Justine McCarty Process Book Grph 221- Colleen Syron
Table of Contents 3
Project 1 - Logo
21
Project 2 - Book Cover
29
Project 3 - Graphic Design History
43
Project 4 - Infographic
49
Project 5 - Magazine
1
Project 1 Logo Design
3
Brainstorming Creative Statement My strategy for this project is to come up with a logo that will describe Nebraska Statewide Independent Living Council’s mission statement and services. Their mission statement is “to partner with the Independent Living Network to promote Independent Living and facilitate systemic change that promotes independence, inclusion, non-discrimination, and dignity for all people with disabilities in Nebraska.” NESILC funnels money from the federal government to businesses that provide services like peer mentoring, independent living skills training, and self and systems advocacy for individuals with disabilities. They strive for equal opportunity for those with disabilities and want to change people’s attitudes from pity to empowerment. I hope to be able to convey their message of empowerment, dignity, integration, and respect for the disabled through my design. I would like for people to know at a glance that the logo is for something about inclusion and equal rights as well. I plan to emphasize these things through the shapes and colors used in the logo.
4 Project 1
Through the brainstorming assignments, I discovered things about the company and what they do. The main aspects that I took away from them were that NESILC helps people to be free through their work. Freedom is
the concept that I decided to branch off of and explore for the logo. The different word explorations helped me to come up with different ways that I could represent it.
Logo Design
5
Sketches
6 Project 1
The sketches that I made include a lot of figures because I wanted to show the involvement NESILC has with people. They also convey different ways of expressing empowerment and freedom of the disabled. Doing over fifty sketches helped me to keep and open mind and explore a lot of different options.
Logo Design
7
Drafts
This logo shows the progression that people have when being assisted by the companies that NESILC helps to fund. They show you the way in, they help you along, and then they give you freedom to live on your own.
8 Project 1
This logo focuses on the idea that being able to live independently after relying on others for help is like waking up to a whole new world. With the sunrise and a disabled person in a wheelchair incorporated into the the sun, I feel that it conveyed the idea well.
This logo shows people coming together to build a home for a disabled person, who also contributes to the house. This relates to the way that NESILC helps the disabled to be able to have their own homes and live on their own.
This logo shows freedom through the use of the bird and also shows the uphill battle that each disabled person must fight when trying to achieve their independence
Logo Design
9
Color and Type Study
Nebraska Statewide Independent Living Council
10 Project 1
Nebraska Statewide
Independent
Living Council
Nebraska Statewide
Independent Living Council
Nebraska Statewide
Independent
Living Council
Logo Design 11
Nebraska Statewide
Independent Living Council
Nebraska Statewide Independent Living Council
Nebraska Statewide Independent Living Council
12 Project 1
. cil un Co
N e b ra s k a S t at e w
ide
Ind
epe
n
n de
i tL
vi
ng
Logo Design 13
Final Two
This logo is all about progression and the path that disabled people go through when they are involved with the companies that NESILC works with. The gradient color was implemented to further emphasize the change that these people experience.
14 Project 1
This logo conveys the idea of freedom and the determination that the disabled have to live on their own. It also emphasizes the Independent Living Council portion of NESILC rather than the fact that it is a Nebraska organization.
