VISUAL SYSTEMS JOURNEYBOOK
CON 10 TS
Assignment6 Journey Book
Assignment5 Industry Brief
Assignment4 Wayfinding
Assignment3 Industry Visit
Assignment2 SMINT Competition
Assignment1 Visual Synthesis
Brief Assignment1VisualSynthesis
For this project you are required to create a portrait of the AUB campus. You will be working in small groups to map, analyse and recreate the data systems of your surroundings within a set of synthesised visual systems. You will be encouraged to think innovatively about how you might find and generate data, and analyse systems.
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Brief Assignment1VisualSynthesis
process of connectedness and organization. The natural world is systems driven. Planets, atoms, trees, oceans, migrations, weather systems and bacteria are all entwined with complex systems. The underlying characteristics of any system can be analysed and distilled into sets of rules and data. These, in turn, can be synthesized into purely visual systems. For example, the system of a complex forest could be simplified into a set of ratios of key tree sizes and colours. These ratios and colour sets could then be used as the basis for a visual identity to resolve a design problem. Any design problem will have specific criteria that need to be addressed and these criteria can inform the type of systems that might offer potential as starting points. This project will give you the opportunity to explore the potential of systems analysis as a creative strategy within design.
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ASSIGNMENT 1
A visual system offers an underlying structure to design, a set of rules that can be deployed to inform a limitless set of creative implementations. Visual systems, the parameters, colours, ratios, processes etc. within a given design framework, bring a coherence and consistency to all the modes of communication within a visual identity. Visual systems can offer a creative strategy at the development stage of the design process, together with an extensibility of the visual identity of the final outcomes. Systems in the broader sense are all around us. Systems Thinking and Systems Theory are concerned with the characteristics and operation of these systems and how they may be put into practice. Systems shape our lives. From the structure of transport and telecommunications to music to business to sport, education, retail, democracy and war, systems underlie every
SystemDefinition
SYSTEM Assignment1VisualSynthesis ˈsɪstəm/Submit noun 1. a set of things working together as parts of a mechanism or an interconnecting network; a complex whole. “the state railway system” synonyms: structure, organization, order, arrangement, complex, apparatus, network; More 2. a set of principles or procedures according to which something is done; an organized scheme or method. “a multiparty system of government” synonyms: method, methodology, technique, process, procedure, approach, practice, line, line Page6
of action, line of attack, attack, means, way, manner, mode, framework, modus operandi; More
RealWorldSystems the environment and are not influenced by its surroundings. Only the components within the system are significant. Example: a sealed jar-nothing enters or exits the jar, but whatever is inside can interact. Open systems: realworld systems whose boundaries allow exchanges of energy, material and information with the larger external environment or system in which they exist. Example: a company, even if there are separate departments in one organization, the workers share data and interact with each other on a daily basis. Different systems methodologies (such as systems dynamics and systems thinking) classify systems differently. After researching into Real-World systems, I have gathered that most items within the world are categorised into some form of system, whether that be transport or cells found in the body. This expansive field of research is wide enough to create almost anything for our final project, and relate it back to AUB.
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All systems have inputs, outputs and feedback mechanisms, maintaining an internal steadystate (called homeostasis) despite a changing external environment. They display properties that are different than the whole (called emergent properties) but are not possessed by any of the individual elements, and have boundaries that are usually defined by the system observer. Systems underlie every phenomenon and all are part of a larger system. Systems stop functioning when an element is removed or changed significantly. Together, they allow understanding and interpretation of the universe as a meta-system of interlinked wholes, and organize our thoughts about the world. Although different types of systems (from a cell to the human body, soap bubbles to galaxies, ant colonies to nations) look very different on the surface, they have remarkable similarities. At the most basic level, systems are divided into two categories: Closed systems: theoretical systems that do not interact with
Assignment1VisualSynthesis
REAL WORLD SYSTEMS
LondonUnderground
THE LONDON UNDERGROUND Design standards are essential for promoting a high level of quality and consistency across all communications produced by us. The London Underground system accomplishes this through the correct positioning of branding elements, the correct use of corporate typefaces and the compliance with the Disability Discrimination Act. Design standards are also useful for promoting safety by making sure their messages help passengers use the transport network with ease and confidence.
Assignment1VisualSynthesis Modal branding As the roundels are displayed at such small sizes on digital adverts, it is always the modal mark that is to be used to endorse a piece. The modal mark consists of a roundel sitting alongside a modes operating name. Note that in each instance, the roundel is displayed without the wording within the roundel bar. Barclays Cycle Hire uses the sponsorship logo to act as its mark. The Modal differences influence a range of design standards for use by staff, suppliers and design agencies involved in graphic design and layout. Although some guidelines apply across different modes and business areas, key differences between them mean it is essential that the correct set of standards is applied.
