The Visual Systems Unit by Stefan Man

THE VISUAL SYSTEMS UNIT

Level 5 BA(Hons) Graphic Design Stefan Man 1400488

â&#x20AC;&#x153;The grid system is an acid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practise.â&#x20AC;? Josef Muller-Brockmann

CONTENTS

Assignment 1: Visual Synthesis

Assignment 2: Wayfinding

Assignment 3: Industry Brief

Assignment 4: Industry Visit - FITCH

120

Journey Book, Lectures & Workshops

134

ASSIGNMENT 1: VISUAL SYNTHESIS

fig.1 Andreas Lauhoff, 1999 Speech-recognizable letterforms (acrylic)

VISUAL SYNTHESIS BRIEFING

For this project I was required to create a portrait of the AUB campus. Working in small groups to map, analyse and recreate the data systems of the surroundings within a set of synthesised visual system. Encouraging us to think innovatively about how myself and my group might find and generate data and analyse the system in the creation of our new work. 1.1 Map and Select Work in groups to map the campus, and break down the map to a modular element to cover the whole of AUB (Considering time, wind, human behaviour, sounds, movement, etc). 1.2 Analyse and Deconstruct In your groups, analyse selected elements. Deconstruct these elements into systems and data. 1.3 Re-deploy and Exhibit Re-deploy the synthesise imaginative visual systems. Use the visuals systems to create a studio exhibition, as a whole it should represent the AUB campus.

fig.2 AUB Campus

â&#x20AC;&#x153;...the systems approach involves the pursuit of truth (science) and its effective use (technology), plenty (economics), the good (the ethics and morality), and the beauty and fun (aesthetics).â&#x20AC;?

Start: Tuesday 29th September End: Wednesday 14th October

A collaborative project by Jack Hurley, Josie Mathews, Lewis Son & Stefan Man

Russel L. Ackoff

INITIAL THOUGHTS The project was very interesting, the idea of creating an exhibition which portrays AUB intrigued me.

However personally I believed with these outcomes that they would be to generic with other members in graphics. I wanted to focus on an aspect of something I found that would represent AUB completely differently through an ethical aspect.

I went to look at possible different elements of data that I would be able to look into. Gathering my thoughts and reading the brief, I chose a few starting points in which I wanted to research into to.

I sought to find the best solution through other outcomes...

Such as: Sound (in conversations with greeting or language), Signs, Typefaces, Colours, smoking etc.

fig.3 Ideas from sketchbook (left) fig.4 Observations from Sketchbook (right) 10

To gather my thoughts, and find a modular element, my group and myself went to an area of AUB and recorded everything we saw outside. We went to the Courtyard, and recorded everything including, thing around the area, human activities and interactions etc. Till I thought about what is the item(s) that make up the students of AUB itself, which was the use of materials. Students use materials all the time, even when it is technical or not. It is still the application of materials, which drive a art student to create their artwork, models, prints etc., and the use of this had me curious. From personal experience, it had occurred to me during the end of the year when it was deadline week for the graphic students; the use of materials (especially paper) was a high rate. Everyone would be printing for prints for walls, poster, books etc. The waste from test prints sheet was ridiculous, where there are recycling bins; although they would be filled, the main bin, which was 3x the amount was filled up also. People wasnâ&#x20AC;&#x2122;t considering the waste and environmental impact that this could affect us, if this would happen multiple times a year from projects and from different courses.

DATA COLLECTION

fig.5 Data collecting from sketchbook.

The data we collected was broken down into different sections, so we could be able to see if we could a find trend (through either course, amount etc.) The bins showed a worrying trend, that there was a higher volume of waste bins, in contrast to a low level of recycling bins.

University House Outside Workshop Photography Building North Building Fine Art/Workshops Canteen/Arts Bar Costume/Interior Library

FIRE EXTINGUISHERS 10 0 2 1 12 9 3 2 12

To ensure the date we was viable, I looked into another form of data to represent AUB. Which was fire safety, personally I wasnâ&#x20AC;&#x2122;t in any fire drills or alarms. So I wanted to see how the safety of AUB was in fire exits, signs and extinguishers. 12

FIRE EXITS 7 0 6 2 2 7 3 2 3

fig.6 Ideas from sketchbook.

IDEA GENERATION As we were still in the early stages of this brief, we had a tutorial with our tutor (Alice), in which she helps us with our idea generation and direction to take at that current moment. We were told to do some primary research to inspire us and later on, this will find a focus point in which we want to show in data. Then later we would be able to do some secondary research on the matter. 13

PRIMARY RESEARCH For our primary research, my group and I would go to the actual recycling bins and see what the content was within. We found a wide variety of items, whether they were packaging of food, drinks or materials for there course. The bin in certain areas would be only used during certain times where the flow of students would gather, however within other times they would barely be used and can be empty.

fig.7 Image of inside a recycling bin (above) fig.8 Contents of recycling bin (left) 14

EXPERIMENT What we found shocking in one of the recycling bins in the graphics studio was that the bin was only full of paper. We found that the paper wasnâ&#x20AC;&#x2122;t even used, they were thrown away for no reason. With only some paper being covered in a few crinkles which could be straightened. As an experiment with the clean paper I placed them back into the printer and the graph paper in a stack elsewhere. In which people would still use that paper and later it was taken away for peoples work.

fig.9 Paper retrieved from recycling bin Experiment (above) fig.10 Costa Cup from recycling bin (left) 15

fig, 11 Recycling bin around AUB campus 16

fig, 12 Bins around AUB campus 17

SECONDARY RESEARCH From my primary research I was able to then look into key elements that I would be able to research online in books, documents and videos. I looked into some key items in which I wanted to explore, such as facts on recycling and waste, the recycling (mobius loop) logo and how that is implemented. The research expanded our knowledge of what we were focusing on and allowed us to come up with ideas that would be ethical in wastage and use a minimal amount.

fig. 13 Secondary research about waste and recycling from sketchbook 19

fig. 14 Secondary research on Mobius loop from sketchbook 20

fig. 15 Secondary research on Mobius loop from sketchbook 21

AUGMENTED REALITY Augmented Reality is a type of virtual reality that aims to duplicate the worldâ&#x20AC;&#x2122;s environment in a computer. An augmented reality system generates a composite view for the user that is the combination of the real scene viewed by the user and a virtual scene generated by the computer that augments the scene with additional information. The virtual scene generated by the computer is designed to enhance the userâ&#x20AC;&#x2122;s sensory perception of the virtual world they are seeing or interacting with. The goal of Augmented Reality is to create a system in which the user cannot tell the difference between the real world and the virtual augmentation of it. Today Augmented Reality is used in entertainment, military training, engineering design, robotics, manufacturing and other industries.

fig. 16 Trial tracker (left) fig. 17 Trial Tracker experiment (above) 23

fig. 18 Recycling idea, groupwork 24

RECYCLING IDEAS We came up with an idea where we would create a print made out of recycled materials, such a plastic bottles melted down into a print. Then on top it would be screen printed on recycling facts and also with a scanner on it and which when scanned would show the mobius loop. The second piece would be a recycling bin customised for AUB where the scanner would also show the mobius loop. For the exhibition it would show the materials mostly wasted materials. Critique - Time and material restrictions, being able to collect the time and melt it down into sheets would be very scarce. -Health and Safety within working with melting plastics at a high heat, with also the fumes that can be emitted. - Personally believe this wouldnâ&#x20AC;&#x2122;t be a strong enough concept/perception of portraying AUB as a whole.

fig. 19 Illustration trackers of AUB Campus (above) fig. 20 Low Poly Planet (left) 26

We came to the idea of creating a set of illustration trackers which mapped out each area of the campus. Each of these trackers would be engraved/spraypainted onto these acrylic slab, once scanned it would show a 3D model of an orb/planet with a ratio of the bins to recycling bins.

These then would be placed into a custom box (similar to a CD Rack) which would hold them all. From which when looked at when stacked together would represent AUB as a whole and be visible to see an outline of each area, making a peculiar shape.

fig. 21 Pin up critique (top of page) fig. 22 Acrylic template size measurements (above) 28

fig. 23 Group idea generation (above) fig. 24 Acrylic poster idea (below)

RECYCLE

PIN UP CRITIQUE Our group had a deadline for a pin up critique so we could see what work/ research we all had done. We wanted to show our tutors the work and show the progress to ensure that we were on track.

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We had numerous mock-ups of what we wanted including the acrylic print. To the sizing of the acrylic.

fig. 25 Tutor tutorial 30

fig. 26 Tutor tutorial - development 31

After our critique it showed that we should simplify our idea and have the narrative of our design represent AUB then focus on other elements. We wanted to create a colour code for the different areas of the campus. These colours, would not just be at random or the ones already used at AUB alone through there way finding system. I wanted ours to be more personalise, I set this out by finding the overall amount of bins (both normal and recycling) and find the Pantone relevant to the number. A complementary colour was sourced with it to make it aesthetically pleasing, as with certain areas I would be able to use that colour system for the typography.

fig. 27 Pantone Selection (left) fig 28 Pantone colour system (above) 33

EXPERIMENTING After our critique, we were recommended to just do a set of prints which would be situated in the different areas of the campus. One of our worries with this, was whether we had chosen a colour scheme to go with it and if it would work with the trackers. Questions kept on coming up on the contrast of it, and whether the app we were using to get the models up (Augment) would still read it. Whether they were too dark to work with, or if not would certain colours counter act them. I set the colours to just be placed on the my laptop and checked. The experiment was successful as with all the colours as our test model still was showing. 34

fig. 29 Pantone experiment side angle(left) fig. 30 Pantone experiment iphone perspective (above) 35

For the main icon for the illustration I calculated the value of the overall bins for both normal and recycling. Working with this allowed me to use the calculations to create the graph, typography and colours for the whole visual synthesis. 36

fig. 31 Print idea (left) fig. 32 Generative system (above) 37

fig. 33 Generative line system - AUB & ever section 38

fig. 34 AUB Tracker.

