: COULD BE NICE EXAMPLE FOR ASSIGNMENT 4 POSTER
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ASS. #4
VISUAL RESEARCH, COLOUR PALETTE/ HISTORICAL REFERENCES
LOOKED AT THE WORK OF MARK LOMBARDI: SCIENTIST AND CONSPIRACY THEORIST; MADE BEAUTIFULLY DETAILED MAPS OF RELATIONSHIPS; OPPOSITE, LOOKED AT HERITAGE PAINT COLOURS ND ARCHITECTURAL DETAILS LIKE THE CORNICE
ASS. #4
RESEARCH / IDEATION
LOOKED AT STYLES OF ARCHITECTURE IN HALIFAX
LOOKED AT THE ROOT SYSTEM OF TEASEL AS THE STRUCTURE FOR THE GRAPHIC; TRYING TO TIE NS CLIMATE WITH THE TEASEL LIFECYCLE
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ASS. #4
POSTER IDEATION
TRYING TO REALTE HERITAGE COLOURS IN HALIFAX TO THE LIGHT SPECTRUM
STARTED TO PICK OUT MAJOR HISTORICAL AREAS IN HALIFAX / HOW TO USE MAP ALONGSIDE CLIMATE INFO?
STARTED TO PICK OUT SINGLE WORDS FROM SOCOIOLGY TO DESCRIBE ASPECTS OF CULTURE
ASS. #4
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FINAL POSTER
THE EFFECTS OF LIGHT AND HERITAGE ON PUBLIC SPACES IN HALIFAX
TEASEL LIFECYCLE AND HERITAGE
HALIFAX PUBLIC SPACES
PROPERTIES OF CULTURE*, CLIMATE AND LIGHT
CUMULATIVE
TRANSMITTED
SPIRITUAL
LEARNED
LOCALIZED
SYMBOLIC
PLASTIC
VARIABLE
SEED
ROSETTE
PAST / DORMANT
MATURE FLOWER
DYNAMIC
PATTERNED
STANDARDIZED
STRUCTURED
SEED DISPERSAL PRESENT / ACTIVE
CEMETERY
ARMY
*
QUEEN VICTORIA
CITADEL
UNIVERSITY
NAVY
CRUISE SHIP
TRANSMITTED
CONTAINER SHIP
** *
PT PLEASANT PARK
SPIRITUAL
LOCALIZED
SYMBOLIC
STANDARDIZED
* FROM A L KROEBER, CULTURE: A CRITICAL REVIEW OF CONCEPTS AND DEFINITIONS (1952, PG.101)
FEEDBACK:
I was trying to do too many things visually; the bottom spectrum ended up resonating the most in terms of understanding; the layered strata to the right was less successful – but overall, the attempt and layered information works, but needs a simpler and clearer communication
32
ASS. #5
POSTER VISUAL RESEARCH
MAJOR IDEAS EXPLORED: ROADS/MAPS UNRAVELLING/KNOTS POINTS OF LIGHT LIMINAL SPACE TEMPORARY SPACE
LOOKED AT: ORIGAMI HAND DRAWN TYPE STYLES/ COLOUR PALETTE DETROIT SOUP IMAGES AFGHANS!!
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PLANT AS SYSTEM
ASS. #5
POSTER IDEATION
SOUP AT SPAULDING COURT
1 COMMUNITY 1 SHARED MEAL 1 WINNING PROJECT D E T R O I T, N O V E M B E R 1 , 2 0 1 0
t1
c Proje
t2
jec
Pr o
jec
t3
o Pr
ER
!
DO
N IN
TH
D
W
W O AN LF N BE
Artist Ben Wolf is helping to fight crime and express his sculptural vision in Detroit by making a mutant dormer house.
E
Soup
RM
Salad
ER HO US E
Bread
$5
$205
VO
TE
!
Morocca
n Stew
Sliced Cu
cumber
Red Pepp
TE
!
VO
TE
er Brea
!
d
V OT
VOTE!
TE!
VOTE!
E!
!