Logo Design
15
Development
Black and White
Color
Reversal
Color Reversal
16 Project 1
Justine McCarty
UNL student
215 CENTENIAL MALL SOUTH SUITE 210 LINCOLN, NE 68508 (402)438-7979 FAX (402)438-7991
Justine McCarty UNL student
215 CENTENIAL MALL SOUTH SUITE 210 LINCOLN, NE 68508 (402)438-7979 FAX (402)438-7991
Justine McCarty
UNL student
Justine McCarty UNL student Sophomore Interior Design Major
215 CENTENIAL MALL SOUTH SUITE 210 LINCOLN, NE 68508
215 CENTENIAL MALL SOUTH SUITE 210 LINCOLN, NE 68508 (402)438-7979 FAX (402)438-7991
Justine McCarty
UNL student
215 CENTENIAL MALL SOUTH SUITE 210 LINCOLN, NE 68508 (402)438-7979 FAX (402)438-7991
Business Card
(402)438-7979 FAX (402)438-7991
Justine McCarty UNL student
215 CENTENIAL MALL SOUTH SUITE 210 LINCOLN, NE 68508 (402)438-7979 FAX (402)438-7991
Envelope
Letterhead
Logo Design
17
Final Adjustments
Business Card
18 Project 1
Envelope
Logo Design
19
Project 2 Book Cover Design
21
Sketches
22 Project 2
Book Cover Design
23
Development Creative Statement For the book cover of Culture Politics, I hope to be able to express the general subject of the book in a way the grabs the viewer’s attention. In the chapter of the book that I was able to read, the part that stuck with me the most was the internal struggle that many of the natives face when their being confronted with issue of the old culture versus the new culture. This especially occurs in the facet of religion. As they adopt the Christian faith, much conflict arises within the individual and his or her community. The native strives to become a part of the Christian faith and of the modern culture of the United States, but this directly contradicts their Native American culture that they have been told should be held with pride in their hearts. The emotional toll that it has taken on many, which has even led to suicide in some cases, is shocking and horrific to think about. I hope to show this internal tension and struggle and the emotions caused by it through the book cover.
24 Project 2
Final Iterations
Book Cover Design
25
Final Adjustments
26 Project 2
The book cover incorporates the idea of the struggle between Native Americans and Christianity and the destruction that it might cause. By leaving the back of the book very plain and open, it shows the emptiness that the victims of the struggle may feel.
Book Cover Design
27
1950-1970
Corporate Identities and
International Style
Bradbury Thompson
Project 3 Graphic Design History Presentation
29
Type Study Mean 26
Based off of
Alphabet 26
Alphabet 26 was developed by Bradbury Thompson in 1950. The concept informing the design of the font is consistency. Thompson felt that it was too complicated for children to learn multiple symbols for one letter, so he developed a font that uses the same symbol for both upper and lower cases. The only difference between the two cases is the size of the letter. Thompson chose Baskerville, a traditional font, as the base to make the change from 45 to 26 symbols in the alphabet seem less extreme.
30 Project 3
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Mean 26 Serif
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Mean 26 Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz History Presentation
31
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32 Project 3
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ut vercia dis illabor ibusdae
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tasperum
estrum
quaspelitium Reptatiant in culliqui
omnis
quam,
cor
simet Ipsa praescipsam qu-
unt labore pro ommo Blaut ullanimusam quid ullignissit quatempore Suntur?
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alis vollanda nobit, Et et quia
quatiis
aliatem
qui
sumque et qui corro odio.
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ipsapeliqui
no-
bitem Ex eos voluptio vendi oditas dolupta speritat. Natquo
es
essunto
blaut
dolorecero bernam qui autempore sanim
Volorro
dolor
expligendus
velici
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molorum
sint,
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di Onserch illaute ssusae
erum simi, illant Offic to quodia ta
qui
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History Presentation
33
AaBbCcDdEe aB Bb B bC Alphabet 6 2 Gg GgH G FfGgHhIiJjKk LlM MmN Mm LlMmNnOoP pQqRrSsTtUu pQqR Qq qR RrS VvWwXxYyZz VvWw V W WwXxYyZz X YZ Created by:
Bradbury Thompson
Alphabet 26 debuted to a hesitant audience in 1950. Thompson’s concept for the font drew from the idea of consistency. Thompson felt that it was too complicated for children to learn multiple symbols for one letter, so he developed a font that uses the same symbol for both upper and lower cases of the letter. Instead of the traditional 45 symbols, 26 symbols are used in this font. The only difference between the two cases is the size of the letters. Many people were unwilling to accept this new system and the font never gained much popularity.