OUR GENERATIVE SYSTEM For our trackers we had to create something unique so when scanned it would instantly recognize it. For this I tried to create a generative system which would use the information of bins to recycling bins to create a shape. The way we gathered the information was through a line graph, with the line in the centre being the point of whether it is a normal or recycling bin. This system worked with all of the areas, even with the areas with a few number of bins. To create the unique shape for each area of the campus we got the line graph of the data and connected each point to the one another. This connection created the unique tracker and would personalise each area due each pattern being completely different due to the data. Yet still having a consistent house styling to it. 39

AUB

LIBRARY

NORTH BUILDING

NORTH LIGHT STUDIOS

REFECTORY & ARTS BAR

OUTSIDE

UNIVERSITY HOUSE

WEST BUILDING

WORKSHOP

fig. 35 Tracker. 41

SCAN HERE

PRINTS 1 This design is an A2 print, with one for each area. The colours in the design set would be of each area from our colour way finding system. A simple design from which they would just scan the tracker to then show a fact or model of which would make them recycle more/use the recycle and make them consider themselves about the amount of waste that they use.

Critiques - The solid colour in contrast to the print looks like it is just plastered on. No emphasis or 3D feel from the tracker. - Too simple, nothing brings it to life. Personally doesnâ&#x20AC;&#x2122;t do anything to me, lacks design in the print. - Typography is too big.

fig. 36 Print 1 v1 42

SCAN HERE

Arts University Bournemouth

PRINTS 2 Changes - Three strips to represent the colour way-finding system. These stripes would colour the whole system. But with the two other white stripes it represents the two different bins, top being normal, and the bottom recycling. - I use a complementary colour type of the area corresponding to the primary way-finding colour scheme. - The typography is smaller and refined. - AUB in all of the top right corner to specify the exhibition piece is just around AUB.

AUB

115 57

Critiques - The stripe although having meaning can be too much, feel like it doesnâ&#x20AC;&#x2122;t work with the grid system from which I made for it. - Changes in the aesthetics. Similar idea, but new design.

fig. 37 Print 1 v2 43

- Bottom right showed the number of bins that were in the area. Top being normal, bottom being recycling bin.

SCAN HERE

Arts University Bournemouth

PRINTS 3 Changes - Stripes going horizontally instead. Following the grid system.

AUB

115 57

Critiques - Horizontal stripes making it hard to read it, - Changes in the aesthetics. Similar idea, but new design. - Stripes seem useless, no context for use in the design, just for aesthetics. - The stripes are distracting for the eye, no main emphasis to looking at the tracker.

fig. 38 Print 1 v3 44

SCAN HERE

Arts University Bournemouth

PRINTS 4 Changes - Two stripes, in the centre instead of three. This is to lead the eye to the centre to look at the tracker, while also representing the two different bins.

AUB

115 57

Critiques - When doing the series, certain trackers are smaller than others which can loose some aesthetic felling as the contrast on the colour is more visually appealing. - For the exhibition, could be quite large as they have been designed as A2 prints. So as a whole may take up a lot of room. But when around the campus can be nice as a centre piece near bins.

fig. 39 Print 1 v4 45

MOCKUP

3D MODELS To make our prints more interactive with the students around AUB, the trackers we designed would emit a 3D model from the print. Being able to look at it at different angles to give them a new experience and view of prints. We first had designed the models at first to represent the most use materials wasted in their area. So with this information would hopefully get them to recycle more and be wary of what they are wasting. At first we had planned to use a fact about wastage, but with the 3D models it seems very clunky and aesthetically made it difficult to read the typography. These models were made on Maxon Cinema 4D, and once the models were made were in-putted into Augment so people could scan the trackers.

fig. 40 Print augmented reality example 1 (left) fig. 41 Print augmented reality example 2 (above) 49

fig. 42 Tutorial 50

TUTORIALS

Make it smaller.

SCAN HERE

Arts University Bournemouth

Get rid of the AUB area.

Get rid of the stripes, the whole tracker is aesthetically pleasing as it is. It doesn’t need anything else to emphasise it. Make it the main focus with a solid background instead.

Not needed as the colour coding will ensure that the user will know what area it is. But for the exhibition show the area.

AUB

115 57

From our tutorials we had a review of all the work we had done so far. My group and I had displayed our work like it would’ve been shown in the exhibition and gave an example of use. However from this, there was a lot of design errors we had to change. We had a lot of small design tweaks that we had to change to ensure that it would more aesthetically pleasing and also have more of an impact for the users, including the 3D models. 51

Get rid of the bin amount. It isn’t needed as the data will show it plus the user won’t know what it means.

SCAN HERE

AUB fig. 43 Print 2

PRINT 5 Critiques - The typography is too distracting, change the size and weight.

- Change in size, squared design same size. 420mmx420mm. - Solid block colour as the background. Just to show the way finding colour system and nothing else.

- The type should be swapped around, the area at the top in a small type size, and “Scan Me” to be centred. Both type to be in a thin typeface. Making the tracker the focus instead.

- Change in typography, just the “Scan Me” section and the area. - Making the tracker bigger.

AUB

SCAN ME fig. 44 Final Print

PRINT 6 With the changes said in the previous page it now I believe this would be the final design. The design has now mainly focused on the tracker and that alone. Aesthetically it now looks cleaner and more minimal, with the it now having a sense of depth from the typography.

AUB

SCAN ME

University House

Outside

SCAN ME

West Building

Workshop

SCAN ME

North Building

Library

SCAN ME

Refectory & Arts Bar

North Light Studios

SCAN ME

PRINT FINAL DESIGN

TRACKERS & AUB ICON For our trackers we had changed our trackers to interact more with the students of AUB. From research we still got we changed our style to get them to answer and find out what the most use item in the area was. So from this hopefully it would get them to search for other trackers around AUB and scan them to see what it was. This would hopefully get them to interact with others more to spread the word and also for them to recycle more also. For the main icon of AUB we wanted to redesign the recycling â&#x20AC;&#x153;mobiusâ&#x20AC;? logo and get it personalised towards AUB itself. We came to choose this design from the AUB branding that is already been implemented so it has a similar house style. fig. 46 Jack Hurley working on Cinema 4D (above) fig. 47 AUB prospectus (right above) fig. 48 Cinema 4D Work (right bottom) 56

AUB AUB

AUB

3D MODELS

fig. 49 AUB Mobius Logo (left) fig. 50 Cinema 4D Model Renders (above) 59

fig. 51 AUB print sheets(top) fig. 52 Cutting all the prints (bottom) 60

fig. 53 Jack Setting up the exhibition (top) fig. 54 Models in action (bottom) 61

fig. 55 Exhibition set up (top) fig. 56 Presentation (bottom) 62

fig. 57 Showing our augmented reality system in the presentation (above) fig. 58 Studio exhibition (bottom)

EXHIBITION For our deadline we had to re-deploy the synthesise imaginative visual systems. Use the visuals systems to create a studio exhibition, as a whole it should represent the AUB campus. From this we had to present our ideas to fellow peers on our course and other design tutors.

Our presentation showed example of how our piece would work and let the fellow peers interact with it and ask us questions and give us constructive criticism on our work, which was very insightful as it would let us develop further on our problems. 63

fig. 59 Crit Sheet 64

FURTHER DEVELOPMENT From our tutorial our group were told that we had a lot of issues from which we had to develop our campaign further. If we had more time for this we could be able to extend it into different formats, in which other member at AUB or in further university could interpret our design/concept towards their university or sections. The way we wanted to further our work is to create an app for it would still be similar format to Augment, scanning the trackers and coming up with the models, from this it would further develop into taking them towards a website which would show them facts or even a video on just information about waste and recycling. To further our visibility of the trackers we would then develop the trackers onto coffee cups, economical bags and water bottles, this items, which are recyclable, and could be used more than the intended use.

fig. 59 Further development mockups 65

SELF-REFLECTION CRITIQUE/EVALUATION My overall opinion for this project is very mixed, the critiques for this project has shown us the many strengths and weaknesses for our idea we had created as a final result. Nonetheless, I believed this was critical in learning, and this will be a learning curve for future projects. When starting for this project we had started with multiple different approaches, as a group we wanted to find the area of data in which we believed would be able to represent a portrait of Arts University Bournemouth. We came to the conclusion to look at Materials and the wastage of how students throw away a lot of different materials instead of recycling them instead. This was a concerning matter in which we wanted to research and represent AUB campus in design. Once we had found our point of interest we came to collect the data, we wanted to look at the difference/amount of bins-recycling bins. When it came to research we looked at it through two ways, through both primary and secondary research. The primary research was very important as it allowed up to be hand in the information we needed to complete the brief. We did this by collecting data, and the data was carried out from walking around the campus and going into all the areas my group and I was allowed in and collected all the data. From this we found a trend in which there were a lot more regular bins around the campus and class compared to recycling bins. While this happened, to see what material the students would use, we went into the bins in different areas and picked items out of the recycling bin. In the University House, we found a stack of unused graph/ printing paper, which was a waste, so as an experiment I placed the paper back into the printer and found out people still used this paper. For secondary research, we all looked at different areas of recycling: - Facts of it and how the energy usage affects us - The Recycling Logo â&#x20AC;&#x201C; Mobius Loop - Plastics - Augmented Reality With these two elements, they were critical as it influenced us in the design process from what we wanted to achieve. We came up with many different ideas and sketches, and with the tutorials to help us in idea generation. The application of the final design style and element came from an idea we had researched and believed this was the best way for the users to interact with the audience and apply more interest to recycle more. The process in the design of the product was first initially collecting the colour scheme in which we wanted to work with for the prints. I initially chose the colours through the combination of both bins/recycling bins and with the corresponding number had found the pantone equivalent to the number. With this it was easier to find the typography, design the tracker for the augmented reality 3D model. Our design process was done in many stages, and when we initially designed a concept, it had many critiques in design and clarity. Once we had found the problems we created many different concepts for this. In which when we found our final design, it was minimalized so the illustration was the main focus and people would not be distracted by anything else at all. This was a lengthy process, with reviews from other members appreciating the concept and engaging a lot, which allowed them to ask us questions.