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Exclusion zone To ensure clarity and impact when producing a roundel, no other graphic elements should be placed within a minimum area, equivalent to 0.25 its bar width (x), all around it. The area marked 0.25 (x) indicates the exclusion zone where no other graphic elements should be placed. A roundel should always appear towards the bottom right-hand corner of each piece of advertising and public service information. • The roundel must not be re-drawn, distorted or modified in any way • The roundel must not be placed on a background that impairs legibility • Patterned or busy backgrounds which interfere with the roundel must not be used • Roundels containing a mode name within the bar are not to be displayed below a width size of 12mm
Headings These are set in New Johnston Medium. Body text This should be set in New Johnston Book or New Johnston Light. Book has been designed specifically for clarity and legibility at 12pt (or below). At sizes above 12pt, New Johnston Light should be used for body text.
HighwayCode Assignment1VisualSynthesis
Many of the rules in the Code are legal requirements, and if you disobey these rules you are committing a criminal offence. You may be fined, given penalty points on your licence or be disqualified from driving. In the most serious cases you may be sent to prison. Such rules are identified by the use of the words ‘MUST/MUST NOT’. In addition, the rule includes an abbreviated reference to the legislation which creates the offence.
Although failure to comply with the other rules of the Code will not, in itself, cause a person to be prosecuted, The Highway Code may be used in evidence in any court proceedings under the Traffic Acts to establish liability. Knowing and applying the rules contained in The Highway Code could significantly reduce road casualties. Cutting the number of deaths and injuries that occur on our roads every day is a responsibility we all share. The Highway Code can help us discharge that responsibility.This Highway Code applies to England, Scotland and Wales. The Highway Code is essential system used to protect and advise everyone. The most vulnerable road users are pedestrians, particularly children, older or disabled people, cyclists, motorcyclists and horse riders. It is important that all road users are aware of the Code and are considerate towards each other. This applies to pedestrians as much as to drivers and riders.
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THE HIGHWAY CODE
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CORPORATE IDENTITY SYSTEMS
CorporateIdentitySystems One of the most interesting projects that a graphic designer can take on is designing a logo. It can be daunting and stressful to come up with logo options based on market research, and stumble upon some "design magic" through the exploratory process. Narrowing it down to a final approved logo and then seeing it out in the world can be a very rewarding experience for a designer. However, most of the time, a logo is not enough. Large organizations with layers of management require a thorough brand identity system that provides a unified vision and tools that help everyone build the brand. But before we dig in, let's define the difference (and relationship) between a brand, an identity and a logo. A Brand (or Branding) refers to the perceived image and subsequent emotional response to a company, its products and services. It also represents the conversation that customers are having with each other about the company, and how that spreads. My favorite definition about brand is the one Seth Godin gave: A brand is the set of expectations, memories, stories and relationships that, taken together, account for a consumer’s decision to choose one product or service over another. If the consumer (whether it’s a business, a buyer, a voter or a donor) doesn’t pay a premium, make a selection or spread the word, then no brand value exists for that consumer. An Identity describes the visual devices used to represent the company. Identity systems are a visual components package that is paired with style guidelines and used as a framework to ensure the corporate image is cohesive and consistent. Some of the visual devices that leverage the brand elements
and style guidelines are as follows: stationery, marketing collateral, packaging, signage, messaging, and digital projects, among others. A Logo is the central, identifiable visual element that helps customers discover, share and remember a company's brand. Usually it's in the form of an icon (mark or symbol), logotype, or combination of the two. This phase should be as thorough as needed — depending on the depth of research and size of the company. It's the most crucial part of the overall process, and should result in a design brief that guides the rest of the project. The Design Brief; It's important to have a design (or creative) brief if the brand identity project is bigger than one designer doing work for a small local business. A design brief should contain summaries from the research phase, such as: target audience(s), messaging objectives, values and mission of the brand, and the brand's products/services offering. It should also include budget, project schedule, file formats for delivery, and other practical needs. Phase 2: Logo, Identity, & Guidelines; after the research phase is complete and a design brief has been created, it's time to start designing the logo and identity system. There are many ways to start designing a logo, but most often times you'll see designers begin by sketching out dozens if not hundreds of iterations on paper. The process of getting concepts down on paper and then iterating on those ideas can unlock new directions to explore and final solutions that you wouldn't have normally arrived at when starting on the computer. After selecting your best sketched concepts, you should start iterating on them digitally.