34 Project 3
This exercise helped me to learn more about Bradbury Thompson and a font that he created. It also helped me to learn about fonts in general and different textures that can be created from a single font. It helped to prepare me for the presentation I was to create about Bradbury Thompson and the era of Corporate Identities and Swiss Style in the 1950s and 1970s.
History Presentation
35
Sketches I wanted to show the playfulness that Bradbury Thompson had when using typography and these sketches show some of the ways that I tried to incorporate this into the design.
36 Project 3
I became more innovative with the letters and broke them down into shapes and figured out ways that I could make different patterns with them,
History Presentation
37
Final Presentation
1950-1970
Corporate Identities and
International Style
Bradbury Thompson
H
38 Project 3
istorical Events
Ar
World War II ends in 1945 Color television comes to the U.S. in 1952
Jackson Pollock
Vietnam War begins in 1954 and ends in 1975 Civil Rights movement
Bridget Riley Saul Bass
Computer mouse invented
Paul Rand
Andy Warhol
Paul Rand Saul Bass
Diverse group of New York based designers
Bradbury Thompson
Wave of European immigrants travel to U.S. and inﾅブence design
Herb Lubalin
N
ew York School
Present information openly and directly Originality of concept is prized Personal style shown
N
I
nternational Style
Ideals of rationalism and universal communication Typography: grids, sans serifs, neutality, left aligned, ragged right Univers, Helvetica No distraction from content Simplicity of style worked as unifying language of corporate identity Personal expression rejected
History Presentation
39
C C C C C C C C C C C C orporate Identities
C
C
Refer to design studio as “design ofłce”
C
C
Form brand identities Design is problem solving discipline Color TV has impact on advertising Chermayeff and Geismar
C C C C C C C C
“Trademark design challenges us to use all the magic and intelligence at our command, all our skill, knowledge, vision, and ability, in the creation of a single. clear, direct image that will em body the character and aspirations of the organizations that come to us in search of identity.”
40 Project 3
Born in 1911 in Topeka, KS Majored in Economics Learned about design through magazines and interviews Member of the New York School Thought of “type as toy” Mainly used CMYK colors Designed magazines, books, stamps Designed government magazines during WWII
B B B B B B B
B B B B B B B
radbury Thompson
E
Washburn College Bibl
E
E
E
Innovative reassessment of bible typography Text in cadenced phrases Generous white space
E
E
E
E
E
E
E
E
E
Distributed to printers, designers, art directors, and artists Opportunity for personal and professional growth and experimentation
E
E
Designed 60 issues over 23 years
E
E
W
estvaco Inspirations
E
ources
S
“Art 245 HGD Study Guides.” Art 245 HGD Study Guides. San Diego State University, 2005. Web. 05 Nov. 2013. <http://www.cwaincsandiego.com/Ńa/merritt_sdsu/245_study20-25.html>. Boston, Emily. “Bßhance.” Behance. Adobe Systems Incorporated, 12 Aug. 2012. Web. 04 Nov. 2013. <http://www.behance.net/gallery/Timeline-History-of-Graphic-DesignTypography/4796739>. “Bradbury Thompson 1911-1995.” Graphic Design Archive Online. Rochester Institute of Technology, n.d. Web. 04 Nov. 2013. <http://library.rit.edu/gda/designer/bradbury-thompson>. “Chermayeff & Geismar & Haviv.” Chermayeff & Geismar & Haviv. Wide Eye Creative, n.d. Web. 04 Nov. 2013. <http://www.cgstudionyc.com/>. “The End of the Modern Era.” Graphic Design History. Designhistory.org, 2011. Web. 04 Nov. 2013. <http://www.designhistory.org/PostModern_pages/EndInternational.html>. Hays, Todd. “Bradbury Thompson: Graphic Design as Artform.” Viewpoint Nov.-Dec. 1990: 134-42. Toddpr.com. Web. <http://toddpr.com/articles/BradburyThompson.pdf>. Miller, Eric. “Key Moments in Graphic Design History Timeline: Part 2.” About.com Graphic Design. About.com, n.d. Web. 04 Nov. 2013. <http://graphicdesign.about.com/od/history/a/timeline2. htm>. Poulin, Richard. Graphic Design and Architecture, a 20th Century History: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World. Beverly, MA: Rockport, 2012. Print. Rosicky, Jan. “Graphic Design History Timeline.” Graphic Design History Timeline. Prague College, n.d. Web. 04 Nov. 2013. <http://gdh.2rsolutions.cz/>. Thompson, Bradbury. The Art of Graphic Design. New Haven: Yale UP, 1988. Print.