The final outcome had mixed reviews with element of our outcome being both portrayed as a campaign and as an abstract piece. The visuals aesthetically were pleasing which made them very abstract and dynamic and propelled the users to interact with it. However for the outcome it needed more narrative in which it tied to a 50/50 scale of what the outcome wanted to show to the public. It falls apart for a campaign as it needed more contexts, but with the time limitations it shows a starting point for which we can develop it. If we had more time instead of this being only two weeks, we couldâ&#x20AC;&#x2122;ve added the narrative needed for it to interact more with the user and have emotive application in which it can get the audience For this imagery we had created was projected well being a generative system which I had collected from the data, also connecting the primary research into many elements of the outcome including colour also, and 3D modelling also. If we had more time for this we could be able to extend it into different formats, in which other member at AUB or in further university could interpret our design/concept towards their university or sections. The way we wanted to further our work is to create an app for it; it would still be similar format to Augment, scanning the trackers and coming up with the models, from this it would further develop into taking them towards a website which would show them facts or even a video on just information about waste and recycling. To further our visibility of the trackers we would then develop the trackers onto coffee cups, eco bags and water bottles, this items, which are recyclable, and could be used more than the intended use. I believe we had difficulty with working in the group; we had troubles within the second day of picking when a member of our group had left to go on holiday and not contact us for two weeks. I believe this was an initial difficulty being a member down compared to other groups. Yet our inter-relationship with the other members was still well, there are some elements on which it still can be improved though with some members being not as driven as I wished they could be, by not coming in on days and when they arrived them coming in 1-2hours later. Nonetheless, I believed that everyone still worked well together and to come up with ideas, research and also for the final design outcome.

ASSIGNMENT 2: WAYFINDING

fig. 61 Dementia post

WAYFINDING - DEMENTIA BRIEFING

For this project we were required to design a wayfinding system for people with dementia living in care-homes. It must demonstrate ease of navigation, encourage independence, while at the same time be a pleasing environment within which to live. In our groups we will have to identify a specific location/ or set of locations within a care-home environment, and use the creative strategies within visual systems to produce a comprehensive wayfinding system for our clients. It is crucial that our research our users and associate symptoms of dementia to engage with the specific context of this project, and understand the issues associated with dementia and navigation.

â&#x20AC;&#x153;To design is much more than simply to assemble, to order, or even to edit: it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetryâ&#x20AC;?

Start: Friday 16th October End: Wednesday 28th October

A collaborative project by Izzi Hays, Lauren Platts & Stefan Man

Paul Rand

fig. 62 Dr Jan Weiner lecture notes 1 (left) fig. 63 Dr Jan Weiner lecture notes 2 (right) 73

fig. 64 Dr Jan Weiner lecture notes 3 (above) fig. 65 Dr Jan Weiner lecture notes 4 (right) 74

fig. 66 Dr Jan Weiner lecture notes 5

INITIAL THOUGHT & DR JAN WEINER My initial thoughts for this were very mixed, the project myself and my group were about to undertake was very challenging with the clientele we were working with. To get myself knowledgeable to what the brief was, we had two presentations. The first was the understanding of wayfinding and the different ways in which designers have displayed their wayfinding systems for the public. From this we had a presentation from a Dementia Specialist/Lecturer from Bournemouth University Dr Jan Weiner. Dr Weiner had presented us a starter of the research and clients we had to work with, the difficulties that can occur from dementia and everyday life, while also showing existing representations of wayfinding for the dementia patients. The orientations for the dementia explained that it had to be very simple, to create an area where there wouldnâ&#x20AC;&#x2122;t be a lot of directions, a certain colour coding system, no patterns and the spatial orientation in which they will have to follow.

SECONDARY RESEARCH & IDEAS For our initial research we went out to search within books, dialogues, videos and online to seek out what was the difficulties with working with the residents in a care home. There was a set list of rules in which made it somewhat “difficult” to create a wayfinding system. From the secondary research that I took it showed that we found out some elements from which we had to focus which consisted of the colour coding wayfinding system, the use of sign-age through a system such as lamp posts, benches or signs themselves. Myself and my group were first looking at existing dementia systems, such as hallways, their bedrooms, the common room or even the kitchen. But we had found that whenever reading about dementia they were bringing up the benefits of the garden and how there are certain rules and constrictions from which you had to follow with the design. However their wasn’t many elements/ garden design out there. So myself and our group wanted to focus on developing a garden wayfinding system in which would help them further and allow them to be more independent.

fig. 67 Secondary research and ideas

fig. 68 Benefits to gardening

OUR GARDEN DESIGN The garden pathway takes the form of a figure eight, eliminating decision making due to the fact that directional choices are predetermined, facilitating spacial orientation and providing a calmer environment. This kind of pathway gives the residents independence, as there are several ways to manoeuvre through the figure eight whilst always returning to the same starting point, facilitating navigation.

temperamental British seasons. The indoor section has been created with the intention of usage in all weather conditions. Residents can remain undercover whilst still benefiting from fresh air and sunlight, even if the weather conditions are not favourable.

fig. 69 Smart Glass

SMART GLASS The area has the potential for 24-hour usage, the residents are able to go when it is night, which makes the garden unique, normally it may have been too cold, but the indoor portion of the garden makes this possible, with the area being highly lit. During the day the glass ceiling will provide natural light, which is very important in dementia care practices. Glare from the glass would normally prohibit night-time usage as reflection would cause major discomfort to the residents however we have eliminated that through the installation of a Smart Glass system on both the ceiling and side windows which frosts at the flick of a switch to get rid of the glare. Electronic currents are sent through the glass, and when turned on cells are activated in the glass to shock it which creates the frosted effect.

fig. 70 Garden design

SENSORY STIMULATION GARDEN We have created a garden that takes residents on a journey through the use of senses and interaction. Ensuring all five key senses are covered, we want to promote a way finding system that those with dementia are able to use independently and create an experience that is not only enjoyable but also engaging and captivating. To help residents find their way around the garden, we have incorporated the simple feature of benches to act as landmarks and carefully adapted them to make each one unique to each senses.

fig. 71 Tutorials

fig 72 Inside Garden

INSIDE GARDEN We have created a garden that takes residents on a journey through the use of senses and interaction. Ensuring all five key senses are covered, we want to promote a way finding system that those with dementia are able to use independently and create an experience that is not only enjoyable but also engaging and captivating. To help residents find their way around the garden, we have incorporated the simple feature of benches to act as landmarks and carefully adapted them to make each one unique to one of the senses. Within the inside section of our garden, we have placed benches next to raised

beds that contain herbs and vegetables; including lavender, rosemary, thyme, and lemon balm. Whilst pausing on the benches, the scent subtly remind residents to recognize the various smells around them and promotes conversation; as well as giving them the opportunity to taste the food growing around them. Likewise, we have placed wind chimes in this area of the garden. Although a relaxing sound, in the wrong environment wind chimes can become irritating when being activated by strong winds. Being inside, they receive a lighter breeze, but not to an irritating level. This will promote peacefulness and lend a sense of serenity to the area. 82

fig 73 Outside Garden

OUTSIDE GARDEN Outside in the second half of the garden, we have placed a log bench with the aim that residents will distinctly remember this part of their journey through a tactile experience. Around the bench, carefully chosen plants that emphasize this tactile experience have been arranged; including Griselinia Littoranis (a furry leafed plant), Stachys Byzantina (a waxy leafed plant), and Pennisetum (a long grass with the top half coated in a â&#x20AC;&#x2DC;hair likeâ&#x20AC;&#x2122; texture).

colour. The flowers we have chosen are Poppies, Pansies and Philadelphius. From choosing these particular flowers, residents are encouraged to distinguish this part of their journey from the rest by remembering this as the colourful part of the garden.

RECIPE CARDS As part of our way finding system a series of recipe cards has been created that contain ingredients that can be sourced from the garden. Ranging from carrot cake to tomato soup, we encourage residents to pick up a recipe card at the start of their journey and find the ingredients needed throughout their walk. This again promotes independence, whilst giving them some form of structure and purpose and further encourages engagement with their senses and maintaining core skills. We believe this encourage the residents and their families to work their way around the garden procuring the necessary ingredients for their recipe. The card has been designed with light text on a dark background for legibility and the colour system has been developed so as to contrast with the illustrations so as to be easily viewed.

fig 74 Recipe cards wayfinding system

fig 75 Seating area wayfinding system

SEATING AREA Seating is seen as an important aspect in a garden for dementia residents as it gives them the opportunity to rest if needed. We have ensured that the seating in our garden is a fundamental feature so that it encourages our residents to go out into the garden independently, promoting that they are able to navigate of their own accord.

feature of a way finding system for people with dementia, as they are what are remembered to help them find their way. It was also stated that within the way finding system it must be obvious where to go. To adhere to this, we spaced out our benches around the garden and made them interactive so that they would be remembered more vividly.

We designed our seating arrangements so that they correlate with the figure of eight pathway and act as landmarks within the garden. Our research showed that landmarks are the fundamental

We placed 2 large circular seating areas in both of the centres of our â&#x20AC;&#x2DC;8â&#x20AC;&#x2122; figure to encourage interaction and socialization between other residents and visiting family members and friends. The circular 85

fig. 76 Outside Garden

seating placed on the inside half of the Green Space has been purposefully positioned next to our herb garden, encouraging residents to use their sense of smell and touch to interact. The seating on the outside half has also been placed in a circular alignment. They are positioned around a birdbath and bird tables to give residents something to look at and take interest in while resting. In addition to this, we have also included two very distinct benches in our garden. One being a log bench, surrounded by plants that have versatile tactile features, which encourages residents to experience the garden through touch. The other is a visual bench, surrounded by very bright flowers. Its purpose is to enable residents to be able to remember this part of the journey through colour and detail.

fig. 77 Overview of the sensory stimulation garden

BENEFITS A garden environment has been shown to have an immeasurable number of benefits for people with dementia physically, socially and psychologically. Our research has shown that when care homes are designed, the garden is not regarded as a major aspect and the potential a green space could have is often overlooked. Research proves that this sort of environment can reduce agitation and aggression, whilst simultaneously boosting energy levels which leads to the promotion of a good nightâ&#x20AC;&#x2122;s sleep. Likewise it is known that those who participate in garden activities, which have a cyclical nature, have an easier time with memory recall and maintaining cognitive function.

homes are often inside for the majority of the day and so if they have a garden in which they can explore and way find around independently, they are not only gaining fresh air that they lack, but also getting exercise at the same time, and essential vitamin D. Within the Green Space, we encourage a certain level of independence and freedom for the residents within both the inside and outside space through our integrated way finding and sensory system. Residents are encouraged to use the space at all times of day and year to both socialize and reap the benefits of the various sensory stations throughout the space.