VO
$5
VO
VO
TE
42 x
V OT E!
V OT
FIRST ITERATION OF THE SYSTEMS POSTER: DESCRIBES ONE DINNER AT DETROIT SOUP; WINNER IS BEN WOLF/DORMER HOUSE PROJECT USED IMAGES OF “DORMERS” TO TIE VISUAL ELEMENTS TOGETHER
E!
34
ASS. #5
POSTER FEEDBACK
ANALYZE AND PICK APART THE CASE STUDY
FEEDBACK FROM CHRISTOPHER:
Missed the boat! Wanted to see analysis into cause + effect (NOT the dinner itself, but the situation leading to the project, i.e. the recession, Ben Wolf ’s response to the recession and to the art installation, etc.)
ASS. #5
35
PLANNING FOR SECOND ITERATION
PULLING OUT ACTUAL STATISTICS ABOUT THE NEIGHBOURHOOD IN DETROIT
USE ARCHITECTURE OF ART INSTALLATION TO RELATE BACK THE STATISTICS?
BEN WOLF’S DORMER HOUSE; PART OF DESIG 99’S PUBLIC ART PROJECT IN DETROIT
USE PAPER-BUILT DORMER HOUSE / BUILD UP ON PLANTER
e Th sign De ief Br
en dgem No ju ities ibil s s o P
t!
ting Wri ing t Wri ing t i r W s! List
k! Spar es h Hunc ing storm Brain Internal External
Refinement
Production Planning
Feedback
Test
Negotiation
Right Design Wrong Format
Re-align with core ideas
Inspiration
Evaluation
Final Design
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Collab orativ e spa Ease! ce Says s ometh ing ne w
Resignation Replication
Self-doubt
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e om p utc hi n o ions g i t s a De rel g n t rki en ul ) Wo em ag vs so an $ m ( t is jec lys Pro ana st o C
Despair
Existential Crisis
Tweak Methodology
Indifference
s Edit s tion Itera ning -tu Fine
n ee es o b wn s t kno a H be to k ris of ol s e ntr u s Is d co an
Hate
36
MDES 6030
RUDI MEYER MICHAEL LEBLANC MARLENE IVEY
INTENSIVE NO.1 In our first intensive, we were introduced to our three remaining key advisors and to NSCAD’s philosophies and approaches to the masters programme. Rudi started us off with a lecture, Michael had us dive right in to a 2-day design charrette, and Marlene had us thinking about our own design process and thesis structure.
37
38
RUDI MEYER
NSCAD’S APPROACH TO DESIGN
Rudi gave us a lecture about the history of liberal arts education, and then moving into a specific switch between fine art and design/applied art education. We talked about different ways of knowing, and about how these ways of knowing inform and challenge design thinking and NSCAD’s philosophy of knowing by doing. Nice idea at the end about always being part of the system: the designer is as much affected/designed by the system as what they are adding to/creating. Hadn’t thought of this before / makes the idea of design authorship more complex.
RUDI MEYER
RESEARCH THROUGH PRACTICE TO GAIN KNOWLEDGE. BECOME A PRACTITIONER, NOT A PROCESSOR.
39
BACKGROUND / THE ROOT OF ALL LIBERAL ARTS EDUCATION THE 7 LIBERAL ARTS GRAMMAR LOGIC RHETORIC ASTRONOMY MATHEMATICS GEOMETRY MUSIC AUTHORSHIP = DIVINE AUTHORITY + SOCRATES/PLATO = RECONCILATION OF PAGAN AND CHRISTIAN THOUGHT
TACIT KNOWLEDGE: ONCE YOU KNOW IT, YOU CAN MOVE BEYOND THE BASE AND GET CREATIVE
THE SEVEN LIBERAL ARTS – PICTURE FROM THE HORTUS DELICIARUM OF HERRAD VON LANDSBERG (12TH CENTURY)
WE DESIGN AND WE CONTINUE TO BE DESIGNED
40
MICHAEL LEBLANC
INTRO
In Michael’s intensive, we were asked to look at ways that design affects our everyday lives, and then to imagine the design stripped out completely. We each prepared a double-page spread for inclusion in our very own book, This Sucks. A crazy design charrette, and good evidence of what can be done under a tight deadline with a shared goal.