History Presentation
41
Bradbury Thompson
was born in 1911 in Topeka, KS. Majo
in Economics, his life went in a ve
direction than what his co
may have predicted. T is known for his
magazine and for his
in
of color.
H
identities w
Swiss
tim
Project 4 Infographic
43
Sketch I wanted this infographic to incorporate the methods that Bradbury used, but I also wanted to make it my own. I explored different ways of using “type as a toy,” but instead decided to focus more on Bradbury’s use of engravings and layering of CMYK colors.
44 Project 4
Draft B
r
a
d
b
u
r
y
T
h
o
m
p
s
o
n Art Director of Westvaco Inspirations
Created Washburn College Bible
Created Alphabet 26 font
Designed stamps
Used engravings instead of photographs
New York School
Experimented with layering and transparency with color
â&#x20AC;&#x153;Type is a toyâ&#x20AC;?
Used CMYK colors
Corporate identities and color logos were created for businesses during this time
International style typography characterized by grids, sans serifs, neutality, left aligned, and ragged right edges
Infographic
45
Final Poster B
T
r a d b u r y 1
9
5
0
-
h o m p s o n
1
9
7
0
Bradbury Thompson was born in 1911 in Topeka, KS. Majoring in Economics, his life went in a very
different direction than what his college studies may have predicted. Thompson is known for his
magazine artwork
and for his interesting use of color. He lived in a time when corporate
identities were being developed and the International
Swiss Typestyle became popular. Living during this time influenced some of his work, but he remained a true member of the New
School, keeping his own personal style.
York
International style Corporate Identities Bradbury Thompson
, ck
I.D. please
ell
il,
r his most fam in
as
tamp. ss ou
ag e
es
ss e acro in very few sag es er’s “Hom m f Alb
,
nd London. rk a Yo
d an
p
ny ,
g
This in m o ce motion
p
e
is r e
eded to up ne
co
l is their own pe rso
ly.
te ea cr d
es
Stampage
se Jo
te x
After W New orld The W n. ar York Scho sig o
e impact on Ame rica hug nd e
jec te pefaces that ar ec o ty om Tw
The inven tio ing n ild of many com
n te
d
Square” the w to
s.
th e
as featu hw re hic
am rf
nd Univers tica a . lve He
rs e
le.
e th
rab
has importanc et hat o nt d is mem s io bran o
to o
esigner wants he d to dt m an ak be seen in m e can a
He dev elo pe ds d or simple im w with ag
n ,a
M tim ob his nited Airlin e dU
have had some as nd ho sa rte d de e inclu e CBS,
He
uired him to ge req th is se artists su he ch ous
-hundred stamp one s. er T art from ov used o .
he fam
NBC pe , the ac ke o Ni
fro s lo m ou t , Exxon, S h IBM
luding the , inc su es b lac
sp life
all tim
The Sw iss typ the re es sage is und su t mes ers
e logos cre ate of th dd me ur m So an. So e of t i
ave lasted me h for s ti de thi ca at came gosth
Legacy
ny t
ties such as N r ci ew ajo
bus signs and in ay m w
th be
would lay er on to
da
re
nf l
ha y prize origina s lity The an rk. Yo
d an
y and universal co tralit mm neu un of ica ints across to as ts po ti rea ts i de de ge
Graph ic d y. es iet ig o oc The w rk can i
ly a open nd dire ed ct ey
He
ng
d.
o
s. ce ur
i
. ily as
ac e.