There are also many physical benefits of a garden. People with dementia in care 87

THE GREEN SPACE

Raised flower beds: These will be easily accessible for everyone including wheelchair bound residents. Eliminating the need to crouch down and strain their backs. The edge of the flowerbed will also include a handrail for independence and ease of walking.

Seating area: The residents can relax and gather their thoughts in this space. As well as socializing with the other residents.

Our Concept Providing a sense of independence for people with dementia is an incredibly important component in maintaining quality of life. The multifunctional Green Space offers this to residents. The garden is a journey for them to undertake, as well as providing a new communal area for residents to explore, reminisce, and relax. The space also serves as a form of sensory stimulation therapy through the incorporation of a way finding system, which guides residents through areas focused on and highlighting each of the five senses.

The print design was a single print, it carried all of our research and design progress for the presentation.

LAYOUT DESIGN Grid System Rows: 21 Columns: 31

The garden pathway: The pathway forms a figure “8”, meaning that the garden has been split off into two sections, both inside and outside with the inside forming a more functional and multipurpose space in all weather conditions.

Figure 8 & The Inside Garden The garden pathway takes the form of a figure eight, eliminating decision making due to the fact that directional choices are predetermined, facilitating spacial orientation and providing a calmer environment. This kind of pathway gives the residents independence, as there are several ways to manoeuvre through the figure eight whilst always returning to the same starting point, facilitating navigation.

These fruit trees: The trees are something for the residents to tend to and care for as well as providing fruit for their own consumption and the recipes, and will be implemented to our recipe card way finding system.

The garden is split into two sections; an indoor and outdoor section. This separation makes the space incredibly multifunctional, both careers and residents have the ability to use the space during the day and the night and in any weather, a key component giving the temperamental British seasons. The indoor section has been created with the intention of usage in all weather conditions. Residents can remain undercover whilst still benefiting from fresh air and sunlight, even if the weather conditions are not favourable. The area has the potential for 24-hour usage, the residents are able to go when it is night, which makes the garden unique, normally it may have been too cold, but the indoor portion of the garden makes this possible, with the area being highly lit. During the day the glass ceiling will provide natural light, which is very important in dementia care practices. Glare from the glass would normally prohibit night-time usage as reflection would cause major discomfort to the residents however we have eliminated that through the installation of a Smart Glass system on both the ceiling and side windows which frosts at the flick of a switch to get rid of the glare. Electronic currents are sent through the glass, and when turned on cells are activated in the glass to shock it which creates the frosted effect.

Title: Avenir Medium Size: 60pt Leading: 72pt Kerning: 20

Tree Bench Flower Bed Flowers Pathway -

Sensory Stimulation Therapy & Outside We have created a garden that takes residents on a journey through the use of senses and interaction. Ensuring all five key senses are covered, we want to promote a way finding system that those with dementia are able to use independently and create an experience that is not only enjoyable but also engaging and captivating. To help residents find their way around the garden, we have incorporated the simple feature of benches to act as landmarks and carefully adapted them to make each one unique to one of the senses. Within the inside section of our garden, we have placed benches next to raised beds that contain herbs and vegetables; including lavender, rosemary, thyme, and lemon balm. Whilst pausing on the benches, the scent subtly remind residents to recognize the various smells around them and promotes conversation; as well as giving them the opportunity to taste the food growing around them. Likewise, we have placed wind chimes in this area of the garden. Although a relaxing sound, in the wrong environment wind chimes can become irritating when being activated by strong winds. Being inside, they receive a lighter breeze, but not to an irritating level. This will promote peacefulness and lend a sense of serenity to the area. Outside in the second half of the garden, we have placed a log bench with the aim that residents will distinctly remember this part of their journey through a tactile experience. Around the bench, carefully chosen plants that emphasize this tactile experience have been arranged; including Griselinia Littoranis (a furry leafed plant), Stachys Byzantina (a waxy leafed plant), and Pennisetum (a long grass with the top half coated in a ‘hair like’ texture).

Fig.1. Smart Glass in a working/home environment

Smart Glass Smart glass in action in a working/home environment. The implementation of this in the care home will eliminate any issues with glare troubles during the night when the lights come on inside for night access.

Typeface Avenir

In contrast to this, our next bench along the path focuses more upon visual elements. The plants have been planted so that the particularly bright coloured flowers are in clusters as people with dementia often find it easier to see flowers when grouped together by colour. The flowers we have chosen are Poppies, Pansies and Philadelphius. From choosing these particular flowers, residents are encouraged to distinguish this part of their journey from the rest by remembering this as the colourful part of the garden. As part of our way finding system a series of recipe cards has been created that contain ingredients that can be sourced from the garden. Ranging from carrot cake to tomato soup, we encourage residents to pick up a recipe card at the start of their journey and find the ingredients needed throughout their walk. This again promotes independence, whilst giving them some form of structure and purpose and further encourages engagement with their senses and maintaining core skills.

Sub-title: Avenir Medium Size: 20pt Leading: 24pt Kerning: 20 Body Text: Avenir Book Size: 8pt Leading: 11pt Kerning: 20

Seating Area Seating is seen as an important aspect in a garden for dementia residents as it gives them the opportunity to rest if needed. We have ensured that the seating in our garden is a fundamental feature so that it encourages our residents to go out into the garden independently, promoting that they are able to navigate of their own accord. We designed our seating arrangements so that they correlate with the figure of eight pathway and act as landmarks within the garden. Our research showed that landmarks are the fundamental feature of a way finding system for people with dementia, as they are what are remembered to help them find their way. It was also stated that within the way finding system it must be obvious where to go. To adhere to this, we spaced out our benches around the garden and made them interactive so that they would be remembered more vividly. We placed 2 large circular seating areas in both of the centres of our ‘8’ figure to encourage interaction and socialization between other residents and visiting family members and friends. The circular seating placed on the inside half of the Green Space has been purposefully positioned next to our herb garden, encouraging residents to use their sense of smell and touch to interact. The seating on the outside half has also been placed in a circular alignment. They are positioned around a birdbath and bird tables to give residents something to look at and take interest in while resting. In addition to this, we have also included two very distinct benches in our garden. One being a log bench, surrounded by plants that have versatile tactile features, which encourages residents to experience the garden through touch. The other is a visual bench, surrounded by very bright flowers. Its purpose is to enable residents to be able to remember this part of the journey through colour and detail.

Benefits A garden environment has been shown to have an immeasurable number of benefits for people with dementia physically, socially and psychologically. Our research has shown that when care homes are designed, the garden is not regarded as a major aspect and the potential a green space could have is often overlooked. Research proves that this sort of environment can reduce agitation and aggression, whilst simultaneously boosting energy levels which leads to the promotion of a good night’s sleep. Likewise it is known that those who participate in garden activities, which have a cyclical nature, have an easier time with memory recall and maintaining cognitive function. There are also many physical benefits of a garden. People with dementia in care homes are often inside for the majority of the day and so if they have a garden in which they can explore and way find around independently, they are not only gaining fresh air that they lack, but also getting exercise at the same time, and essential vitamin D. Within the Green Space, we encourage a certain level of independence and freedom for the residents within both the inside and outside space through our integrated way finding and sensory system. Residents are encouraged to use the space at all times of day and year to both socialize and reap the benefits of the various sensory stations throughout the space.

Recipe Cards As a part of our integrated wayfinding system we have incorporated a series of recipe cards which encourage the residents and their families to work their way around the garden procuring the necessary ingredients for their recipe. The card has been designed with light text on a dark background for legibility and the colour system has been developed so as to contrast with the illustrations so as to be easily viewed.

Bibliography

(2015). Lemos&Crane - Bloom Awards 2011. [online]. Available from: http://www.lemosandcrane.co.uk/lemos&crane/ index.php?id=213425 [Accessed 20 October 2015]. (2015). Gardening tips for those with Alzheimer’s - Westlake | Bay Village Observer. [online]. Available from: http:// www.westlakebayvillageobserver.com/read/2014/06/10/gardening-tips-for-those-with-alzheimers [Accessed 21 October 2015].

Gesine Marquardt, D.-I. (2013). Designing for People With Dementia. [online]. Available from: http://www.studiearena. nl/uploads/archief/1302_Dementievriendelijke_Architectuur_en_Inrichting/gesine_marquardt_.pdf [Accessed 20 October 2015]. Gesine Marquardt, D.-I. (n.d.). Wayfinding for People With Dementia: The Role of Architectural Design. [online]. Available from: http://alzheimer-architecture.nl/wp-content/uploads/2012/10/Marquardt_2011.pdf [Accessed 20 October 2015].