product). And in regards to the role that color plays in branding, results from studies such as The Interactive Effects of Colors show that the relationship between brands and color hinges on the perceived appropriateness of the color being used for the particular brand; does the color "fit" what is being sold. The study Exciting Red and Competent Blue also confirms that purchasing intent is greatly affected by colors due to the impact they have on how a brand is perceived. This means that colors influence how consumers view the ‘personality’ of the brand in question. Additional studies have revealed that our brains prefer recognizable brands, which makes color incredibly important when creating a brand identity. It has even been suggested in Color Research & Application that it is of paramount importance for new brands to specifically target logo colors that ensure differentiation from entrenched competitors for example if the competition all uses blue, you'll stand out by using purple. When it comes to picking the most appropriate color, research has found that predicting consumer reaction to color appropriateness in relation to the product is far more important than the individual color itself. So, if Harley owners buy the product in order to feel rugged, you could assume that the pink and glitter edition wouldn't sell all that well. Psychologist and Stanford professor Jennifer Aaker has conducted studies on this very topic via research on Dimensions of Brand Personality, and her studies have found five core dimensions that play a role in a brand’s personality: Dimensions of Brand Personality Brands can sometimes cross between two traits, but they are mostly dominated by one. High fashion clothing feels sophisticated, camping gear feels rugged. Additional research has shown that there is a real connection between the use of colors and customers’ perceptions of a brand’s personality. Certain colors do broadly align with specific traits for example brown with
ColourSystem ruggedness, purple with sophistication, and red with excitement. But nearly every academic study on colors and branding will tell you that it’s far more important for your brand’s colors to support the personality you want to portray instead of trying to align with stereotypical color associations. Consider the inaccuracy of making broad statements such as “green means calm.” The context is missing; sometimes green is used to brand environmental issues such as Timberland’s G.R.E.E.N standard, but other times it’s meant to brand financial spaces such as Mint.com. And while brown may be useful for a rugged appeal think Saddleback Leather, when positioned in another context brown can be used to create a warm, inviting feeling (Thanksgiving) or to stir your appetite in every chocolate commercial. There is no easy, clear-cut set of guidelines for choosing your brand’s colors, however the context that is being woked within is an absolutely essential consideration. It’s the feeling, mood, and image that a brand creates that play a role in persuasion. Be sure to recognize that colors only come into play when they can be used to match a brand’s desired personality; the use of white to communicate Apple’s love of clean, simple design. Without this context, choosing one color over another doesn't make much sense, and there is very little evidence to support that 'orange' will universally make people purchase a product more often than 'silver'. Color Preferences by Gender Perceived appropriateness may explain why the most popular car colors are white, black, silver and gray … but is there something else at work that explains why there aren’t very many purple power tools? One of the better studies on this topic is Joe Hallock’s Colour Assignments. Hallock’s data showcases some clear preferences in certain colors across gender. It’s important to note that one’s environment and especially cultural perceptions plays a strong role in dictating color appropriateness for gender, which in turn can influence individual choices.
Assignment1VisualSynthesis
The psychology of color as it relates to persuasion is one of the most interesting and most controversial aspects of marketing. The reason; most of today’s conversations on colors and persuasion consist of hunches, anecdotal evidence and advertisers blowing smoke about “colors and the mind.” To alleviate this trend and give proper treatment to a truly fascinating element of human behavior. Misconceptions around the Psychology of Color Why does color psychology invoke so much conversation… but is backed with so little data? As research shows, it’s likely because elements such as personal preference, experiences, upbringing, cultural differences, context, etc., often muddy the effect individual colors have on us. So the idea that colors such as yellow or purple are able to evoke some sort of hyper-specific emotion is as accurate as standard Tarot card reading. The conversation is only worsened by incredibly vapid visuals that sum up color psychology with awesome “facts” such as this one: Facts about Yellow Don’t fret, though. Now it’s time to take a look at some researchbacked insights on how color plays a role in persuasion. The Importance of Colors in Branding First, let’s address branding, which is one of the most important issues relating to color perception and the area where many articles on this subject run into problems. There have been numerous attempts to classify consumer responses to different individual colors: Color Emotion Guide Source: The Logo Company...but the truth of the matter is that color is too dependent on personal experiences to be universally translated to specific feelings. But there are broader messaging patterns to be found in color perceptions. For instance, colors play a fairly substantial role in purchases and branding. In an appropriately titled study called Impact of Color in Marketing, researchers found that up to 90% of snap judgments made about products can be based on color alone (depending on the