The type d, styl erio eu sp se thi sa personal style In
es av
. on
sting. ere int
mmonly used t l co od stil ay is w tica is said by m h lve a
t needs to be clea tex rly w the rit eatest font o e gr f
imited economic to l re es so ns
ers w ie
lud ing
en
tart of the he s reb ot r t on TV, compan u
yle
en
sw or ol
s.
that. The Wash bu ust rn dj di n white sp ope
Ne w
v
any new Tho ith m mp tw en so n rim ideas h he h , in pe c i h c
n co
1950s. the On in tinent
e in
si f
sw ith
YK
c
ty issues. He wa r six sa ble ove for to eatedly use or ex e rep dC ct . H M
46 Project 4
o
ethods were res is m po . H gs
Westvaco
nty-three years as twe the ver art ro certain feelin dir fo r left g e
ngr av in
es ag im
one of
ir works is co nv the
N.Y. School
i to
It’s a job
m
e
in
nd he lp
keep them to
hic
yle. Informatio l st n na
o
sw ner sig de
ep nc ue
ne
p
heir logo te t s da
The Spark
w
is pr m
orm. It is a pr artf ofe an ss rove busine st s mp
s more wed a tha vie nj is u eople a
ag az new ways tha e in i t fo typ rm ing ed us another or e
i an
ontributing fa ac c as at color was to th s
o n influx f immigra d, a nts de ca en o of a gr up of gra II ed p
i
Westvaco Inspiratio for ns
color televisio n the of es identities. N w
d States. T Unite hei rs the tyl to ho resid e
a
ed ork w
Origins
e m
od
n
as
sp
re
th of
Typography
u it q
witzerla nd in S ed ad across
rat he
ry is sim nd ha pl rnational style p e rt nte eri eI
d today that cam eo use ly ut on m
nd le
e Th
Bible
edges. It is inform ght ed d ri by ge th t. The style is ve rag e trac
d.
t or men iginat ve ickly
tu na of
serifs, flush left par sans ag m, rap ste urpose is to in h, sy e’s p for a m typ
nd
rid
ras es
ad nc ti
tive bible a nova nd , in he ew ral pauses a
Thomps on ge wa lle s Co Bible features
d to cre ate isione an mm co n enced ph
I believe that the infographic turned out well as a poster, but was not as successful as an infographic. It conveys Bradbury’s work well and includes a few of his concepts, but is hard to read when viewed from a distance.
International style Corporate Identities Bradbury Thompson
Bradbury Thompson was born in 1911 in Topeka, KS. Majoring
ed to crea ision te an mm co n enced ph
,
p
The inven tio ing n ild of many com
eded to up ne
co
their own pe rso
cr
ly.
d
nf l
es
He dev elo pe d
simple im with ag es
r
He
th e
as featu hw re hic
Square” the w to
luding the , inc su es b lac
the re su m
ers to o
The Sw iss typ es essage is und t
esigner w a n t s he d to dt m an ak e
laye ro nt o
This in m o ce motion
Thomps on ge wa lle s Co Bible features
te x
g
is r e
jec te pefaces that ar ec o ty om Tw
. ily as
. on
le.
rab
h
p
e th
has importanc et hat o nt d is mem s io bran o
ideas , in clu din g would
.
his most fam in
he
nd London. rk a Yo
se an be en in ma dc ny an ,
and universal c rality om eut mu fn
Tho mp so n
n te
-hundred stamp one s er art from ov used o d
any new
e
lv He
,
e
re
nic o ints acro s o s at t as o its p rea i de ets de rs dg e a and Univers. an etic
Graph ic d y. es iet ig oc The work can i
e impact on Ame rica hug nd e
Legacy
ny t
r
n co
s.