BestCareHomeAwards (2011). Browns Field House Bishop, L. and Society, A. (2012). Living with dementia magazine May 2012. [online]. Available from: http://www. alzheimers.org.uk/site/scripts/documents_info.php?documentID=1867&pageNumber=3 [Accessed 20 October 2015] . Branch, P. S., Services, P., and Division, S. P. (2009). Gardens and outdoor spaces: Dementia-friendly environments – Victorian Government Health Information. [online]. Available from: http://www.health.vic.gov.au/dementia/changes/ gardens.htm [Accessed 26 October 2015]. Calori, C. and Chermayeff, I. (2007). Signage and Wayfinding Design: A Complete Guide to Creating Environmental Graphic Design Systems. 1 ed. United States: Wiley, John & Sons. Crumbleholme, L. (n.d.). Reading the Signs, Wayfinding in care home for people with dementia. [online]. Available from: http://www.aktive.org.uk/downloads/2014day1/CRUMBLEHOME,%20LOTTIE%20Reading%20the%20signs,%20 Wayfinding%20in%20care%20homes%20for%20people%20with%20dementia.pdf [Accessed 26 October 2015]. Dooley, K. (2010). Memory Garden for People with Dementia. [online]. Available from: http://www.dignityincare.org.uk/ Dignity_in_Care_news/News_item/?cid=7903 [Accessed 20 October 2015].

Judd, N. and Society, A. (2012). Walking about. [online]. Available from: http://www.alzheimers.org.uk/site/scripts/ documents_info.php?documentID=152 [Accessed 26 October 2015].

Trust, S. (2003). Sensory garden design advice 1. Sensory Trust. [online]. Available from: http://www.sensorytrust.org.uk/ information/factsheets/sensory-garden-1.html [Accessed 21 October 2015]. Umapathy, K. and Umapathy, K. (2015). Aromatic Cues Help Dementia Sufferers with Appetite Loss. [online]. Available from: http://www.psfk.com/2015/09/advanced-dementia-appetite-loss-ode-rodd.html [Accessed 20 October 2015]. Vic, H. T. A. (2005). Gardens for the senses - Better Health Channel. [online]. Available from: http://www.betterhealth. vic.gov.au/bhcv2/bhcarticles.nsf/pages/Gardens_for_the_senses?open [Accessed 26 October 2015]. ouLearn on YouTube(2012). Garden space: Design for dementia care (4/7). [Accessed 26 October 2015]

Pearson, D. and Conran, T. (1998). The Essential Garden Book. London: Conran Octopus Publishing Group. [Accessed 26 October 2015].

Figure 1 - Smart Glass in a working/home environment - https://protein-publisher-prod.s3.amazonaws.com/uploads/ medium_mit-smart-glass.jpg

Pro Display(2009). Switchable Smart Glass on Grand Designs. [Accessed 26 October 2015]. Raine, J. (2005). Garden lighting: [design, inspiration, techniques]. London: Hamlyn. Reynolds, M. and Roberts, R. (2015). Risk of developing dementia can be decreased by regularly doing arts and crafts. [online]. Available from: http://www.express.co.uk/news/uk/569230/arts-crafts-dementia-decreased [Accessed 26 October 2015]. RHS. (n.d.). Help, advice & tips from the RHS on all kinds of plants / RHS Gardening. [online]. Available from: https:// www.rhs.org.uk/plants [Accessed 26 October 2015]. Sauer, A. (2014). Gardening Therapy Tips for People with Alzheimer’s. [online]. Available from: http://www.alzheimers. net/2014-06-16/gardening-helps-alzheimers/ [Accessed 21 October 2015].

(n.d.). Dr. Garuth Chalfont. [online]. Available from: http://www.chalfontdesign.com [Accessed 26 October 2015]. Engelhart, K. (2012). First Person: Gary Anderson. FT Magazine. [online] 12 . May 2012. Available from: http:// www.ft.com/cms/s/2/b242fb98-996d-11e1-9a57-00144feabdc0.html?ftcamp=published_links%2Frss%2Flife-arts_ design%2Ffeed%2F%2Fproduct [Accessed 4 October 2015]. Garençon, A. and Syed, A.(2015). Cégep Gérald-Godin — Signage & Wayfinding System

Schmid, J. (2009). Sensory Stimulation for Alzheimer’s. [online]. Available from: http://www.best-alzheimers-products. com/sensory-stimulation-for-alzheimers.html [Accessed 26 October 2015].

fig. 78 Print & mockup

The Future Perfect Company. (2013). How design has the potential to help people with dementia. [online]. Available from: http://blog.thefutureperfectcompany.com/2013/03/25/how-design-has-the-potential-to-help-people-withdementia/ [Accessed 26 October 2015]. Trust, S. (2012). Creative Spaces - Dementia, community and nature. [Accessed 26 October 2015].

Tree Bench Flower Bed Flowers Pathway -

Seating area: The residents can relax and gather their thoughts in this space. As well as socializing with the other residents.

The garden pathway: The pathway forms a figure â&#x20AC;&#x153;8â&#x20AC;?, meaning that the garden has been split off into two sections, both inside and outside with the inside forming a more functional and multi-purpose space in all weather conditions.

For our presentation our group believed that the concept of the illustrations of our model needed to be lifted from a flat print. We wanted to create a model of the garden so it would be more visually aesthetic. 91

From this, the model would be able to allow us to see what the sensory stimulation therapy journey would be like.

EXHIBITION For our deadline we had to present our concept to our fellow peers, tutors and also Dr Jan Weiner. The whole exhibition showed multiple different wayfinding systems, with each being very unique. During this presentation before our talk, we all walked around one another work and posted post it notes on them all, giving them feedback on their design and also critiquing them for further development. Our presentation showed example of how our piece would work and let the fellow peers interact with it and ask us questions and give us constructive criticism on our work, which was very insightful as it would let us develop further on our problems.

fig. 79 Exhibition (left) fig 80 Exhibition Critique (right) 95

fig. 90 Critique sheet 96

SELF-REFLECTION CRITIQUE/EVALUATION My overall opinion of this project was very high, I thoroughly enjoyed this project as it had an aim and set amount of rules and constrictions in which we had to follow which I personally found really interesting. The constrictions in the design process had made it a challenge to work and design our own way-finding system. But with research, we had find the right justification to back up our design to make sure it is valid and capable to be used in the real world. The critique was also insightful as it as it gave us reviews and the idea of further development in which I believe can be re evaluated further on for the creative conscience award. When starting the project, having the lecture from Dr Jan Weiner was very insightful and allowed us to know the basis of what the dementia disease was about, the signs of what It is like to have dementia and some design process and rules in which had been implemented already in carehomes. We first looked at multiple different areas looking at different forms of technology, signage, sensory etc. But from this it was already backed up with our research in which my group and myself carried out, the secondary research carried out was very astute, allowing me to come up with the area in which we wanted to focus which was the sensory stimulation therapy garden journey. To ensure this would be viable I did some primary research with a close acquaintance, as their family member had dementia. So I asked some questions (being well ensure of this being a sensitive subject) on the way they saw the progression of dementia and how they helped with memory recalling. Also we asked them our viable options to see if it was helpful for their use and further use of it. This was very insightful as it allowed us to look at other aspects of way finding in which we could implement in our way finding system and some suggestions of further development on certain items in which we didnâ&#x20AC;&#x2122;t think of. While designing this sensory stimulation garden, we had looked at multiple different aspects of media for our presentation. We first looked at the whole garden and the whole look of it, and from this we designed the illustrations of what we would see, which would then further our media into a model. This we believed would bring it to life and show the potential of what we believed can be achieved from the garden and show what the journey itself would be like. With the illustration and print showing the representation of it. The garden itself promotes independence in the residents, with the design of it has been specifically placed down for a reason and was justified with our research. Which from this it allowed the freedom of the resident to enjoy their time with the people theyâ&#x20AC;&#x2122;re living and if not that it would allow their families and friends to come down and with this we designed some activities and made the environment more enjoyable experience compared to the idea/thought of it from others. I really enjoyed this project, as it showed a whole new design process for me personally. Even with the rules and constrictions in the way finding system. The time so what being short, was spread out evenly and I believe we created a strong way finding system and care home garden journey. It was very enjoyable to work with my group members, in which I would work with again, and also hope to develop this project further with Dr Jan Weiner and their garden design they are doing at Bournemouth University. But if not would like to develop it further to enter it into competitions, such as the Creative Conscience competition. This would just be the basis of the competition, which would be further developed.

ASSIGNMENT 3: INDUSTRY BRIEF

fig. 91 Arada Stove 100

INDUSTRY BRIEF - BRIGHT BLUE DAY: ARADA STOVES - FIRE YOUR IMAGINATION

During this project you will have the opportunity to explore new ways of working and develop fast paced creative strategies. You will be working in small collaborative teams on an industry led brief to a tight deadline. Each team will present their work to industry professionals. The Challenge: Arada’s success is due to its long-standing reputation as a quality stove manufacturer. However, it still faces the same issue that many other wood burning stove companies have to deal with — the Great British Summer. During this season sales in stoves naturally dwindle and people lose interest in preparing for the cold Winter months ahead. Our challenge to you is to connect Arada with the Summer and spark a whole new audience’s enthusiasm with the brand. Who’s it for? A wide adult audience living in the UK and Republic of Ireland. These people will be homeowners but could live anywhere from a contemporary superhome in Sandbanks to a small shepherd’s hut in rural Cumbria. What to pitch: You can present in any format you wish (e.g. boards, slideshow, video, sketches). Ideas do not have to be shown as highly polished visuals. We are more interested in the essence and creative stretch of your concept.

fig. 92 Bright Blue Day Logo fig. 93 Arada Stoves Logo

Start: Tuesday 2nd November End: Friday 6th November

“There is a better way to do it. Find it.”

A collaborative project by Abigail Smith, James Townsend, Laura Montgomery, Stefan Man

Thomas A. Edison

101

When we first got presented with this brief a lot of ideas of where I can focus was running through my head. With a lot of key words of themes that I believed would work with the possibility of promoting the brand. This I believed to be a good start as the whole project was on such a short amount of time. To also help, my group and I research into the Arada Company itself, with looking at their website, and their house style they have already. From their website we found that they have their own pinterest board, which was very insightful in the design process. From this we had created our own mood board for inspiration and further our ideas later in our brief.

102

fig. 94 Ideas (left) fig. 95 Arada moodboard (above) 103

fig. 96 Arada Idea 1

IDEA 1 Our first idea we wanted to play was the idea of the Arada stove being part of the family, how from the presentation, they kept on stating how it is such a centre piece in peoples home and how it brings people together from the “Warmth” it shows also. From this we came to the idea so when presenting (which would be a campaign) it would depict the families out on holiday with the stove being there with them. As it’s part of the family.