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THE COLOUR SYSTEM
HardcodedMemory
HARDCODED MEMORY
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A mechanical projector built by London design studio Troika which uses Swarovski crystal lenses and LEDs to create portraits on the gallery wall. The projector uses 858 custom-cut crystal optical lenses, each positioned in front of an LED. Rotating cameras move each LED towards or away from its lens, diffracting the white light into various sized spots.The spots of light then combine to produce three blurry, lowresolution portraits on the gallery wall. "We are on the brink of a new age, still informed by the analogue world yet provided with new digital tools," she added. "Hardcoded Memory is a reflection on that change and on the digital world by approaching it from an analogue point of view." The three portraits were selected according to their postures, in a reference to the traditional posed portraiture that was prevalent throughout the last century, but is seen less often today. Digital Crystal: Memory in the Digital Age continues at the Design Museum in London until 13 January 2013. Other projects we've featured by Troika include an outdoor LED installation that displays yesterday's weather and chandeliers that project overlapping circles of light. Memory is closely linked to forgetting. Before the digital era, forgetting was easy, for better or worse. Not only is
it biologically in-built to forget, the analogue world around us cannot guarantee that recorded memories will last forever. Photographs fade, film footage can be lost and media out-dated. In the past, remembering was the exception, forgetting the default. Only a few decades ago, analogue photography was a limited edition of images taken of precious moments or the everyday: our grandparents, parents, children or ourselves. By selection, these images became meaningful, carrying the story for, and of, an extended period of time, a life, a person. Now in the age of endless digital image reproduction there is no longer a function for a selection process, and so we do not need to forget. We externalise our memories by handing them over to the digital realm enabled through digitisation, inexpensive storage, ease of retrieval, global access and increasingly powerful software blurring lines of ownership and making virtual forgetting close to impossible. Hardcoded Memory is a reflection on the moment and on time itself, standing as a metaphor for the human search for meaning and continuity, while celebrating forgetting in the digital age. Low-resolution portraits are projected onto the gallery wall, generated by a hardcoded mechanical structure which in
the nature of its construction limits the selection of available images. Custom-cut Swarovski crystal optical lenses project light from LEDs, which, motored by rotating cams, move away from, and toward to each crystal lens, transforming, through diffraction, the white light into a constellation of circular projections, creating a rhythmical fading in, and fading out of low resolution imagery on the gallery wall. All pictorial information is hardcoded into the rotating cams of the mechanism giving a pre-determined selection of what can be displayed by the projector. And while the low resolution image is lending the portraits a universal appeal, the body posture of the portrayed informs a definite era or decade. Experiencing the dream-like imagery on the gallery wall, the visitor is immersed in a digital memory embedded into an analog physical object, reinforcing Troika's agenda of exploring rational thought, observation and the changing nature of reality and human experience. This form of generative design; a pefect combination of both science and art, is a perfect intitial starting point for our research. The manipulation of memory echoes aspects of the theme in which we are wishing to pursue; things that cannot be seen with the naked eye.
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Assignment1VisualSynthesis
HardcodedMemory
BjorkVirus
BJORK VIRUS Assignment1VisualSynthesis Page14
‘Virus’; the app features a close-up study of cells being attacked by a virus to represent what Snibbe calls: "A kind of a love story between a virus and a cell. And of course the virus loves the cell so much that it destroys it." The interactive game challenges the user to halt the attack of the virus, although the result is that the song will stop if you succeed. In order to hear the rest of the song, you have to let the virus take its course. Using some artistic license, the cells will also mouth along to the chorus. It's this determination to fuse different elements together – be it juxtaposing a female choir from Greenland with the bleeps and glitches of electronic music pioneers Matmos during the Vespertine tour, or meshing soaring strings and jagged beats on the Homogenic album – that helps explain the power and success of Björk's collaborations.
