MEDES PORTFOLIO

HANNAH GREEN P

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2015

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CONTENTS INTRODUCTION - ABOUT - MOTIVATION - C.V.

PART ONE - SERVICE - SOCIAL - STRATEGY

PART TWO - PROTOTYPE - PACKAGING - PROFESSIONAL CONTACT

MASTER OF EUROPEAN DESIGN Next Step

ENSCI Les Ateliers

GSA

HOME KISD

ENSCI

21, born in London but raised both in the City and West Country, I gained independence and a desire to travel early on in life. Having worked on a farm with horses from a young age, as well as living in one of the most cosmopolitan and ethnically diverse cities in the world, I have been exposed to a wide cross section of society. I feel that this has influenced my choice to become a Designer as I am able empathise and understand with users and their varying needs.

One of my personal interests is food, and the link between nutrition and good health. I am interested in sustainable and organic farming, as well as greater transparency over what goes into our food.

The environmental impact of how and what we eat, is something I feel very passionate about as both an individual and a designer.

I am also inspired by documentary photography as I believe we can learn, as designers, through observing people. Taking part in a workshop with Magnum Photos has been one of my greatest personal achievements so far.

As a designer, I believe we have a greater social responsibility, to society and the environment.

Through research, a user centric and holistic approach, I want to design products and services that have a positive impact on peoples’ lives.

ABOUT.

MOTIVATION LETTER. Since visiting ‘Portes Ouvertes’ at ENSCI I was really impressed by the school and felt at home in such a lively studio based environment. I was inspired by the nature of ‘Création Industrielle’ as a broader way of looking at Product Design, which I felt showed flexible designers who could adapt to the future and coming technologies. I was motivated by the whole school operating in French as I want to become more proficient in a second language.

I would like to spend next year at ENSCI Les Ateliers to put what I have gained in knowledge and skills from the last two years, into practice through the semester long client projects. One project that interested me upon visiting the school was Design Fictions, with Orange. In particular, Jardin explored the 3D visualisation of storage.

Turning data and 2D icons into a build-able ‘garden’ on a manoeuvrable 3D plane was something I connected to greatly. The question of how to interact with our digital environments and interfaces, I think is very important as a designer.

Next year, I want to realise concepts, so that ideas do not remain as sketches or thoughts. The time to fully develop an idea into realistic prototype needs more focus. I believe the culture and structure of ENSCI is more conducive to this type of work. I would like to strengthen my prototyping skills and the visual expression of my ideas and ENSCI really appeals to me due to the studio nature of the school and the extensive workshops.

Similarly, the client driven approach through the ‘Ateliers’ appeals to me as I want to gain further experience in a more ‘professional’ context. I think it is important to base projects in real life as this is what we will face once graduating.

I began my Masters of European Design studies as a second year entry at GSA, having completed a foundation year at the London College of Communication. Starting Product Design at GSA meant I was introduced to the discipline as something more than just 3D objects or household appliances. The concept of designing for experience, with the user at the centre of the journey, I felt a strong affinity with. Here, I learnt the methods to create relevant designs through open briefs that explored prototyping, narratives and simulating experiences using Arduino. The strongest skill I acquired here was how to conduct ethnographic research. Listening, interpreting and putting yourself ‘in someone else’s shoes’ was the most valuable thing I have taken forward into my design process.

This year at KISD has strengthened my theoretical knowledge and introduced me to the structure and planning of a service, business models and strategy. The ongoing theme of social innovation has influenced my decisions to make more sustainable and ethical choices, as well as now being conscious of our planet in my design work. My most recent project ‘POLYGONS’ has no overt sustainable message but has been designed so every element of the packaging is used and kept. The idea of integrating this concept into the design was so that the ‘chore’ of recycling was not visible, but a subconscious act.

Outside of university, I like getting involved in wider projects. I will take part in a ‘FutureLab’ exhibit later in March at the AnugaFoodTec Trade Fair in Cologne. We will, as future designers, prototype and produce product and packaging designs ‘live’ to the visitors of the fair.

In conclusion, I am committed to studio life and developing myself as a Product/Service Designer. I believe that ENSCI Les Ateliers would be the best choice to continue my MEDES education as I want to put what I have learnt so far into practice in live projects.