THOUGHTLESS ACTS (IDEO BOOK) PHOTOS OF PEOPLE USING OBJECTS FOR PURPOSED OTHER THAN THEIR INTENDED USE.
MICHAEL LEBLANC
THIS SUCKS DISCUSSION/WRAP-UP
FIRST DAY IN-CLASS DISCUSSION
The vernacular What regular people would say or create We can’t suck the vernacular out!! Everything would disappear. Well-engineered = good design, a different reading of design, but not necessarily with aesthetic value. What separates design from systems/engineering/styling? Starbucks: there are steps that are managed and designed toward an experience/service. What is the social necessity for the design profession? It’s not about selling. OVERALL IMPRESSIONS
Haven’t had this kind of pressure-filled deadline in awhile – an interesting experiment, especially not knowing each other very well (early in the semester). Felt motivated and focused, but also that I was being a bit of a hack. I started off with much loftier ideas, like re-designing entire airports, but I couldn’t articulate the reason or drill down to something depictable. Wanted to think bigger, but this wasn’t that kind of assignment. This was very much grounded in reality. I design best under pressure, so did appreciate that kind of energy. Great to come away with a printed record of a 2-day charrette.
41
42
MICHAEL LEBLANC
BRAINSTORMING
GOT STUCK ON THIS LINE OF THOUGHT: RE-DESIGNING THE ENTIRE EXPERIENCE OF AN AIRPORT! INITIAL FEEDBACK: TOO BROAD AND IMPOSSIBLE TO TACKLE IN ANY MEANINGFUL WAY.
MICHAEL LEBLANC
EDITING
THIS IS WHERE I ULTIMATELY LANDED: FROM A HUGE ARCHITECTURAL SPACE TO THE TINY UNIVERSE OF PILLS
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44
MICHAEL LEBLANC
DESIGN ITERATION AND TEXT DRAFT
MICHAEL LEBLANC
FIRST DRAFT OF SPREAD
The lowly aspirin – a single, small white pill. Kind of a pleasing design in its simplicity. Comforting, known, tucked away in your medicine cabinet, pulled out to nurse the occasional
R
doctor. take as advised by your . do not exceed daily dosage do not skip pills.
-----
-------------------------
headache or fever.
your arthritis pill; best taken with food.
Imagine yourself now at 85, living alone, with a faulty heart,
Zovirax Prozac
failing kidneys, weak eyesight and mild arthritis. You have VL[ SLOOV WR WDNH HDFK GD\ DW GLá‹˝HUHQW WLPHV DQG LQ GLá‹˝HUHQW combinations. You know your pills by size, shape and colour,
Serzone
'Lá‹żXFDQ
and by referring back to the chart that your doctor drew up for you. If you have any questions, you can take your pills in to your pharmacist and they can tell right away what you’re
Zyrtec Premarin
taking and what potential risks your drugs pose.
not to be also for your heart but is for confused with THIS one (which mes) your kidneys but only someti
But what if your pills all looked like aspirin? What if every time you opened your medicine cabinet or Monopril
your pill organizer, you faced a stolid row of blank white
Zocor
for your heart condition
pills, silent, vaguely threatening, telling you nothing about what they are or how to use them? Accupril Glucotrol
----The lowly pill: an essential piece of design that
in the Take the one on the left the right in morning, and the one on of bad if you the afternoon. It’s kind reverse them.
helps support compliance, guards against accidental overdose or unsafe drug reactions, and enables fast SLOO LGHQWLமFDWLRQ E\ ERWK XVHUV DQG KHDOWK FDUH professionals.