BjorkVirus
Like a virus needs a body As soft tissue feeds on blood Some day I'll find you, the urge is here Ooo-ooo-ooo-oooh Ooo-ooo-ooo-oooh
The perfect match, you and me I adapt, contagious You open up, say welcome Like a flame that seeks explosives As gunpowder needs a war I feast inside you, my host is you Ooo-ooo-ooo-oooh Ooo-ooo-ooo-oooh
Assignment1VisualSynthesis
Like a mushroom on a tree trunk As the protein transmutates I knock on your skin, and I am in Ooo-ooo-ooo-oooh Ooo-ooo-ooo-oooh
The perfect match, you and I You fail to resist My crystalline charm
My sweet adversary, ooh My sweet adversary, oh My sweet adversary Ooo-ooo-ooo-oooh
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Like a virus, patient hunter I'm waiting for you, I'm starving for you Ooo-ooo-ooo-oooh Ooo-ooo-ooo-oooh
Flux
FLUX Assignment1VisualSynthesis
A Short Animation Inspired by the Works of İlhan Koman. İlhan Koman’s unique design approach in his form studies also inspires contemporary art works. The video installation Flux by young artist Candaş Şişman can be defined as a digital animation which is inspired from the structural features of some of İlhan Koman’s works like Pi, 3D Moebius, Whirlpool and To Infinity. A red circle, which is colored in reference to the red radiators of Ogre, is traced in a morphological transformation which re-interprets the formal approach of Koman’s works. The continuous movement sometimes connotes the formal characteristics of Pi, 3D Moebius, Whirlpool and To Infinity, as well as the original formal interpretations of the design principles of the works. In Flux, Koman’s design process in the making of the Pi series has been treated as the emerging of a sphere from a two-dimensional circle by the principle of increasing the surface; and that simple direction is re-interpreted in digital medium. Thanks to this, in the digital animation an entirely different form serial that does not resemble Pi, yet remaining its design principle, can be followed through the flow of a circle to the sphere. As a conscious attitude of the artist, this work is not designed in a direct visual analogy with Koman’s works. During the animation, none of the moments of the transforming form look like Pi or 3D Moebius, however the subjective reading of Koman’s approach can be observed. With the integration of the sounds of various materials, which Koman used in his sculptures, Flux turns into an impressive spatial experience. Flux, also exemplifies that Koman’s work can be re-interpreted by the analysis and manipulation of form in the digital medium. The way in which the artist uses the whole exhibition space available, and also engages multiple senses creates a more effective experience for the user. This technique will hopefully be applied to our own design. Furthermore, the appearance of the object seems to be almost natural; like some form of living organism. This would be a perfect design to refer to when completing our final product. The colours used within this design are eye-catching and vivid, yet seem to reflect the organic and natural material in correlation to the shape and stature.
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CYCL&Isofield Assignment1VisualSynthesis
CYCL is a word that points to CYCLE. It refers to the starting and ending points of the processes we are dealing with and it correlates this with a natural phenomenon; CYCLONE. Also it points out the cycles that revealed by the similarities between MACRO and MICRO scales in the universe. This project creates a sensorial simulation of circularity: a system that always works, stops and restarts. It cannonades the audience with information and perception for a short time and cuts off abruptly. It confronts the audience with NOTHING through this contrast and represents an experience based on MOMENT and NULLITY and only aimed at feelings, while we are eluding the chaos of complexity and information in the world that we live socially. About the General structure of the project, Circularly hung, intertwined fragments will begin rotating along with the fan which is positioned at the centre of the screen, as the animation reflected upon it begins playing. Simultaneously, the synchronised sound design is activated as well. Through the use of fans, the sense of touch providing an air current within in the area.
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CYCL& ISOFIELD
ISOFIELD has been produced using the izohips map that provides information about physical surface shapes and by making a physical layer from the graphics of the percentage of the population compared to the internet users (1990 – 2010) obtained from Google Publicdata. Ultimately, the acquired digital parametric surface has been dressed with a digital layer. This work is an audio-visual sculpture that tries to bring together physical information with a nonphysical information (izohips-digital media) and finally with the physical result obtained it re-digitalize and makes intertwine and reverse the intended use of these nested two concepts. If we consider that the new media provides a wider and more liberal sharing of information than public space, we can observe that the new media possesses a greater expanse of space, which derives from real world. As e compare these two spaces, we can see that the new media is far more organic and variable whereas the public space is shaped and limited by state and authority. Digital data sharing; reification of the real-world space and value of the new media and coating the resultant parametric surface with a digital layer, by employing ISOHIPS mapping method, which provides physical data on the surface forms. Combining an information, which is originally physical, with a non-physical information (isohips-digital media) and re-digitizing the physical result; an audio-visual installation that questions and aims for the entwining of these two concepts. This form of mapping may be useful to experiment with when creating the concept in which to portray data samples. This form allows for an artistic approach to Generative Design.