This in m o ce motion
da
After W New orld The W n. ar York Scho sig ol i e t s ea
ire ct
bus signs and in ay m w
needs to be cle ext arly et
1950s. the On in tinent
te x
ed ey
ha y prize origina lity The an rk. Yo ly a open nd d
He
as N ew
Thomps on wa s
s
d.
tie r ci ajo
Bible features
i
mmonly used t l co od stil ay is w tica is said by m h lve a
wr th it greatest font of en all the tim be s such
yle
o
e
sting. ere int
si f
nd
nty-three yea twe ver ro ft certain fe fo or le
Westvaco
tart of the he s reb ot r t on TV, compan u
The type d, styl erio eu sp se thi sa personal style In
ac e.
i to
It’s a job
ne
Origins
rm ed
ethods wer is m . H gs
ys p
re
u it q
another or eng rav one in of p
The Spark
o
en
es av
that. The Wash bu ust rn dj di n white sp ope
nd he lp
Westvaco Inspiratio for ns ed ma k r o ga w w a e y n s w that in zi e s p fo a ty ing us
s.
N.Y. School
is c on v
ep nc ue
hic
yle. Informatio l st n na
orm. It is a pr artf ofe an ss rove busine st s mp
s more wed a tha vie nj is u eople a
es ag im
t or men iginat ve ickl
witzerla nd in S ed ad across
Bible
ras es
tu na of
ad nc ti
tive bible a nova , in ew ral pauses a
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Infographic
47
November 2013 Issue 1
U.S. $6.00 U.K. ÂŁ3.50
S U S T A I N A B L E ,
T I M E L E S S ,
SolSource An innovative way to grill, steam, bake, boil or fry
Gropius House
A N D
N A T U R A L
Project 5 Magazine Design
49
Sketch The idea I had for my magazine was sustainable product design. I wanted to show off new products being created that help the environment as well as people. I decided that the magazine should be kept very clean-looking and organized. I did this to emphasize the clean environment these products create and the order they can bring to society.
50 Project 5
Logo Design
S u s t a i n a b l e ,
T i m e l e s s ,
&
N a t u r a l
D e s i g n s
Magazine
51
Final Magazine November 2013 Issue 1
U.S. $6.00 U.K. £3.50
S U S T A I N A B L E ,
T I M E L E S S ,
SolSource An innovative way to grill, steam, bake, boil or fry
Gropius House Sustainable Architectural Design Analysis
Woosh
®
On the way to a
PLASTIC-FREE ENVIRONMENT
52 Project 5
A N D
N A T U R A L
D E S I G N
Gropius
Sustaining Modernity: The Gropius House
This project is an analysis of the Gropius House, a Modernist icon constructed in 1938. The intent was to deconstruct and analyze several passive solar shading techniques that Walter Gropius had incorporated into the building and site design: a brise-soleil, trees, and a retractable awning.
Project Designers Walter Gropius in 1938 (analysis by L. Carl Fiocchi in 2013)
About the Building & Site The building was designed by Walter Gropius as a private residence for his family. The Gropius House is a two story, flat-roofed, framed structure of 2300 ft2 in floor area, with white painted vertical redwood siding, a tar and gravel roof, and a stone foundation. It is located in Lincoln, MA. Constructed in 1938, the house was centrally heated but never mechanically cooled; it relied on adaptive comfort and 6
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passive strategies for comfort in the summer. Only in the recent past, due to the collection’s archival concerns (especially relative humidity), has the building been mechanically cooled. The elements of the design analyzed were: 1. Brise-soleil on the west end of the south elevation 2. Landscape plan 3. Aluminum awning system Although not occupied as a typical residence, the building receives visitors on a regular weekly schedule throughout the year and has all the same concerns for maintaining a comfortable and safe interior
environment as a more traditionally occupied dwelling would have. The geometry of this building and other iconic Modernist residences have been frequently examined and written about, but literature on energy loads or response mechanisms to climate demands have tended to be less technical and more of generic discussions of vernacular traditions.