C.V. EDUCATION Köln International School of Design First Year MEDES Exchange

JULY 2014

Glasgow School of Art B.Des Product Design/MEDES

EMPLOYMENT SEPTEMBER 2014

Accenture - Royal Dutch Shell Management Consulting Internship

SEPTEMBER 2013

International Centre for Circulatory Health AUGUST 2013

APRIL 2013

London College of Communication Foundation Diploma Art & Design

AUGUST 2012

MAY 2012 SEPTEMBER 2011

Administration Assistant

La Catrina Waitress/Cash register/Food prep.

SEPTEMBER 2012

ID Comms.

Media Procurement Work Experience

Accenture - Outsourcing / DWP Technology Consulting Internship

Pratt Institute, New York Pre-College Drawing Program

JULY 2011

Canford School, Dorset UK History, French, English ‘A Levels’ ABB

JUNE 2011

PART ONE KISD

NO SIGNAL, HUH!?

YOU HAVE JUST BEEN BLOCKED. WHY?

Conversation is dying. Intimacy is rare. Eye contact is almost dead.

It’s not just you. Everyone.

Our world has been tinted by the light blue smartphone screen glare.

We want you to look up from that screen and come back to life.

This is not a revelation, but sentimental videos won’t change anything.

Self control is myth. Offline is a legend.

This is why we take action to create human interaction.

We tackle the problem head on.

WE STAND FOR: More face than facebook, more ‘Whats up’ than Whatsapp, more talking than tweeting, more emotions than emojis, more caring than sharing, more tender than tindr, more laughs than lolz, more intimacy than instagram, more hello than ello….the list could go on.

We intercept to enable physical interaction. We create and collect tools for you: flyers, stickers and home made signal blockers. This is only the beginning. We want you to rediscover a world bigger than ‘likes’ and ‘lol’.

You can keep your phone, but use it with care. Live with us in the here and now.

Get involved. Take action.

LOOK UP!

SERVICE.

GUERRILLA SERVICES This project aimed to combine the motivations and strategy behind Guerrilla activism, with the idea and process of how services are designed. The goal was to identify a target area in society that could be improved through the design of a radical but well coordinated intervention.

We prototyped experiences of the service using physical products, testing interventions and evaluating how successful our ideas were. We were able to reflect on how the approach of ‘guerilla’ could trigger new ideas and innovation in businesses, through breaking normal conventions.

This was a group project at KISD in collaboration with engineers from Shenkar University, Israel.

“It’s better to be a pirate than join the navy”

OUR DEFINITION Guerrilla services is a form of activism that finds flaws with the current structure of society. It creates alternate solutions in an unconventional way (without always obeying the law).

OUR TARGET The increased intrusion of smart devices in daily life, which we believe causes a lack of physical social interaction and a general decrease in the social competence of current and future generations.

YOU!

TEXTING ON WHATSAPP STOP, JUST

LOOK

Steve Jobs

OUR SERVICE IN ACTION We made a video prototype (click on the eye to view) to show how we would intercept phone dominated environments using our campaign materials and signal blocker. The idea is that a LOOK UP! activist could be anyone, anywhere blocking signal and raising awareness both on the street and public places. Unwanted at first, we hoped people would see the benefit in the end.

OUR STRATEGY To engage with our audience, we used a variety of tactics. The signal blocker creates a frequency that means that phones are blocked by their own signal coming back. We created it in the workshop using an old TV remote. Our campaign materials consisted of a well branded organisation with a manifesto, website, stickers, fly posting and most importantly, generating public attention on the street.

LOOK UP! LOOKUPPLEASE.TUMBLR.COM

OUR SERVICE DESIGN Whilst the actions and motives within the service were ‘guerilla’ or inspired by activism, we were required to formally design the service. To imagine our service in real life we needed to create a structure, plan and future ambitions. We aimed for a grassroots but organised approach for maximum possible success. The blueprint in particular supports our video prototype as an explanation of how the service works.