Assignment1VisualSynthesis
ISOTYPE
Isotype
In the early 1920s the Viennese philosopher and social scientist Otto Neurath began work on a system of pictorial representations that came to be known internationally as ‘the Vienna Network of Picture Statistics’. Neurath had taken the role of Secretary General of the Austrian Association of Co-Operative housing and Garden Allotment Societies at the end of the First World War. Shortly after taking on this role, the Association staged a Housing and Gardening exhibition showing improvements to food housing. Neurath wanted to create an exhibition that could be easily understood by people from the entire breadth of Austrian society and began work on a pictorial system that could be used to communicate in a way that was both visually pleasing and accessible. So popular were his visual displays of public information that the Municipality supported his suggestion to establish a permanent collection of social material. The Museum of Economy and Society was founded in 1923 displaying a wide range of social information as pictorial displays. Its first exhibition in 1925 on Viennese Hygiene was a huge success and similar displays were soon on order from a number of Austrian social bodies that funded the museum. The following year Neurath strengthened the team with the addition of illustrator Erwin Bernath, bookbinder Joseph Scheer, and graphic artists Bruno Zuckerman and Gerd Arntz. By the end of the 1920s the museum was designing pictorial displays for clients in a number of foreign countries including exhibitions in Berlin, Dusseldorf, Amsterdam, The Hague and Chicago. The so-called ‘Vienna Method’ had become an international success. Otto Neurath offered the world a pictorial language that was utopian in its desire to remove hierarchies, which are inherent in the use of written and spoken language. Isotype was an antidote to writing; an alternative or a supplement to verbal communication that would highlight our commonality rather than our differences. It was his view that we should all strive for ‘greater human happiness’ and his undoubted interest in linguistics centred on the idealistic notion of an international language. Neurath saw the hierarchies of verbal language and
wanted to create a system that could transcend the overtones that verbal language did not. Neurath’s communication system may be grounded in pictures, but its structure is firmly rooted in linguistics and its representation in typographic convention. The images were intentionally mechanical so they could be reproduced quickly and easily with no change to form. Isotype symbols embodied a simple geometric, machine aesthetic and in doing so they paralleled the developments of the time in industrial design and in architecture. Neurath travelled extensively as part of his work and was in regular contact with the Bauhaus. The Isotype designers removed any reference to the craft sensibilities of the past and all trace of individual cultural dialect. This reaffirmed the democracy and international nature of their approach. Neurath saw colour as much less problematic than the form themselves. He was prepared to introduce flexibility depending on the number of colours available in a given situation. Isotype used only seven colours; white, blue, green, yellow, red, brown and black. Some of these colours could also be subdivided into light and dark. Some colours could also be mixed together if necessary. Colours were assigned special meanings depending on the paradigm being displayed. For example, in an industrial paradigm, red was used for metal industries, blue for textiles, green for wood etc. Common sense seemed to prevail in the Isotype colour system. If only two colours were available (black and red for example) in a situation where they had to show different temperatures of water, then they would simply reproduce the symbol for water and tap in red to illustrate that they were hot. Isotype symbols are combined by simply super-imposing one on the other. This changes man to worker or factory to shoe factory with the utmost simplicity. Linguistically, this form of combination is more like photography than writing or speech. This is an excellent example of how a system can become more distinguishable over time. Furthermore, the sheer simplicity of the iconography is what makes this system to be one of the most iconic.
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Blissymbolics. Notable features Blissymbolics consists of over 2,000 basic symbols which can be combined together to create a huge variety of new symbols. The symbols can be formed into sentences and their order is based on English word order. The symbols are made up of simple shapes designed to be easy to write and is used in over 33 countries. The Blissym Language was invented in 1942, with the goal to design a visual language that could easily be learned by speakers of any language, to be used as an instrument of international peace and understanding.
The symbols could be produced on a modified typewriter. While he was developing it he called it World Writing. That name survives in the blissymbol (Blissym), formed by combining (pen) and (world). That symbol is reduced in size to make the symbol for (blissymbol). In this lesson we saw about a hundred blissymbols. In the complete language there are thousands of blissymbols. The way in which blissymbolics derives from the use of typography, yet is portrayed as some form of language is extraordinary. It demonstrates a high level of intellect.
Blissymbolics Assignment1VisualSynthesis
Like Isotype, the story of Blissymbolics also starts in Vienna with chemical engineer Charles K. Bliss (born as Karl Blitz). Bliss originally called his invention "Semantography" and intended for it to be used as a universal written language which would enable speakers of different languages to communicate with one another. Since 1971, Blissymbolics have been used mainly as a communication aid for people with communication, language and learning difficulties. Such people have limited or no ability to use ordinary spoken and/or written language but manage to learn
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BLISSYMBOLICS
AUBImages&Map
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AUBImages
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AUBImages
SmokingConcept Assignment1VisualSynthesis
SECONDHAND SMOKE CONCEPT After gathering primary research from across the AUB campus, we decided that the physical objects were too obvious to analyse and decided to focus our efforts towards the more metaphysical aspects; objects and concepts that we as a group cannot see, yet we possess the knowledge of their existence.
Our initial ideas were those of Second-hand smoke, heat/ temperature and Bacterium. Two of which, possess deadly qualities, but yet can be visually pleasing. The concept of Human Nature to appreciate something beautiful, although it has deadly connotations intertwine well within this approach.
As a group we decided that gathering this source of data would prove much more effective than gathering a source of data in which people can already visualise within their minds.
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BacteriaConcept
BACTERIA CONCEPT
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Focusing on the theme of things that can’t be seen or heard, we decided to concentrate our attempts upon bacteria and other factors of microbiology; combined with other environmental factors including temperature and humidity. Alone these two ideas may allow us to experiment further into heat maps and thermotechnology. Our initial concept is to gather bacterial
cultures from a variety of keyboards around the university campus, mainly focusing upon the three most commonly used keys (according to BusinessInsider the letter ‘E’, ‘Spacebar’ and ‘Backspace’ keys). This would allow us to create a fair system as well as providing ourselves with a deeper insight of information to experiment with.