MY FIRST LAYOUT FEEDBACK
Prescription (Rx) notation too small; Not obviously a prescription pad / doesn’t use the same visual language; Pill forms are too bold in black / pull back
45
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FINAL SPREAD FOR BOOK
MICHAEL LEBLANC
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MY FINAL LAYOUT:
Fixed up the prescription pad, reduced the visual weight of the pill outlines and tweaked type sizes, etc. (when printed, type still horsey!! Ugh – but left as is to meet book deadline).
MICHAEL LEBLANC
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BOOK PLANNING
WORKING OUT NUMBER OF PAGES INCLUSING FRONT AND BACK MATTER; SPECIFIC JOBS DISTRIBUTED BELOW. AND THE FINAL BOOK! COVER AND INSIDE MATTER DESIGNED IN ABOUT AN HOUR. LEEANDRA’S IDEA TO HAVE EACH OF US WRITE “THIS SUCKS” AS THE COVER ARTWORK. KEPT COVER IN CMYK TO REFERENCE DESIGN (INK BASICS). STUART’S IDEA TO ADD COLOUR (ORIGINAL WAS GRAY ONLY, VERY BORING).
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48
MARLENE IVEY
INTRO
In Marlene’s intensive, we were walked through the structure of our thesis project, and then asked to work out two things: our own design process (with a poster visualization), and a physical (3D) model depiction of the thesis structure. Great reading about alternative kinds of mapmaking (as psychological, fanciful or metaphorical spaces) – good infusion of new ideas before starting our own visualizations. THE ASSIGNMENT
create a map of your own process focus attention and shape perception can have poetic elements! something about human nature
FROM REBECCA SOLNIT’S INFINITE CITY, A REINVENTION OF THE TRADITIONAL ATLAS
AMAZING!! “MONARCHS AND QUEENS”, COLOURFULLY COMAPS “BUTTERFLY HABITATS AND QUEER PUBLIC SPACES” IN SAN FRANCISCO.
MICHAEL LEBLANC
DESIGN PROCESS RESEARCH
PAPER SCULPTURE, THINKING OF WAYS TO SHOW 2D AS 3D /LAYERING / DEPTH / PICTURE FRAME / SURFACE ARCHITECTURE
OTHER RESOURCES: MINIATURE GUIDE TO CRITICAL THINKING CAL SWANN / ACTION RESEARCH METHODOLOGY
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MARLENE IVEY
VISUALIZING DESIGN PROCESS/ IDEATION
KEY IDEAS: COLLAGE/BRICOLLAGE TEXTURE TOPOGRAPHY SOUL, MEANING, MINDFULNESS
I decided to approach my layout as a kind of intertwined flower wireframe. the directional arrows are tags that relate to a colour scale at the bottom: red is despair, blue inspiration, and my own design process ranges pretty radically between these two extremes.
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MARLENE IVEY
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DESIGN PROCESS MINDMAP TO FINAL
MINDMAPPING MY OWN DESIGN PROCESS AS DETAILED AS POSSIBLE!
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MARLENE IVEY
THESIS STRUCTURE
LIKE BUILDING A HOUSE PORCH = ABSTRACT ENTRANCE = INTRO, ETC. TITLE PAGE ACKNOWLEDGEMENTS CONTENTS LIST OF FIGURES ABSTRACT INTRO LITERARY AND CONTEXTUAL REVIEW METHODOLOGY AND METHODS ANALYSIS OUTCOMES CONCLUSION BIBLIOGRAPHY APPENDICES
MARLENE IVEY
FINAL ITERATION 3D MODEL
I BUILT A RELATIVELY LITERAL 3D MODEL USING NESTED PAPER AND STRING TO CREATE TENSION. IF YOU PUSH AND PULL ON SOME PARTS, THE WHOLE PIECE SHIFTS. THERE ARE MORE HIDDEN SPACES, AS WELL, WITH REMOVEABLE OBJECTS, TO REPRESENT HIDDEN GEMS/ KNOWLEDGE, AND THE EFFORT THAT’S REQUIRED TO GET TO THEM.