This idea was then further scraped. 104

fig. 97 Arada Idea 2

IDEA 2 Our second idea was looking at the satirical aspect of the â&#x20AC;&#x153;Great British Summerâ&#x20AC;? we wanted to play on the idea of typical British holidays such as camping, but being ruined from the weather. So it brings the whole aspect of bringing the holiday back home and making their own British summer themselves. We wanted to campaign to focus on the idea of how Arada does bring the family together, and due to the aspect of it can represent the family still doing activities in the summer, and the stove being the

camp-fire itself. To bring the idea of camping, they would be making a fort out of sheets etc, and from this it will show a more childish and relate-able aspect of families. Tutorials From Tutorials we were told about the possible dangers from this. So the idea was put away till we found a solution.

105

106

Bring the magic and wonder of the outdoors into the heart of your home with Arada”

“Don’t let the British weather get in the way this summer...

fig. 98 Tutorials 107

REFINEMENT

fig. 99 Idea 1 refinement sketch (above) fig. 100 Dragon, Witches & Wolves mockup (right) 108

With the aspect of Roasting Marshmallows being dangerous for the children with the fire being open. With researching previously into the Advertising Standards Agency (ASA) during A2, there are a set of rules and coding in which you would need to follow for advertising. There are 21 rules and coding, and within these they consist of multiple different areas, from ethical reasons, racial and prejudice elements, to even safety.

even more. Replacing the roasted marshmallows to a book. The replacement allowed the aspect of their previous idea campaign they did, so with ours we decided to bring a mythical story and the imagination aspect of the kids can be further developed from the sounds of the fire. Bringing the magic and wonder to life, this being read by the mother/father.

From our research into the ASA it showed it would break ASA rule and coding 5.1.3, where children must not be shown using or in close proximity to dangerous substances or equipment without direct adult supervision. We chose to find a solution to solve the problem. Our solution was to keep the idea of family the strong point, with the idea of the family being together

109

fig. 101 Idea 2 110

FURTHER IDEAS From our first idea, we wanted to develop something which would spread the name of Arada out further. We looked at Compagnie Carabosse. A French artist, who create art instalments from Fire. This spurred onto the idea of creating an art installations specified for Arada, mainly promoting the element of â&#x20AC;&#x153;warmthâ&#x20AC;? which they highly emphasised to us. With realistic and budget aspect, we believed sponsorship into a festival can create the idea of a stage which is focused on Arada and Fire theme. This would be a journey for the attendants to start of with a stand with the story book and other camp-fire/ festival items such as bottle openers etc. Later it would show the art instalment which can bring the sound of both the nature to the music together harmoniously bringing a new experience. The art instalment can still be visible in the day or night so the experience will be changing throughout the day. 111

112

113

IDEA 2

IDEA 1

CHANGES

- The family are shown reading the promotional book in their homemade fort. The atmosphere created by the crackling fire will bring the story to life. This will play on the feeling of adventure, promoting the idea of bringing the magic and wonder from the outdooors, back indoors.

- The act of reading a story to the children will bring the family together, interacting with one another, creating the aura of a communal family feeling.

- The book will be an asset to aid the imagination and magic for both the children and the parents, emphasising both community and being with one another.w

114 - Promotional products will spread the word of the company and brand name

- Expanding on the magic and wonder through the art installations, creating a unique experience

Bring the magic and wonder of the outdoors into the heart of your home with Arada”

“Don’t let the British weather get in the way this summer...

- It would break some ASA rules and coding 5.1.3, where children must not be shown using or in close proximity to dangerous substances or equipment without direct adult supervision.

- Roasting Marshmallows can be dangerous for the children with the fire being open.

- Emphasising how Arada brings families together to do group activities.

- The idea of the family coming together, with the weather being an issue, and creating a fort.

- Playing the fact of typical family holidays such as camping. But with the issues that can be faced, bringing it indoors.

- The Satrical aspect of the Great British Summer.

REASONS OF CHOICE AND CRITIQUES

MOOD BOARD

- Showing the warmth of the product in a fresh and exciting way

Abigail, James, Laura & Stefan

- Showcasing the product and adding emphasis to the feeling community

REASONS

FIRE YOUR IMAGINATION

PRESENTATION For this project we had to go to the Bright Blue Day Studios in Bournemouth, and pitch our concepts towards Bright Blue Day staff and also the head of Arada Commercial Affairs. Pitching the idea was a fundamental element for this project, due to the skills we would learn from it. From speaking clearly to get our ideas across and also the questions that they would ask us and ideas of having a bad pitch. It is to be able to be aware of it for the possible future when working with clients. Personally our pitch went alright, the ideas came across even with some elements with other members of the group changing the idea across during the presentation. But the main idea went across, even if it wasnâ&#x20AC;&#x2122;t as I intended. However they still appreciated the concept and really liked the concept. With some minor adjustments and further development it would do well.

fig. 102 Pitch presentation (left) fig. 103 Pitch plan (above)

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SELF-REFLECTION CRITIQUE/EVALUATION My over opinion is very mixed, with elements of me liking and disliking this project. I had mixed opinions as I thoroughly enjoyed the brief and being able to have an opportunity to work with an actual studio and client on what would be an actually brief styling. With the right rules and constraints of what we had to follow. However, the elements that I had disliked about this project were some of the group members, in which personally ruined the project and passion from what I usually would have. The project nonetheless was very helpful in learning about working in an actual studio, with short deadlines and trying to access my time management allowed me to come up with multiple ideas. Within this process while still being able to research into it and also finding the elements of how to justify the idea to allow it to be a realistic concept in which I hope would be able to come into real life. Also with the elements of being able to be able to pitch to actual clients yet alone the design representatives from Bright Blue Day was a great experience, this being taught how to pitch an idea of which we had designed and working with coming with an understanding of the further stages in which to allow the concept to come to reality was amazing. With studio-to-client relations, there is the aspect of having an idea being completely changed as the client may not have appreciated the idea, so being able to have early experience of it, and being able to question the work shows progression on working in the future. The project as said previously had mixed reviews, with working with the group that I had been assigned had a different work ethics to mine. Which wasn’t as impactful as some member would not participate into the design/research process, and yet would critique and change the pitch idea at the very end during the pitch. This later not being able to then pitch the idea with the right passion and emphasise certain elements of the ideas in conjunction of the brief/Arada standards also, didn’t allow myself to be able to present the right idea. With personal ability to pitch, I personally wish it went better. The pitching process as said wasn’t done correctly, had left me in trying to present the right ideas behind it, but being cut off by someone else and then further not get the emphasis in area had shown no progression in my personal pitching skills. Personally if I could work on this again or in further projects, I would still thoroughly enjoy it, yet if it were in another group.

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ASSIGNMENT 4: INDUSTRY VISIT

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fig. 104 Studio

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INDUSTRY VISIT: FITCH 2.1 Research and visit to industry: Produce a list of possible companies you wish to visit with a rationale for each choice. You need to include company name, contact details and a web address for each.

During this I will be developing our ability to think and work more critically and independently, as well as feedback from tutors and peers, to constantly reflect on my own learning. It is essential as you prepare for the Graphic Design industry that you become increasingly independent and develop confidence in your own judgements and critical analysis.

2.2: Questions: Devise a list of ten questions that you want to ask your selected company. 2.3: Industry Visit & presentations In your groups, you will need to make contact with your chosen company and arrange to visit. Make sure you make notes and where possible take photos. After the visits have taken place, the group will deliver a five minute screenbased presentation of your findings to the rest of Level 5.

It will also be important to look to the future and to consider companies and areas of professional practice with which you might wish to align. For example some companies have a strong ethical perspective and will not work with particular brands or political parties. Others have a clear sustainability ethos. This in turn drives the clients and businesses with whom they choose to collaborate. What type of designer are you? Do you have a more conceptual approach? Are you driven by aesthetics? Does your chosen field require strong digital skills? It is important to reflect on your personal philosophies as well as your design strengths in relation to industry.

2.4: Critical evaluation: Individually, you will produce a typed, written critical evaluation of the experience and what insights you have gained.

Assignment brief For this project we are required to visit a design studio in order to gain insight and uncover the roles within any creative group and consider the possible expectations of you as a new designer. The research element within this brief will also help inform your awareness of current trends within industry.

â&#x20AC;&#x153;I feel the designerâ&#x20AC;&#x2122;s role has changed in recent years from one of creating beautiful forms or clear identification for brands to one where the designer himself visualizes the possibilities of an industry.â&#x20AC;?

A collaboration project with Alice Luscombe, Alice Pomfret, Ben Gale, Harry Kitchen, Jess Gohl, Josie Mathews, Luke Brown, Perry Rowe, Sarah Wickings & Stefan Man

Kenya Hara

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CONTACTING THE AGENCY When first looking into the industry we split ourselves into sections of interest in design. Being able to then research and get recommendations of design companies which specify in them. Our group was first in contact with Itâ&#x20AC;&#x2122;s Nice That design company. Founded and based in London in 2007, the company focuses on Editorial Design. Which is one of my interest in design. We were first in contact with them and was on an email/ call basis. But the industry visit fell through due to them not contacting back after a fair amount of time to propose the right time to visit them.

fig.105 Itâ&#x20AC;&#x2122;s Nice That Website (above) fig. 106 Fitch Logo (top right) fig. 107 QFA Branding (mid right) fig. 108 Formation (bottom right) 124

FITCH Luckily myself and my group were in contact with another company called FITCH. FITCH is a global design industry, with 14 studios based in 9 countries. However, the studio in which we wished to visit was in London, that studio being the largest and the base of FITCH Design themselves. FITCH is a company which focuses on many different forms of design, with both editorial and advertising. Following a certain thought and work process unlike others. I was very excited to see this company and learn more from the designers themselves about their insight of how they achieved to work in this industry.