Since bacterial organisms are so minute, it is impossible to view the organisms without compound microscope. In order to visualize the cellular components and to differentiate bacteria from other microbial agents, staining techniques are used by scientists to categorize different bacteria.
Gram staining is a special method that involves dying the outer covering of the bacterial cell wall that prevents it from physical and environmental trauma. On the basis of gram staining, bacteria are widely classified as gram positive (bacteria with the cell wall) and gram negative (bacteria without
cell- wall). There are a number of structural and functional variations in the bacteria of one group that helps in adapting these bacterial agents to survive in one environment where other bacteria cannot.
BacteriaConcept
Since you can't see, taste or smell bacteria, the only way that you can be sure that food is safe is to follow good food hygiene at all times. See the Keeping food safe section. The Food Hygiene Campaign is part of the UK Food Agency's strategy to reduce food poisoning. The success of this strategy is being measured by a reduction in the number of laboratory-confirmed cases of the following five bacteria; Campylobacter, Salmonella, Listeria, E.coli O157, Clostridium perfringens.
Assignment1VisualSynthesis
and moisture to grow. They reproduce by dividing themselves, so one bacterium becomes two and then two become four and so on. In the right conditions one bacterium could become several million in 8 hours and thousands of millions in 12 hours. This means that if a food is contaminated with a small number of bacteria and you leave it out of the fridge overnight it could be seriously contaminated by the next day. Then just one mouthful could make someone ill. If you put food in the fridge it will stop bacteria from multiplying.
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Bacteria are single celled microbes. The cell structure is simpler than that of other organisms as there is no nucleus or membrane bound organelles. Instead their control centre containing the genetic information is contained in a single loop of DNA. Some bacteria have an extra circle of genetic material called a plasmid. The plasmid often contains genes that give the bacterium some advantage over other bacteria. For example it may contain a gene that makes the bacterium resistant to a certain antibiotic. Bacteria need warmth
ImportanceofSwabbing Assignment1VisualSyntheis
The swabs used for sampling surfaces for microbial contamination are examples of devices that are simple in design and construction, but are difficult to use without discipline and training. This article discusses why this is so. At present, swabs are widely used in the cleaning industry to perform Integrated Cleaning and Measurement (ICM). Samples collected from surfaces by specialized swabs may be introduced directly into instruments for indirect detection of food and microbial contamination via ATP bioluminescence measurement. In other cases surface samplecontaining swabs may be placed into solutions to elute microbials from the swabs so that the microbials can be cultured for counting or identification.
In considering the determination of amounts of contamination of all kinds on surfaces, we need to distinguish between the taking of samples and the measurement of the materials collected in the samples. The contemporary methods and devices used for making contamination measurements are very accurate (see below for a discussion of the term 'accurate'). For example, a well-calibrated and properly used ATP luminometer will almost invariably produce a number that accurately reflects the number of ATP molecules that have been released from the ATP-containing sample placed in the luminometer. The question is: what do these numbers mean? What we are concerned with in this article is whether the surface contamination picked up and released by the swab sampler is meaningfully related to the amount of contamination on the surface. The theme of the article is: A meaningful relationship between what is sampled and what is there can exist, but that thought and training is necessary for it to exist. The reason the meaning of contamination measurement data obtained from swab samples needs to be discussed is that if cleaning efficacy based on the data is charted on a day-to-day basis, and the numbers being charted have no constant interpretation, the 'M' in ICM stands for 'meaningless'. Using swabs to sample surfaces for microbial contamination has a long history
dating back to 1917 when swabbing was first used in the food industry to detect the efficiency of cleaning dishes in a time when dishes in restaurants were washed by hand. The swabs that are commonly used today for testing for microbial cleanliness are equivalent to sterile 'Q-Tips'Ž that were originally a twisted cotton tab-ona-stick device that was invented in 1923 to clean out babies' ears. In the years since their first use in testing surfaces for microbial contamination, swabs and swabbing techniques have been repeatedly and thoroughly investigated by microbiologists who have been interested in the question 'how accurately and consistently does what a swab picks up from a surface represent the contamination on the surface?' There have been hundreds of scientific papers devoted to this seemingly simple question. On the basis of a large amount of data that has been obtained as a result of these investigations of the details of swabs and swabbing, it is easy to summarize the answer to the question posed in the previous paragraph: Both the accuracy and consistency of estimating the amount of microbial contamination are highly dependent on the material nature of the swab, its moisture content, the physical features of the surface being sampled, the swabbing technique used by the human sampler, and even the species of microbial present on the surface (because different microbials adhere differently on surfaces). Swab sampling is therefore a method with a very large number of variables—many of them unknown