ORGANISATION STRUCTURE THE LOOK UP MOVEMENT

BLOCKING

CREATING

INTERCEPTING

CAMPAIGNING

INFORMATION

IDENTITY

SERVICE DEVELOPMENT PLAN Current Service

ACTION

Future Service

OPEN SOURCE PLATFORM

INTERCEPTION

Collection Creation Provision

CAMPAIGNING

TOOLS & RESOURCES

RECRUITING

SERVICE BLUEPRINT Physical Evidence

Customer Actions

BLOCKER

STICKERS

USING PHONE

SIGNAL STOPS WORKING

STENCILS

PROMPTED TO PUT PHONE AWAY

FLYERS

RECEIVES INFORMATION

WEBSITE

CONVERSATION

PARTICIPATION Customer Re-actions

ACCEPTANCE REJECTION LINE OF INTERACTION

Service Activism

TARGETING

BLOCKING

DISTRIBUTION

INTERACTION

LINE OF VISIBILITY

Background Activities

CREATING BLOCKERS

UPLOADING INFORMATION

STRATEGY & NEW IDEAS

PROVIDING

TRACKING GROWTH

OUR CONCLUSION The campaign materials seemed to have a strong impact. People looked up from their phones and stopped to question us. The stickers were a great conversation starter and people asked where they could get one. To us, this proved that our movement could spread and grow as people were eager to take it up!

The only element which we would have liked to test further was the signal blocker. Technical problems meant we were unable to intercept properly but based on our research and staged interventions we were able to estimate how it could be in real life.

SOCIAL.

DESIGNING SOCIAL INNOVATION CAMP Led by Mauro Rego, an SAP Designer and d.school grad, we intensively and enthusiastically explored what is social innovation and how, as designers, can we create the foundation for it. As a class at KISD we focused on the collective question:

How might we redesign the social awareness within a person’s personality?

My team wanted to explore the way charity, as we know it, removes the link between the giver and person in need.

UNDERSTAND & REFRAME Goal to reframe the challenge from your point of interest.

• Define the elements of the challenge (break down the words) • Create metaphores (e.g.: to shop groceries is like opening your fridge) • Relate it to feelings and emotions.

• Go from nouns to verb.

• Write (in big letters) your new challenge.

REDESIGN THE EXPERIENCE OF PERSON TO PERSON CHARITY

O R G A N I S AT I O N

PEOPLE GIVE

WRITE YOUR NEW CHALLENGE HERE ???

DO

MAKING INVISIBLE VISIBLE

d.Camp • KISD SS14 • Mauro Rego

PEOPLE IN NEED

02

RESEARCH The first thing we did was to conduct an experiment in the street. We wanted to try to understand what it was like to be in need and to receive help from a stranger. We noticed it was too easy to ‘turn a blind eye’ to someone in need or that altruism was not a benefit enough to motivate people to help.

WE CREATED SCENARIOS TO TRIGGER HELP...

USING ‘HEAVY’ BOXES FALLING

THE STUFF ‘SMASHED’ LOUDLY AS IF BROKEN

WE STOPPED PEOPLE TO INTERVIEW..

TO GAIN INSIGHTS ON WHY THEY HELPED.

MANY PEOPLE IGNORED WHAT HAPPENED

SOME PEOPLE EVEN LOOKED ANNOYED

INSIGHTS After “unpacking” the results of our research and highlighting the tensions, contradictions and surprises, we arrived at the insights below. The solution seemed to already exist in the Querkopf, a magazine that the homeless sell. However, the current situation was clearly not working.

»» we need to create a connection between people »» no feeling responsible for others »» catch peoples attention »» more willing to give charity without money »» want/need to see the result »» people will help the people they associate with »» making invisible visible »» trust is missing »» people needed to create communities »» more approachable if self confident »» happiness correlates with helpfulness

PROBLEM IDENTIFICATION

C U R R E N T S I T U AT I O N

Tr i e s t o s e l l the magazine

Gives money d o e s n ‘ t re a d

BEGGING MOB

POOR LOW QUALITY REPUTATION OF THE MAGAZINE

Doesn‘t trust seller I g n o re s o r re f u s e s t o buy

REFRAME

HOW MIGHT WE...

Goal Define 3 How Might We Questions.

GENERAL

HOW MIGHT WE ...

USER

ENABLE THE GIVER TO

NEED/INSIGHT TRUST IN THE SELLER + GAIN VALUE FROM THE MAGAZINE

CONSTRAIN/CONTEXT CHARACTERISTIC IN AN ENVIRONMENT WHERE THE SYSTEM IS ABUSED

06

d.Camp • KISD SS14 • Mauro Rego

CONCEPT CREATION Modelled on the British Big Issue we wanted to re-design Querkopf as a regulated, respected organisation, that sold something worth paying for. Charity without the stigma. We wanted our sellers to stand out and be a part of the community, rather than remaining invisible. The concept would involve unpublished journalists, those unable to find steady work or housing, and the community would get a fresh perspective on city life.