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VISIT The visit to FITCH was very insightful, with the way they had worked with old projects and the process in which they work and designer to client relations. The visit consisted of a presentation of FITCH their company and there work flow, followed by a studio tour and some questions in which we can ask them; this was done by two of their Graphic Designers.

fig.109 FITCH studio building (top left) fig. 110 Fitch entrance (bottom left) fig. 111 FITCH studio (above) 127

WORK PROCESS

â&#x20AC;&#x153;Bold Thinking Seamless Designâ&#x20AC;?

Within FITCH they have been split into teams, which each team being able to focus on different areas of a project, including strategist, designer, motions etc. They have a process in which they work within, which is to engage the client more into the project they want, allowing them to have more than one application. The whole work process is to allow the clients to come back to them and continuously re-imagine their work to a state in which they will achieve what is best for the outside world. When working with the brief, to be able to start with a process of 4Ds.

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DISCOVER

Discover Discovery within FITCH starts with the insight team. They work closely with the client to determine what they truly want and to help innovate them within there sessions to create a framework of their plan. They would work with trend trackers to see if there is a pattern in the network and people, determining the behaviour. While also Audience profiling by observing and interviewing the demographic.

Define The second D, Define, is the strategic side of it. FITCH finds the findings of the brand platform and the understanding of it, defining itâ&#x20AC;&#x2122;s position and to inspire design. FITCH map out the journey in which it will need to take and identify the opportunities. One example of how it works is to find the experience principles, otherwise known as PHD(Physical, Human, Digital), they undertake this process to find out how each of these elements will need to interact the way the audience works, while coherently combining the Dreaming, Exploration, Location and Experience of the customer.

DESIGN

DEFINE

Design The third D, Design works with the past two to create the visual media in what the client wanted. FITCH works with both Brand Creation and Brand Recreation. Reinvigorating a new way of thinking and branding, a way they do this is through their brand experience and their PHD process. Tracking the measurement and potential.

Delivery Finally for development they ensure there are Guideline and Documentation so for later they will be able to distribute it globally. FITCH processes the measurement with qualitative and quantitative capture and reporting methods: - Surveys & Focus Groups - Social Web & App Methods - Retail Analytic

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DELIVERY

WORKSHOP While at FITCH after the presentation, they gave us a workshop activity. The workshop was a simple five minute creativity boosting exercise, in which we got three cards of different colours. The first group of coloured cards contains various brands, the second group of cards contained a media method eg. blog, promotion mailer etc. and the final group had a specific demographic which included personal information for them such as job, age and income.

drives a panic response in a sense, and this is when the most crazy and creative ideas flow. This was a good activity as it had great benefit for us students to help firstly, with generating solutions, teamwork, and communication skills in groups and in pitching ideas. It was also just a bit of fun, which is a bonus.

In groups of three to five, each group picks one card from each group when face down, then has five minutes to brainstorm possible ideas, after which they must pitch to the other groups. No matter if the solutions were viable or not, it induces creativity as sometimes you may get find bonkers combinations. This teaches that even crazy ideas, when thought about and pitched, can be dragged back to reality to create viable solutions which may not have been considered if more time to think was given, as the five minute time-frame given

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QUESTIONS & ANSWERS Previously before the visit I derived some questions to ask FITCH and the designers about their working life and process of how they go to where they are now Questions 1. How about do you go through your design process? As in the presentation the work process they do is the 4Ds: Define, Discover, Design, Delivery. 2. How much investment(money & time) do you put into your pitch? It can range depending on the project. 3. How many projects do you usually juggle at any one time? With a large studio of 60+ they are always different designers working on different projects.

intern there throughout the year. 7. What do you look for in a portfolio? + Is there a ratio of idea generation to find pieces/concepts? There will need to show the work they are most passionate about, with the sketchbook to back up any of the ideas for each one. They look at personality in the person as well compared to the work. They will need to work well with the current team and be memorable/asset. 8. During a time at internship, what would the person be working on/doing? Working on the work they are doing themselves with a mentor guiding them. 9. Do you personally prefer working with smaller or bigger studios? It is all down to preference, you will need to work/visit both to experience it.

4. Researching into your company and this design studio in-particularly. Iâ&#x20AC;&#x2122;m aware that you do a lot work for Asian, European and Middle Eastern companies. Do you have to change your approach for these clients, and are there any difficulties? With over 14 studios around the each studio has their own in house designers who work in the time zone. 5. What route did you personally take to get to where you are now? Eleanor: Entered a competition, and won it and recieved a years placement. Once she graduated she got the job to work with FITCH. Gemma: Worked there since she graduated. 6. Do you offer any internships of any kinds? Yes, they offer internships to students for two weeks at a time, there is always an 131

fig. 112 FITCH Presentation

PRESENTATION When we returned back from FITCH, we presented our visit to the tutors and the rest of Level 5 Graphic Design our visit of FITCH. This gave an insight of our time and what we had learnt there to the other students. Each group presented their visit. It gave us an idea of them all. We gave our positives about it and whether we would want to work their or not. Which I personally would like to work their.

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SELF-REFLECTION CRITIQUE/EVALUATION My overall opinion for this project is of a high, I really enjoyed being able to go and visit the studios was a great insight of what I want to achieve from this course. It shows the basis of what it would be like to work at studio and the relations of how they work with clients and the process of work they do before they are able to pitch. Within the two hours I was there I had learnt so much, being able to see the work process (the 4Ds) and the way they think is amazing. They do not just look at one element in which sometimes everyone does, the process of work is far greater. Looking at the Physical, Human and Discovery (PHD) process of how the demographic the elements of what we are designing for in a new mind set has made me think of how my work process is completely different. Being able to learn this is a good insight for further projects to achieve a high standard like FITCH themselves. Having the workshop had allowed us to think differently having only five minutes to brainstorm possible ideas, after which must be pitched to the other groups. No matter if the solutions were viable or not, it induces creativity as sometimes you may get find bonkers combinations. This teaches that even crazy ideas, when thought about and pitched, can be dragged back to reality to create viable solutions which may not have been considered if more time to think was given, as the five minute time-frame given drives a panic response in a sense, and this is when the most crazy and creative ideas flow. This was a good activity as it had great benefit for us students to help firstly, with generating solutions, teamwork, and communication skills in groups and in pitching ideas. It was also just a bit of fun, which is a bonus. I would love to do this project again, if not in my personal time as it teaches us to communicate in a professional manner to a company and then being able to visit different studios and how they work will be a great insight for when I am older.

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ASSIGNMENT 5: LECTURES, WORKSHOPS & JOURNEY BOOK

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ODED EZER During our unit we had a guest lecturer Oded Ezer, a typographic designer. Oded Ezer had shown us his previous work and the thought process of how he designed and created projects. Ezerâ&#x20AC;&#x2122;s inspiration came with a lot of thought and experimenting to an amount of which he himself is unsure of. The idea of his work and thoughts of how he went to it was very inspirational and allowed me to think differently myself for the projects I have done since the talk.

fig. 113 Biotypography (left) fig. 114 Oded Ezer (above) 137

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HARD COVER BOOK BINDING In my free time I signed up for Hard Cover Book Binding, this I thought would be an amazing life skill for later use, and for further book binding techniques to learn if I made more books.

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JOURNEY BOOK From previous experience on working with books, I have chosen multiple different styles, sizes, typography, grids and many more features. For this system this shows my personal thought process in designing my journey book, with my integrated colour/illustrations wayfinding system.

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SELF-REFLECTION CRITIQUE/EVALUATION My overall opinion for this whole unit is of a high, with a multiple different range of projects has kept me highly interested, engaged and motivated to do the projects to a high conceptual standard has been different for me personally and allowed me to learn a lot about visual systems and myself at the same time. The time working on new projects so quickly has got me very passionate on different areas of which I wouldnâ&#x20AC;&#x2122;t have thought to ever look into, has got me very engaged in trying new things. With each project also being very short, my time management between revision, concept, sketching to final piece has ensured a lot of pressure. But in practise for the future, as working in a studio there will be different clients I would be working for constantly. These projects have taught me to juggle them, while also being of a professional manner, in communication and pitching skills. The critiques also has helped, with being able to receive ideas and question the good and bad points, while also completely altering an idea is practise in future also. With each project being group work, it has shown me different ways to being a member of a group, with different skill levels/work ethics/work motives/and hierarchy of the team has allowed me to listen, understand and open my mind to new ideas. The ability to work in group has been amazing, even with the skill set and different task work has allowed me to ensure my time management is of a high to ensure I am pulling my weight to achieve a high grade for not my sake, but for others also. The teams I have worked with has also taught me in picking different members of people for further use. Making new friends and collaborating further in work and to understand people who are just as passionate about a course, has taught me a lot. With certain projects going better than I thought, and allowing me to consider further development and entering it into competitions and Doctors of the subject. I thoroughly enjoyed this unit, with each project being unique has allowed me to be very keen on working further on similar projects.