The Analysis The aim of the project was to evaluate the effectiveness of Gropius’s original design intent using digital modeling
June 21st brise-soleil analysis
January 21st brise-soleil analysis
Fiocchi 2013
Fiocchi 2013
and analysis tools. This project shines a ‘digital spotlight’ back seventy years to examine the environmental and energy performance of a Modernist icon through the use of modern analysis techniques. To examine the shading effects from the brise soleil (analysis 1) and landscaping (analysis 2), shading studies were done on the summer and winter solstices, followed by solar radiation studies on analysis grids covering the appropriate geometries. To examine the effect of the aluminum awning (analysis 3), a thermal analysis of the immediately impacted zones was done for the two solstices with the louvers being both opened and closed.
Analysis 1: The Brise-Soleil The brise-soleil is a much discussed, unusual aspect of the building’s geometry. It transitions between interrupted
members, opaque elements, and void. The function of the brise-soleil is of interest to architectural historians who have admired the shading pattern it produces and recognized functionality of its design, but until this project were unable to evaluate its sophistication. Because the building is located in Massachusetts, the design intent was to block solar radiation in the hot summers, while allowing the sun’s heat to warm the space in the cold winters. A solar radiation analysis on both the summer and winter solstices was done with and without the brise-soleil in place. The shadows were also visually tracked throughout the day, from sunrise to sunset with the brise-soleil in place. The analysis grid was located on the windows below the BriseSoleil, (the Living Room’s and Dining Room’s large window expanses - two windows
assemblies 6 ft. high by 10 ft. 6 in. and 13 ft. 3”). These windows account for over 50% of the glazed area of the south facing wall. The analysis grids shows the protection from solar gain provided by the brise-soleil during the summer while allowing substantial solar gain during the winter months. The red call-outs compare these results to the solar radiation values obtained WITHOUT the brise-soleil.
Analysis 2: The Landscaping Gropius’s landscape plan was very specific and dictated precise tree species and locations relative to the building. The impact and effectiveness of site orientation, tree species selection, and tree placement are subjects of interest for Green Design professionals employing passive strategies in their work. In the analysis of the landscape November 2013
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Magazine
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June 21st shadow ranges
January 21st shadow ranges
No Aluminum Shade
Fiocchi 2013
Fiocchi 2013
Fiocchi 2013
plantings (coniferous and deciduous trees), sun and shadow studies were done on the summer and winter solstices. A baseline was established by removing the trees from the model and running a simulation without them. When the trees were reintroduced and the simulations were re-run, the trees’ opacity was also controlled to reflect seasonal variations in their foliage. In the case of the winter solstice, the deciduous tree opacity was reduced from 70% to 30% to imitate foliage loss while the coniferous trees were left unchanged.
and design). It is of note that the awning was removed from the house years ago. Without the awning, it is difficult to defend this large (11’8” x 6’) west facing window from direct solar gains. In the analysis of the aluminum shade a baseline was established by removing the shade (a reasonable facsimile of when it was in raised position) and running a thermal analysis simulation specific to passive gains over the summer months (June- August). We were especially interested to observe direct solar gains in the rooms affected. Then the shade was reintroduced and lowered as it would be during these three months.
Analysis 3: Aluminum Awning The final analysis was of an unusual, externally located, internally controlled aluminum awning system on a principle western window (quite avantgarde for the time in materiality 8
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Conclusions The insights gained through this project were that even without the sophisticated technologies available to designers today,
(Yellow represents passive solar gains)
Aluminum Shade
(Yellow represents passive solar gains)
Fiocchi 2013
the designs of Walter Gropius were effective. At times, the aesthetics of “green design” is criticized as too utilitarian and lacking in attention to form and materiality. This project offers an example of how aesthetic considerations can be blended with utilitarian function. It is of note that this study is part of a larger project to create a knowledge base of the environmental performance of iconic Modernist homes. In addition to adding knowledge to the two disciplines of Building Science and Architecture, analytical studies using this digital model are intended to aid property administrators with information about energy saving characteristics and shading designs.