INVIsIble

Mark Heuer 20 I like: dogs, chinese food I’m good at: fixing washing machines

OFFICIAL VENDOR

NEXT STEPS As this was a quick project, this was a first prototype. The greatest thing I will take away is to always design with people, not for them. This project is an example of how much can be learnt in 1 week.

INITIAL PROTOTYPE

STRATEGY.

D BE UE TO TIN N

CO

VALIDATING STRATEGIES WORKSHOP This was not a regular design project, but a short course designed for MBA students at the Cologne University of Applied Sciences that we were lucky to also participate in. It had a skill based outcome which, whilst it is not so visual in its design, I felt was important to express.

Given that we are now designing services or experiences that are only created at the point of interaction, the approach of this strategy model was very similar. If we apply the principle that a ‘benefit’ would only ever be created by after a ‘use’, it follows the same principles as user centric design.

The author of the course placed a huge emphasis on the language and syntax used, as designing a strategy does not necessarily mean that the outcome can be created if vague non-action statements are used. This was particularly important as often we might imagine a product or service, that might never be possible to function in the way we would like it.

ORGANISATION

PROJECT

RESULT

USE

BENEFIT CUSTOMERS

HOW TO ORDER THE DESIGN PROCESS

WHAT ARE YOU TRYING TO ACHIEVE? We given the task of attempting to write a strategy about something we felt strongly about. My area of interest is to do with Coeliac Disease and Gluten Intolerance - before the course I would have said “I want to design new labels for packaged food” or “I want to re-design supermarkets so that there is less processed food”. Now, I have to look at what benefit I want to achieve, and what is driving this motive. Therefore, I am focused on coming up with better strategies, the product or service might not be what I originally wanted to design, but creates the best outcome to facilitate the desired benefit.

PART TWO KISD / GSA

PROTOTYPE.

FUNCTION & BEHAVIOUR This project asked us to re-imagine the function and behaviour of a familiar product, communicating one dominant characteristic. My two words were playful and timer. Drawing inspiration from the original self timer on a film camera and the prevalence of ‘selfies’ in modern society, I wanted to create a spin on this.

PROTOTYPE DECISIONS I experimented with tactile ball shapes that had just enough smooth sides to roll but also stop on a flat surface.

Wood, plastic and Perspex gave different sensations and a rubbery texture seemed to echo children’s toys, which worked well given the playful nature of the project.

I settled on a truncated icosahedron and given its many faces (20 hexagons and 12 pentagons) it meant that the camera lenses could capture a variety of shots. If it was on the floor it would still shoot up and vice versa. It gives the camera a voyeuristic edge as not often do people watch or look at something from that angle.

INTERFACE & INTERACTION The idea was that a section of the ball could be opened and a set of timings could be set at the start of the night using the rotating hexagons such as: take a picture every 15 minutes, not allow timing alteration for 6 hours, alternating lenses.

This means the timer now has control over the shutter and can capture unposed and often more humorous moments.

As a playful addition, a random shutter trigger would keep photos unexpected and the party goers on their toes.

SKETCH MODELLING & VISUALISATIONS

PLAYFUL TIMER In action, the camera chooses who, what and when it wants to capture! It may trick you with its twisting sides or surprise you with a snap. Selfies are out of control!

PRODUCT.

SWEETS PACKAGING AND CONCEPT DESIGN Exhibiting annually at the ISM Sweets Trade Fair at the Koeln Messe, KISD creates a project to design a new sweet, advertisement and catalogue display. This year’s theme was Party so I drew inspiration from the sharing tins of Quality Street and Celebrations, to create a playful sharing box where all packaging is utilised in a fun eye catching way.

PACKAGING FOCUS Researching the twist wrap way sealing assorted sweets combined with researching origami and finally experimenting with paper folding, led me to this ‘unrolling’. Using a rectangle divided into 5 with diagonal folds correctly placed, it folds into a cube and closes itself without using glue.

The initial idea was ‘inside out’ wrapped sweets where the flavour or colour is only revealed upon opening. To elaborate on the idea of utilising all packaging, the inside shapes and colours can be peeled off like stickers.

