reflective practitioner
C
the deconstruction of
B 1
A
2
PGC synopsis
How do I become a better thinker as well as challenge my existing practise skills? Aim: To develop and explore a new approach to an “Environmental Information System” (c a r r 1 9 7 3) whilst befitting the interests, concerns and visual requirements of the inhabiting community and potential end-users. Can the exploration of navigational graphics and signage systems within an urban streetscape provide new communicative approaches to interaction with user? DE- LE ARN • RE- LE ARN • RE-APPLY
P
w h at ' s o n
E S K IMO DE SIG N
M A P R O JE C T/ practise
se l f promotion
edu cation/ ta l ks
Entered Term 2 with several projects running alongside
f ree l ance
my MA proposal. At times interweaving with themselves, informing and responding to one another.
term
02
ja n ua ry
april
subject
Navigation: The process or activity of accurately ascertaining one’s position and following a route. It's principles are multilayered and cross-disciplinary. In most cases, tailor made for a “navigator,” designed to inform you and help orient yourself within a space. The French verb orienter originally meant to position towards the east, but the meaning gradually expanded to embrace all directions. “ N owadays, when we orientate ourselves, we try to find out either where we are, or where we need to go.” ( u e b ele 2 0 0 7 )
aim(s)
To test a conceptual approach to navigational design elements within the built environment, challenging the complacency of the user towards current information graphic standards. To explore the spatial and dimensional potential of typography within a space. “ Finding the way is not a gift or an innate ability that one either has or does not have. It is a precondition for life itself.� (o lt ai c he r)
n
w
“Graphic Design is a frame that makes spaces, places and objects legible.�
( fo g es 2 0 0 3)
e
question(s)
How do I move the user through a space utilizing a new approach to navigation design and wayshowing? Can metrics be imposed on such a response. If so how so? How can the user experience typography on a spatial, temporal and dimensional level? How can this new relationship with space and letterform be established with the user? How do I visualize 3D space to simulate user experience? How do interior designers and architects model space in the experimental stages?
nice “M”
nice “R”
i n n o vat o r s
key lecturers
peter g ru n dy
bruno ma ag
j e r e m y ta n k a r d
seasoned
p a s s i o n at e
oblivious
mantra
r
r
d
e
e
e
-a
-l
-l
p
e
e
p
a
a
l
r
r
y
n
n
02 term
01 term
e s k i m o* d e s i g n
*
rese arch i nto pr ac tise
n a e i d e at i o n
nae site visit
v is ua l e x e r c is e
h aw k i n s / b r o w n
m o n o s pa c e
“ Readers and viewers are increasingly able and willing to navigate texts and negotiate challenging textural and visual environments.� ( m ille r 1 9 9 6)
methods & methodologies
Testing Methodologies
Reflective reporting
g r o u p i d e at i o n
ethnography
Field Research
Photographic d o c u m e n tat i o n
Action Research
Production projections
practise
r e - a pp ly
r e - a pp ly
m a k e : i d e at i o n
make: models
m a k e : s pa c e
content
navigation struc ture . The combination of icons and
typography within the context of where the signage is placed would form the basic structure for my navigation. Colour coded tape would play a major role in floor graphics. cur ate . I am proposing to flood the interior walls with
a chronological process of my explorations from the MA experience, moving from chaotic salon-like walls to a more focused and clear direction. artefac ts . Stencils, type experiments, process timelines,
surface materials, photography, ideation, process books, mind-map posters, dead ends, mistakes mishaps and misunderstandings, 3D models, on-the-wall style guide and relevant experiences from Eskimo. Also, collateral materials such as maps and fold out posters.
edit
After a review of materials, timing, facilities and fabrication costs and resources; it is necessary at this stage to eliminate any unfeasible options. Reducing the number of letters would direct this concept to a much more realistic outcome in terms of monetary and construction concerns. A two-letter word or ligature might provide the right fluidity within the space. Depending on what materials are used, I would examine various word or ligature combinations that provide the right flow of pedestrian traffic.