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mdes 6030
karen jans parks canada
intensive No.2 In Karenâ&#x20AC;&#x2122;s intensive, we were asked to come up with a viable â&#x20AC;&#x201C; but still future-thinking and original â&#x20AC;&#x201C; campaign to encourage a specific audience (the Singles Scene) to visit Parks Canada parks, national historic sites and marine conservation areas. We worked in groups of 3 or 4 over the course of a week. In the first few days, we were given a huge amount of information to digest from printed materials and guest speakers, and then we spent from about Wednesday on drilling down into the actual solution and presentation materials.
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INTENSIVE #2
SOME NOTES FROM THE WEEK
STRONG FOCUS ON TEAM BUILDING AND FACILITATION. I LEARNED THAT I WAS STRONGER AT BEING A THINKER UP-FRONT IN A PROJECT (REFLECTION), AND THAT I WAS NOT AS STRONG AT DELEGATING TASKS OR RESOLVING INTERNAL CONFLICTS (I.E. WEAK AT THE FACILITATION)
INTENSIVE #2
SOME NOTES FROM THE WEEK
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MAJOR TRENDS AND EXTERNAL DESIGN EXAMPLES
SOME INITIAL CAMPAIGN IDEAS: THE WILDS OF CANADA ARE CALLING YOU.
GUY’S PRESENTATION WAS AWESOME: LOVE THIS / GOOD DESIGN = AESTHETICS AND ETHICS / PROPOSE GOOD IDEAS BASED ON A VALUE SYSTEM
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INTENSIVE #2
NOSTALGIC CAMPING INSPIRATION / THE BAY’S REBRANDING
INTENSIVE #2
KAREN’S FEEDBACK AND SUGGESTIONS AFTER CREATIVE PITCH
INITIAL CREATIVE / DISCUSSION
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HIPSTERS WHAT EXPERIENCES OUR AUDIENCE LIKES IN THE CITY
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INTENSIVE #2
CAMPAIGN COPY ATTEMPTS
COPY IDEAS FOR MARKETING CAMPAIGN
WHAT DO WE CALL OUR SERVICE??
INTENSIVE #2
PRESENTATION PLANNING
BASIC CONCEPT STATEMENT REALLY HARD TO WRITE! A GROUP EFFORT.
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INTENSIVE #2
FINAL SLIDE PRESENTATION
SECOND HOME Your place in nature.
STRENGTHS
OPPORTUNITIES
EASY STARTUP PLACES THE PARK/PARK USAGE AS THE PRIORITY CREATES LONGTERM VISITORS ACCOMMODATES TWO MARKETS SUSTAINABLE (BOTH AS A PROGRAMME AND ON AN ENVIRONMENTAL LEVEL)
OPPORTUNITY FOR PARTNERSHIPS REVENUE STREAMS ( FROM VISITATION AND FROM MERCHANDISE )
ADAPTABLE MARKETING CAMPAIGN
?
STRENGTHS AND OPPORTUNITIES VIA RAIL, VANCOUVER TO BANFF
CUSTOMIZED PACKAGED CAMPING THAT RECONTEXTUALIZES AND TEACHES CAMPING CULTURE – WITH AN IRONIC, NOSTALGIC TWIST – TO A MISSED GENERATION OF CAMPERS AND TO NEW CANADIANS WITHIN THE SINGLES SCENE GROUP. LONGTERM PARK USERS ARE CREATED THROUGH THE EASE OF THE EXPERIENCE, THE CREATION OF SHARED RITUAL AND MEMORY, AND THE HARNESSING OF PARKS CANADA’S EMOTIONAL BRAND QUALITIES.
?
CONCEPT
?