By having identically wrapped sweets there is a greater feeling of excitement and surprise upon opening them. The silver also reflects and adds to the party atmosphere.

MATERIALS Struggling to print colour on directly onto silver, I experimented with outlines and sticking the colours on by hand, which gave a matt textured look. Finally, I printed onto a transparent sticker which I applied to a shiny mirrored paper.

CATALOGUE PHOTOGRAPH & TEXT A classic party favour with a modern twist and contemporary design.

POLYGONS is a family sized box of chocolates that can be eaten at a party or brought as a gift. The paper surrounding the box is unwrapped, like a present, into an A2 poster which can be personalised. The box is also designed to be kept perfect for remembering a special occasion. The sweets are wrapped so the silver foil is on the outside and the type of sweet inside becomes an element of surprise. The bright shapes revealed on the inside of the wrapper can be peeled off like stickers in order to decorate and create patterns on the poster. POLYGONS will therefore be unique depending on the consumers’ interaction with the product.

PROFESSIONAL.

CREATE A NEW DRINKING EXPERIENCE FOR BELVEDERE VODKA This work was my first client and branding project, teaming up GSA students with luxury alcohol brand Belvedere Vodka, it was an amazing challenge and experience. The brief was open but we were expected to challenge the client’s expectations.

The image on the left is of a limited edition collectors case retailing around €3000. What caught my eye is the blue plastic straw - if a premium brand sells a premium product, should the straw not be premium too?

My focus led me to discover a link between the straw and the brand. Belvedere Vodka were proud of their heritage and high quality rye, and the original drinking straws were cut from rye!

IDENTIFY DESIGN POTENTIAL

CURRENT PRODUCT:

THE RYE STRAW:

CH E A P

O R I G I N AL

G E N E RIC

EX CI TI N G

MASS

I N N OVATI VE

D IS P O S A B L E

S U PER PR E M IUM

B RA N D L E S S

B R AN D I DE N TIFIER

RESEARCH This image, from Leo Engel’s American and Other Drinks published in 1878, and other bar tending manuals from the 17-18th century, influenced the aesthetic of the whole project. Adding a touch of vintage glamour to what is usually cheap and plastic.

CONCEPT SUMMARY I put together for the client a brand book (example pages on the right) which summarised the concept, expressed the desired look & feel and highlighted trends and brands that emanated the type client they wanted to appeal to. Research into brands within the LVMH company such as Kenzo which had a recent resurge in popularity, proved insightful.

GRAPHIC DETAILS & DESIGN REASON The client’s highest priority was ‘rye, water, character’ yet there was little in the existing branding to really communicate this. I wanted to express this distinctive quality in a serving ritual which was relative to the rye, transforming the original ingredient into both a garnish and straw. It involves a method, craft and a hand finish, all which I felt could represent the ‘character’ they wanted to refer to. Finally, I used the motif on the left from part of their logo as a continuous image throughout, creating a subtle but connected brand identity.

INITIAL SKETCHES

TRADITIONAL CRAFT Whilst researching and creating the aesthetic of the serve, I tried to teach myself the art of straw plaiting and craft. Below are examples of how the straw can be traditionally fashioned. It was also a good introduction into working with natural materials and trying to understand how we can bring organic, tactile materials and forms into modern design.

THE BELVEDERE MANUAL http://issuu.com/hsegreen/docs/belvedere_vodka_bartender_s_manual TO THE LIFE ENTHUSIASTS,

Follow link to view the manual in full online.

I created a Bartender’s Manual prototype that expressed the aesthetic and layout of the book. I tried to tell the story of Belvedere Vodka through carefully chosen images from my research relating to elements of the brand such as birch wood and the history of the drink.

In this manual, I showed how to cut, fold and plait the straw, as well as, examples of how to garnish. The format was designed to be produced simply in black and white to echo old books and pocket size to encourage reading and reuse.

RYE WATE R C HAR AC TE R

FROM, BELVEDERE VODKA

EXAMPLE PAGES

NEW PROJECTS AWAIT!

EMAIL hannahsegreen@gmail.com TWEET @hsegreen .COM (under construction) UK +447725214992 DE +4915733748815 TUTOR j.kelly@gsa.ac.uk

CONTACT.

HANNAH GREEN P

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2015

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