- L. Carl Fiocchi
Gropius House Irwin Miller 2006
November 2013
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Woosh
Touch screen operation system Melanie Gifford 2013
Woosh is an innovative water dispensing system that helps to eliminate some of the use of plastic bottles. Users can expect to receive fresh and cold water from the dispensers with every single use. Woosh helps users to track their water intake and encourages them to continue saving plastic and reduce waste.
W
ater conservation is a huge concern in Israel and the rest of the Middle East. An interesting startup in Israel called Woosh Water is helping conserve water and reduce plastic consumption by reinventing the public drinking fountain with a high-tech and networked solution.
Woosh Water stations allow users to refill water bottles and reduce the consumption of disposable plastic water bottles. The stations can be used by anyone, but the system works best when users join the network. After joining online, users receive a small keychain sensor to login when they refill their bottle. And because they are networked together, the Woosh Water Stations track how much water a user has consumed and how many plastic bottles they have kept out of the waste stream by using a reusable bottle, as well as how many all Woosh users have collectively avoided. This provides a social reward and incentive for people to use the system and 12
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encourage others to participate, as well. To date, Woosh has five stations in Tel Aviv and around 12,000 users and reports having saved more than 41,000 plastic water bottles. To help overcome the stigma of using public fountains, the units also sanitize bottles and filter the water before refilling, so the water tastes great. Woosh sees these stations as being perfect for public parks, beaches, universities and especially airports. It is a very clever design and and I expect weâ&#x20AC;&#x2122;ll eventually see this technology and Woosh Water Stations in urban cities and airports around the world.
-Chris Tackett
Convenient stand for bottles
Station diagram
John Ruzika 2013
Wooshwater.com 2013
November 2013
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SolSource
SolSource is a low-cost, portable solar energy device for cooking, heating and electricity generation for application in some of the world’s poorest communities. One Earth Designs, with the help of LUNAR, created SolSource with the hope that it will one day be used all across the world.
T
his product eliminates many of the complications associated with burning solid fuels, including harmful indoor air pollution, gender inequities and greenhouse gas emissions. Globally, 2.5 billion people rely on solid fuels for their daily energy needs. LUNAR provided One Earth Designs with material and manufacturing process research for the device’s reflector panels, engineering concepts for added robustness, and improvements in design for manufacturability and assembly. Cooking with the SolSource reduces labor and indoor air pollution by eliminating the need to collect and burn biomass fuel. The excess solar energy can be used to produce electricity, and batteries charged during daylight hours can provide lighting and power at night. Unlike other solar cookers that suffer from unstable construction or super long heat-up times, the SolSource is designed to be ready for cooking in minutes and features a durable base 16
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SolSource at work
Cook with ease
David Walter 2013
Beth Buczynski 2013
and easily deployed solutions to difficult engineering, social and environmental challenges that align with LUNAR’s goals to contribute in meaningful ways.
We’re proud to have played a role with One Earth Designs and congratulate them on the SolSource launch. -Greg McCormick
that can hold up to 40 lbs and withstands even the harshest weather. “Everyday, SolSource cooks food for large Himalayan families. It withstands sand storms, wind, snow, and -40 degree temperatures,” explains the designers on the project’s Kickstarter page. “We’ve used it around the world, from grilling Kobe beef on the streets of Japan to making popcorn on the Mall in Washington, DC. Just point it towards the sun and start cooking. As long as you can see your shadow, you are good to go!” The versatile cooking space at the center of the SolSource’s parabolic dish doesn’t limit you to one style of cooking: it can be used to boil, grill, steam or fry. And it’s sustainably-manufactured and 100 percent recyclable, so eliminating gas and charcoal isn’t the only way that the SolSource enables you to tread lightly on the planet. Products like the SolSource provide affordable
Wolrdwide use Beth Buczynski 2013
November 2013
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The magazine sets up an orderly system that helps to keep clean lines that run throughout. It uses one font, Century Gothic, which keeps the idea of simplicity and cleanliness going in that facet, as well. The colors I used in the magazine reflect natural elements, such as water and leaves, which made ties to nature and the environments.
Magazine
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