SECOND HOME MERCHANDISE
PART OF MY PRESENTATION SCRIPT
INTENSIVE #2
SUMMARY /WRAP-UP
THIS IS ME: IDEAS UPFRONT, NOT MUCH FOR THE COMPROMISE OR LATER PLANNING STAGES:-)
OVERALL IMPRESSIONS
Too many presentations and information dump at the outset, followed by too little time to work out ideas and group dynamics. Felt that we committed to a road that wasn’t especially strong conceptually, but that was doable in the time allotted. I think it has to be one way or the other: very blue sky to get to the great ideas, or very much tied to a client’s brand rules and marketing constraints. The group work was a huge challenge and I did come away really noticing my own need for work in many areas. Was really inspired by Karen’s intelligence, sharp insight, exquisite articulation and ability to manage and organize such a complex and multifactorial workshop. CHRISTOPHER’S FEEDBACK: LOVE THIS IDEA OF TACTILITY AND SENSE MEMORY (PERFORMATIVE PARTS OF CAMPING)
CONCEPT COULD BE WEIRDER!! YES!
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64 FERNANDO FLORES PERMANENT DOMAINS OF HUMAN CONCERN
CONVERSATION FOR ACTION 9 POSSIBLE MOVES
mdes 6030
david peters
intensive No.3 In Davidâ&#x20AC;&#x2122;s intensive, we spent the week working our way through a number of business-related topics, as well as engaging in two Wikipedia-based smaller workshops. In the first workshop, we were asked to find gaps in Wikipedia specific to design topics, and then to contribute, in some way, to an existing article or in the creation of a new one as a means of understanding what it means to be an editor and what it means to contribute to an open source resource. In the second workshop, we worked in small teams to test out Davidâ&#x20AC;&#x2122;s branding campaign for university-based Wikipedians, social groups that connect and identify as Wikipedia editors. The major challenge here lay in creating work that could translate across cultural and language differences. We presented our design solutions/testing to David and to Jay Walsh, Wikimedia Foundationâ&#x20AC;&#x2122;s Head of Communications.
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INTENSIVE #3
WIKIPEDIA EDITING
I CREATED A NEW ENTRY FOR UPPERCASE MAGAZINE, A CRAFT, DESIGN AND ILLUSTRATION QUARTERLY PUBLISHED IN CALGARY. HUGE CHALLENGE: WRITING IN THE STYLE OF WIKIPEDIA, DETACHED, NON-BIASED, BUT STILL INFORMATIONAL AND ENGAGING. MY ENTRY IS MORE OF A STUB, A SHORT ENTRY THAT COULD POTENTIALLY BE EXPANDED.
INTENSIVE #3
WIKIPEDIAN IDEATION
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GROUP WORK WITH LEEANDRA AND MARTYN
MAJOR IDEAS PULLED FROM BRAINSTORMING:
· personalized icon set · live feed (RSS, Twitter) · badge/reward system · break up use of conventional Wikipedia homepage grid · bold with colour and shape · possible guerrilla outcome
LOOKING AT GUERRILLA TACTICS LIKE USING A STENCIL
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INTENSIVE #3
WIKIPEDIAN FINAL WORK
PLAY ON WORDS: “WICKED” FROM WIKI + ED (EDUCATION)
PLAY ON WORDS: “WICKED” FROM WIKI + ED (EDUCATION)
Updates
RSS feed
Chapter Info
August 5, 2011 DesignSquirrel says
12 pages edited
My first entry was rejected! Need help editing. Who’s free? DesignSquirrel says
There’s no entry for Artist X. Crime! Unite, Wikipedians!
ART HISTORY
DesignSquirrel says
Great new article about Topic X: check it out. Editor profile is User:WikiDan DesignSquirrel says
Hair Cuts by Wikipedians was a HUGE success! DesignSquirrel says
New set of event icons coming out soon! Check Wiki Commons later this week.
July 29, 2011
1 page edited
PHOTOGRAPHY
Wiki Stars DesignSquirrel earned her Robots Editor badge after 12 consecutive hours of Robots-based editing. Well done, DesignSquirrel!
July 16, 2011
1 page edited
FILM
lcianci made Wik:ed history when she earned her 21st badge on Monday for exemplary contributions to food design.
Wiki:ed Chapter founded: August 2011 Membership: 311 Meet-ups attended: 27 Meet-ups hosted: 5
Events Hair cuts by Wikipedians Trust us, we have encyclopedic knowledge. Thursday, September 8, 2011 3 til 7pm, Cafeteria First come, first served.