fi fl ∆ ª º ¤ ß Œ
apri l
w
01
w
02
w
03
w
04
• PGD Assessments • MA Mini-EXPO, Show & Tell • Purge of irrelevant material • “Housecleaning” • I nquire about self-promo web design workshop
• R eview, understand and complete the Visual Arts Wood Workshops and Safety forms • S ubmit forms to Rob Harland for review, discussion and approval • S ubmit catalogue image and statement
• S ubmit agreed upon form to Fred Perkins, head technician for the Visual Arts Department • A wait consultation appointment to discuss fabrication possibilities with VA team
• I nduction to Visual Arts Wood Workshops and Safety guides • B egin fabricating TEST letterform. This test structure ideally should be one of the letters used in the final show • S ubmit files for Adobe contest
• F abricating TEST letterform. This test structure ideally should be one of the letters used in the final show • P lan to curate miscellaneous artwork, fast and dirty • Paris visit
• P resent test plan to Rob Harland to secure time and space in the Atrium. No more than 2-3 days • Bristol Legible City visit
• D esign and prepare navigation graphics and devices • D esign and prepare print collateral material • C onstruct any remainder letterform structures for the show
• D esign and prepare navigation graphics and devices • C onstruct any remainder letterform structures for the show
• P repare exterior/interior walls for all fixed graphics and artwork • C onnection of walls will use screws and hinges for easier means of taking down and setting up
• C ontinue to prepare exterior/ interior walls for all fixed graphics and artwork • P repare all material to be mounted on walls • Setup plans for show installation
•C ontinue to prepare exterior/ interior walls for all fixed graphics and artwork • P repare all material to be mounted on walls • Setup plans for show installation
• Install exhibit, wayfinding devices
• Install exhibit, wayfinding devices • Final EXPO • Assessment
Go back home to NYC.
may
j u ne
j u ly
possible outcomes
A gallery within an exposition as the vehicle for content. An exploratory approach to Navigation Design, Information Graphics and Wayshowing. Introduce the user to a new spatial and dimensional relationship with typography. Introduce the user to my MA experience and process. Educate the user about the general principles of the cross-disciplinary research. Produce an outcome that strays from convention, maybe perhaps original, if that’s still possible these days.
references
Abdullah, R.; Hèubner, R., 2006. Pictograms, Icons and Signs:
Mollerup, P., 2005. Wayshowing: A Guide to Environmental
A Guide to Information Graphics. London: Thames & Hudson
Signage Principles & Practices. Baden: Lars Müller
Aicher, O., 1994. The World as Design, translated by
P.I.E., 2003. Everyday Diagram Graphics. Tokyo: Hi Marketing
Michael Robinson. Berlin: Ernst & Sohn Verlag Purcell, K. W.,2002. Alexey Brodovitch. London: Phaidon Crosby/Fletcher/Forbes., 1970. A Sign Systems Manual. London: Studio Vista
Rattenbury, A., 1971. Exhibition Design: Theory and Practice. London: Studio Vista
Evamy, M.; Roberts, L., 2004. In Sight: A Guide To Design with Low Vision in Mind. Mies: RotoVision
Roberts, L., 2002. The Designer and the Grid. Crans-Près-Céligny: RotoVision
Fawcett-Tang, R., 2002. Mapping: An Illustrated Guide to Graphic
Navigational Systems. Switzerland: Rotovision
Rothenstein, J.; Gooding, M., 1991. Alphabets and Other Signs. London: Redstone Press
Foges, C., 2003. Outsize: Large Scale Graphic Design. Mies: Rotovision SA
Rouard-Snowman, M., 1992. Museum Graphics. London: Thames & Hudson
Kelly, A., 2001. Bristol Legible City: You Are Here. Bristol: Bristol Cultural Development Partnership
Shaughnessy, A., 2005. How to be a Graphic Designer Without Losing Your Soul. London: Laurence King
Lynch, K., 1960. The Image of the City. Cambridge: MIT Press Shimizu, Y., 1991. Models and Prototypes: Clay, Plaster, Mason, D., 2007. Materials, Process, Print: Creative Ideas for
Styrofoam, Paper. Tokyo: Graphic-Sha
Graphic Design. London: Laurence King Uebele, A., 2007. Signage Systems & Information Graphics: Miller, J. A., 1996. Dimensional Typography Case Studies on the Shape of Letters in Virtual Environments. New York: Princeton Architectural Press
A Professional Sourcebook. London: Thames & Hudson