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BIBLIOGRAPHY (2015). Facts About Recycling & Waste. [online]. Available from: http://www. bournemouth.gov.uk/BinsRecycling/ RecyclingRecyclingCentres/ FactsAboutRecyclingAndRubbish.aspx [Accessed 2 October 2015]. (2015). Lemos&Crane - Bloom Awards 2011. [online]. Available from: http:// www.lemosandcrane.co.uk/lemos&crane/ index.php?id=213425 [Accessed 20 October 2015]. (2015). Gardening tips for those with Alzheimerâ&#x20AC;&#x2122;s - Westlake | Bay Village Observer. [online]. Available from: http:// www.westlakebayvillageobserver.com/ read/2014/06/10/gardening-tips-forthose-with-alzheimers [Accessed 21 October 2015]. (n.d.). What is augmented reality? Webopedia. [online]. Available from: http://www.webopedia.com/TERM/A/ Augmented_Reality.html [Accessed 12 November 2015]. (2013). The 20 greatest battles in British history. The Telegraph. [online] 20 . January 2013. Available from: http:// www.telegraph.co.uk/history/britain-atwar/9813502/The-20-greatest-battlesin-British-history.html [Accessed 3 November 2015]. (2015). Cardiff Month Weather Accuweather Forecast for Cardiff United Kingdom. [online]. Available from: http:// www.accuweather.com/en/gb/cardiff/ cf10-3month/327202?monyr=7/01/2015 [Accessed . (2015). 05 children - committee of advertising practice. [online]. Available from: https://www.cap.org.uk/ Advertising-Codes/Non-Broadcast/ CodeItem.aspx?cscid={e6da4940-2a3f-

40e1-9820-72f248e750d5}#.VjtsslwV56k [Accessed . Arthur, C. (2014). Augmented reality: Itâ&#x20AC;&#x2122;s like real life, but better. The Guardian. [online] 19 . May 2014. Available from: http://www.theguardian.com/ technology/2010/mar/21/augmentedreality-iphone-advertising [Accessed 12 November 2015]. BestCareHomeAwards(2011). Browns Field House Bishop, L. and Society, A. (2012). Living with dementia magazine May 2012. [online]. Available from: http://www.alzheimers.org. uk/site/scripts/documents_info. php?documentID=1867&pageNumber=3 [Accessed 20 October 2015]. Calori, C. and Chermayeff, I. (2007). Signage and Wayfinding Design: A Complete Guide to Creating Environmental Graphic Design Systems. 1 ed. United States: Wiley, John & Sons. Castillo, F. (2012). Generative Systems: A Paradigm for Modelling Complex Adaptive Architecture. [online]. Available from: http://complexitys.com/english/ complexitys-culture/generative-systemsa-paradigm-for-modelling-complexadaptive-architecture/#.VhFgdFwbtHE [Accessed 4 October 2015]. Dooley, K. (2010). Memory Garden for People with Dementia. [online]. Available from: http://www.dignityincare.org. uk/Dignity_in_Care_news/News_ item/?cid=7903 [Accessed 20 October 2015]. Engelhart, K. (2012). First Person: Gary Anderson. FT Magazine. [online] 12 . May 2012. 150

Available from: http://www.ft.com/ cms/s/2/b242fb98-996d-11e1-9a5700144feabdc0.html?ftcamp=published_ links%2Frss%2Flife-arts_ design%2Ffeed%2F%2Fproduct [Accessed 4 October 2015]. Garençon, A. and Syed, A.(2015). Cégep Gérald-Godin — Signage & Wayfinding System Gesine Marquardt, D.-I. (2013). Designing for People With Dementia. [online]. Available from: http://www. studiearena.nl/uploads/archief/1302_ Dementievriendelijke_Architectuur_ en_Inrichting/gesine_marquardt_.pdf [Accessed 20 October 2015]. Gesine Marquardt, D.-I. (n.d.). Wayfinding for People With Dementia: The Role of Architectural Design. [online]. Available from: http://alzheimer-architecture. nl/wp-content/uploads/2012/10/ Marquardt_2011.pdf [Accessed 20 October 2015].

net/2014-06-16/gardening-helpsalzheimers/ [Accessed 21 October 2015]. SensoryTrust(2012). Creative Spaces Dementia, community and nature Trust, S. (2003). Sensory garden design advice 1. Sensory Trust. [online]. Available from: http://www.sensorytrust.org.uk/ information/factsheets/sensory-garden-1. html [Accessed 21 October 2015]. Umapathy, K. and Umapathy, K. (2015). Aromatic Cues Help Dementia Sufferers with Appetite Loss. [online]. Available from: http://www.psfk.com/2015/09/ advanced-dementia-appetite-loss-oderodd.html [Accessed 20 October 2015]. ouLearn on YouTube(2012). Garden space: Design for dementia care (4/7)

Jones, P. and Powell, J. (1999). Resource Recycling - Gary Anderson has been found!. [online]. Available from: http://logoblink.com/wp-content/ uploads/2008/03/recycling_symbol_ garyanderson.pdf [Accessed 3 October 2015]. Muston, S. (2012). The 10 best food festivals. The Independent - Features. [online] 27 . July 2012. Available from: http://www.independent.co.uk/life-style/ food-and-drink/features/the-10-bestfood-festivals-7979637.html [Accessed 3 November 2015]. Raine, J. (2005). Garden lighting: [design, inspiration, techniques]. London: Hamlyn. Sauer, A. (2014). Gardening Therapy Tips for People with Alzheimer’s. [online]. Available from: http://www.alzheimers. 151

FIGURES fig.1 Andreas Lauhoff, 1999 Speechrecognizable letterforms (acrylic) http://3deluxe.de/admin/wp-content/ uploads/2013/06/Projektdarstellung_ Vorlage_1920x1080_SRL.jpg http://3deluxe.de/admin/wp-content/ uploads/2013/06/Projektdarstellung_ Vorlage_1920x1080_SRL_062.jpg

fig. 19 Illustration trackers of AUB Campus

fig. 2 AUB Campus

fig. 22 Acrylic template size measurements. fig. 23 Group idea generation

fig. 20 Low Poly Planet â&#x20AC;&#x201C; By Sicaida - http://orig02.deviantart.net/0aee/ f/2013/050/9/a/low_poly_planet_by_ sicaida-d5m36pv.png fig. 21 Pin up critique

fig.3 Ideas from sketchbook fig. 24 Acrylic poster idea fig.4 Observations from Sketchbook fig. 25 Tutor tutorial fig.5 Data collecting from sketchbook fig. 26 Tutor tutorial - development fig.6 Ideas from sketchbook fig. 27 Pantone Selection fig.7 Image of inside a recycling bin fig 28 Pantone colour system fig.8 Contents of recycling bin fig. 29 Pantone experiment side angle fig.9 Paper retrieved from recycling bin Experiment

fig. 30 Pantone experiment iPhone perspective

fig.10 Costa Cup from recycling bin fig. 31 Print idea fig, 11 Recycling bin around AUB campus fig. 32 Generative system fig, 12 Bins around AUB campus fig. 13 Secondary research from sketchbook

fig. 33 Generative line system - AUB & ever section fig. 34 AUB Tracker

fig. 14 Secondary research on Mobius loop from sketchbook fig. 15 Secondary research on Mobius loop from sketchbook

fig. 35 Tracker fig. 36 Print 1 v1 fig. 37 Print 1 v2

fig. 16 Trial tracker fig. 38 Print 1 v3 fig. 17 Trial Tracker experiment fig. 39 Print 1 v4 fig. 18 Recycling idea, groupwork fig. 40 Print augmented reality example 1 152

fig. 41 Print augmented reality example 2

fig. 65 Dr Jan Weiner lecture notes 4

fig. 42 tutorial

fig. 66 Dr Jan Weiner lecture notes 5

fig. 43 Print 2

fig. 67 Secondary research and ideas

fig. 44 Final Print

fig. 68 Benefits to gardening

fig. 46 Jack Hurley working on Cinema 4D

fig. 69 Smart Glass

fig. 47 AUB prospectus fig. 48 Cinema 4D Work

fig. 70 Garden design fig. 71 Tutorials

fig. 49 AUB Mobius Logo fig 72 Inside Garden fig. 50 Cinema 4D Model Renders fig 73 Outside Garden fig. 51 AUB print sheets fig 74 Recipe cards wayfinding system fig. 52 Cutting all the prints fig 75 Seating area wayfinding system fig. 53 Jack Setting up the exhibition fig. 76 Outside Garden fig. 54 Models in action fig. 55 Exhibition set up

fig. 77 Overview of the sensory stimulation garden

fig. 56 Presentation

fig. 78 Print & mockup

fig. 57 Showing our augmented reality system in the presentation

fig. 79 Exhibition fig 80 Exhibition Critique

fig. 58 Studio exhibition fig 59 Crit Sheet fig. 60 Further development mockups fig. 61 Dementia post - http://www. pilgrimshospices.org/wp-content/uploads/ dementia-pic.jpg.png

fig. 90 Critique sheet fig 91. Arada Stove - http://media.virbcdn. com/cdn_images/resize_1600x1600/ f6/c0066250d04f36db-aradabrochure-2014-1.jpg fig. 92 Bright Blue Day Logo - http://bucfe. com/wp-content/uploads/BBD_Logosmall.jpg

fig. 62 Dr Jan Weiner lecture notes 1 fig. 63 Dr Jan Weiner lecture notes 2

fig. 93 Arada Stoves Logo - http://www. aradastoves.com/img/logos/test.svg

fig. 64 Dr Jan Weiner lecture notes 3

fig. 94 Ideas 153

fig. 95 Arada moodboards fig. 96 Arada Idea 1

uploads/2008/07/oded_ezer_4_ biotypography_poster.jpg http://designobserver.com/images/ features/F_Rat.jpg

fig. 97 Arada Idea 2 fig. 98 Tutorials

fig. 114 Oded Ezer - http://designobserver. com/images/features/F_Rat.jpg

fig. 99 Idea 1 refinement sketch fig. 100 Dragon, Witches & Wolves mockup fig. 101 Idea 2 fig. 102 Pitch presentation fig. 103 Pitch plan

fig. 104 Studio - http://mattsoncreative. com/blog/wp-content/uploads/2013/02/ tys_office_028_900.jpg fig.105 Itâ&#x20AC;&#x2122;s Nice That Website fig. 106 Fitch Logo - http://cdx.dexigner. com/news/xw/22674.jpg fig. 107 QFA Branding - https://fitchwww-cdn.s3.amazonaws.com/images/ work/Qatar%20Football%20Association/ Work_QFA5.jpg fig. 108 Formation - https://fitch-wwwcdn.s3.amazonaws.com/images/work/ Formation/Formation_2.jpg fig.109 FITCH studio building fig. 110 Fitch entrance fig. 111 FITCH studio fig. 112 FITCH presentation fig. 113 Biotypography - http:// img.weburbanist.com/wp-content/ 154

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Thank you for following me on my journey through the Visual Display unit. I hope you enjoyed my research, thought process, sketches, concepts, and final pieces. behance.net/StefanMan

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