Stitch and Bitch Edit Night! Secret, secret, secret. Check your user page for Wikilove details.
Editing and mouse trapping sleepover party Friday, September 9, 2011 N400, Granville Campus
INTENSIVE #3
WIKIPEDIAN FINAL WORK
HANDRAWN ICON SET FOR NSCAD
FEEDBACK FROM JAY AND DAVID PETERS:
路 Great contribution of icon set to WikiCommons 路 Good example for other Wikipedians of how the brand system can be personalized, and design touches used to effect 路 our idea of playing with the workmark, from Wikipedians to Wiki:Ed would not translate well globally, but nice to explore ways to play with language
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KEN KAM
DAL FREELAB In Kenâ&#x20AC;&#x2122;s Photoethnography Freelab, Hana, LeeAndra and I joined forces with four Dal architecture students to learn about photodocumentation as a visual research tool. The theme of our research was aquaculture in Nova Scotia, and we set out over the course of the first week to document a mussel farm, a steelhead trout farm and a halibut hatchery with the goal of visualizing a complete story of where our fish come from in the growth, harvesting and production chain. The second week was spent editing down a huge wealth of photos, determining a storyline, editing photos in Photoshop and printing and mounting the final exhibit.
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FREELAB
FIRST DAY WORKSHOP (INTRO TO ETHNOGRAPHY AND AQUACULTURE)
WE WERE GIVEN ABOUT 2 HOURS TO RESEARCH AND ORGANIZE A POSSIBLE SOLUTION TO PHOTODOCUMENTING AN ASPECT OF AQUACULTURE. HANA, LEEANDRA AND I WORKED ON OYSTER FARMING. ABOVE: OUR PRESENTATION TO THE GROUP LEFT: WORKING OUT THE STEPS IN THE PROCESS FROM GROWTH TO DELIVERY
FREELAB
SOME PHOTOS, FIELD TRIPS
MUSSELS FARM, STEELHEAD TROUT FARM, HALIBUT HATCHERY (A VERY SMALL SELECTION OF A COUPLE HUNDRED PHOTOS)
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FREELAB
PHOTO EDITING
FREELAB
EXHIBIT PLANNING
BELOW: FIGURING OUT HOW MANY IMAGES NEEDED TO TELL A FULL STORY; LAYOUT OF THE EXHIBIT SPACE; USING STRING ON THE WALL TO MAP OUT WHERE THE FULLSCALE PHOTOS WILL HANG
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FREELAB
PHOTO MONTAGE PLANNING
LEEANDRA AND I WORKED OUT A 12-FOOT LONG PHOTO MONTAGE OF OUR EXPERIENCE OF THE ENTIRE DAY OUT AT THE TROUT FARM. IDEAS:
路 repetition of feeding 路 types of boats used 路 the vastness of the cages 路 the type of day and energy we felt
FREELAB
FINAL EXHIBIT
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mdes 6200
christopher kaltenbach
thesis development
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THESIS
BRAINSTORMING
VERY FIRST MINDMAP, AS PART OF LIBRARY ORIENTATION, EARLY MAY 2011
THESIS
The Ice House
INITIAL VISUAL RESEARCH
AN EXAMPLE OF A PUBLIC ART PROJECT IN POST-RECESSION DETROIT. THE MAP BELOW SHOWS THE NUMBER OF VACANT HOMES IN THE CITY.
HTTP://RADDBLOG.WORDPRESS.COM/2009/10/28/DETROIT-ICE-HOME-BY-MATTHEWRADUNE-GREGORY-HOLM/
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THESIS
EARLY THESIS EXPLORATION
RECURRING INTERESTS IN MICROGRANTING, CRAFT, GUERRILLA, MEANING AND CONNECTION, MAPMAKING AND EPHEMERA
THESIS
FIRST MEETING FEEDBACK
I WAS ENCOURAGED TO LOOK MUCH MORE BROADLY THAN MY INITIAL INTEREST IN MICROGRANTING (MICROGRANTING ONLY ONE EXAMPLE OF A SOLUTION, AND NOT THE ROOT OF THE CAUSE + EFFECT.
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THESIS
CASE STUDIES / SOCIAL AGENCY
LOOKED AT EXISTING DESIGN PROJECTS IN THE FIRST WORLD A AND IN DEVELOPING NATIONS / TRYING TO FIND CAS CASE STUDIES THAT ARE EXAMPLES OF GOOD DESIGN AGENCY
THESIS
SOCIAL AGENCY CONT
LOOKE LOOKED E AT BREAKDOWNS UNDER THE UMBRELLA OF SOCIAL L AGENCY: IN BUSINESS, AT THE GRASSROOTS LEVEL,IN ARCHITECTURE, AND AS A RESULT OF LEVEL,I CATASTROPHE CATAST
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THESIS
REFINING INITIAL DIRECTION / CREATIVE CLASS, INTERSTITIAL SPACES
STARTIN TO REFINE INITIAL IDEA TO LOOK STARTING EXCLUSIVELY AT “FORGOTTEN” SPACES AS ROOT EXCLUSIV OF INVES INVESTIGATION.
THESIS
REFINING INITIAL DIRECTION / FORGOTTEN SPACES
WHAT AR ARE THE FORGOTTEN SPACES? FIRST IDE IDEA ABOUT CITY AS THEATRE / CALVINO / GENUS LO LOCI
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THESIS
LOOKING AT EXISTING TERMINOLOGY
GAPS IN UTILIZATION OF SPACE / INNOVATION
LOOKED AT IDE IDEAS FROM LIMITED LANGUAGE: RELATIONAL AE AESTHETICS, MICRO COMMUNITIES QUESTIONS ABO ABOUT TEMPORARY USE SPACES MAPPING THE IINVISIBLE
ARCHITECTURAL EXAMPLES VISUAL COMMUNICATION EXAMPLES
THESIS
VOCABULARY FOR REFINED DIRECTION
COMING UP WIT WITH OVERARCHING TERMS TO EXPRESS TH THE IDEAS ABOUT FORGOTTEN PHYSICAL AND VIRTUAL SPACES
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THESIS
DEGREE PROJECT PROPOSAL POSTER IDEATION
WORKING OUT POSTER IDEAS:
nodes transparencies tip of the iceberg whatâ&#x20AC;&#x2122;s beneath the surface? above and below city? human to building scale
THESIS
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FINAL POSTER
Locating human agency in the forgotten spaces of the city Where we live and how we live are deeply connected, and we choose our cities for a spectrum of reasons. The effect of the city back onto us is less deďŹ nable. If we look at the city as a series of spaces, we can break these down into developed spaces (ofďŹ ce buildings, city parks, shopping districts); and a set of forgotten spaces: transitional (condemned buildings that will be torn down, dug holes that are future sites of buildings, downtown districts that once thrived and are undergoing a slow renaissance); abandoned (foreclosed homes, gas stations that are no longer used, developments that are stalled mid-build); and invisible spaces (the subtle changes that take place on a known route that are no longer perceived, the underlying social and economic dimensions of a neighbourhood or entire city that deďŹ ne the physical spaces).
The forgotten spaces in a city act as a kind of theatre, the linchpins for acting out human dramas. How can design reveal the complexity of the city strata and provide context for human narratives? Within these spaces, what is the potential for designers to act with agency, making choices that effect change for social good?
perception of
transitional / abandoned / invisible spaces
patterns of
online identities
How to represent?
Where are you? translate and map
narrative in relation to place
For who?
Individual Indiv good?
fluid ideas of
community
interstitial spaces
public use spaces active
passive
service
experience
Micro-community communit (spontaneous ontan creation)
short term small change
longterm massive change
unexpected/surprise impulse
Community (established membership)
senses intuition
awareness of impact on real people
systemic rules memory
shift assumptions
fact
delight and joy
on-grid
off-grid the city as a backdrop to and extension of
the virtual landscape
Carley Hodgkinson August 15, 2011 Master of Design Program Summer 2011