to the person doing the sampling—that can affect the meaning of the microbial contamination data derived from swab samples. Before we go further in this discussion, we need to understand the difference between consistency and accuracy because these two concepts are often confused and an understanding of the difference between them is important to understanding how sampling for surface cleanliness must be done. Consistency and Accuracy Consistency refers to how closely grouped together the results from any repeated action are. In the case of sampling microbials on a surface, sampling is consistent if it results in samples picking up and releasing the same number of microbials found on a uniformly contaminated surface every time the sampling is done. Accuracy refers to how closely the results of any repeated action are to what is desired from the action. In the case of sampling microbials on a surface, sampling is accurate if what is taken up and released from the samples reflects the true value of
whatever the numbers of microbials on the surface actually are every time the sampling is done. For example, microbial counting measurements of surface contamination derived from swab samples can be consistent without being accurate if the swab pickup and release of microbials from surfaces are not perfectly efficient (ie, the swab either doesn't pick up all surface contamination, or doesn't release all it picks up, or has both of these imperfect characteristics) provided that the swab pickup and release is equally inefficient for all samples taken. Ideally, in order to make a meaningful analysis of microbial contamination data for surfaces we would like our estimations of the amounts of contamination to be both consistent and accurate. For reasons explained in the rest of this article, the best we can hope for is good consistency in data taken resulting from swab samples. Poor accuracy with good consistency isn't really a problem when our interest is focused on the efficiency of surface cleaning: For ICM, we're really interested in comparing microbial contamination before and after cleaning. Consequently, if the consistency of the sampling before-and-after cleaning is good, and the counting measurement following samplings is accurate, our comparisons of cleaning efficiencies will be valid even though we won't know with great accuracy the actual numbers of microbials on the surfaces before-and-after cleaning. The ideal swab and swabbing protocol would pick up all contamination from a defined surface area and release it completely onto (or into) whatever device is going to be used to score the amount of contamination. As mentioned previously in this article, swab samples could be eluted into a solution that is going to be applied to an agar surface of a petri dish or eluted into a solution containing the reaction mixture for producing ATP-induced bioluminescence. Since modern swabs used for contamination sampling don't differ very much in structure In order for us to maintain a fair testing system, it was imperative that all Q-tips and agar dishes were sterilised before simulation. This systematic way of gathering data, not only related back to the purpose of the brief, but also allowed us to explore new ways in which to use systems.
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Effects of Swab Materials, Swab Wetness, Different Surfaces Over the course of the many years that swabs have been used to analyze microbial contamination of surfaces, many materials have been used to form the pickup/release tabs of swabs. Among the materials tested are: cotton, rayon, polyester, microfiber, macrofoam, and flocked nylon. The pickup and release efficiencies of many of these materials have been the subject of many studies. Further studies have been reported on the effect of pickup efficiencies of some of these tab materials from surfaces made from different materials, and other studies have been reported on the effects of tab wetness on pickup efficiencies. In addition, there have been reports of release efficiencies into solutions of microbials that have been picked up by swabs whose tabs are made of different materials. Having read in detail many of these reports, I have come to the firm conclusion that, in practical situations, it is basically impossible to predict the accuracy with which a swab measurement of any kind will reflect the actual numbers of microbials that existed on a sampled surface, either before cleaning or after.
THE IMPORTANCE OF SWABBING
ImportanceofSwabbing Assignment1Visual Synthesis
consistent. That is, for a given type of surface, the exact area that is swab-sampled needs to be defined and constant for all similar surfaces. And whatever is done with the swab samples to release the contents must be defined and consistently done. The most convenient method for swabbing a defined area on a surface is to use a thin template with a hole with a defined area cut out of it. For example, templates may be cut out of thin plastic that can be sanitized after use and reused. Templates with different sized holes are needed for different surfaces: large areas for flat surfaces, smaller areas for curved surfaces. Depending upon the material the swab tab is made of, the tab moisture content, the nature of the surface being sampled, and the operator's technique, the efficiency of microbial contamination pickup and deposit onto a testing device or solution has been measured to be anywhere from 20% to 80%. What is important is that, whatever the swab is made from, its moisture content, etc. the method of use should be the same so that the efficiency remains at whatever it is for that type of swab. In other words, the efficiency of pickup and deposit needs to be kept as constant as possible—so that even though the microbial count may not be accurate, good consistency may be
obtained. That is, in determining cleaning effectiveness, as long as the consistency is constant for each swab sample, we can obtain consistent meaningful data. On the other hand, if the swab sampling pickup and deposit efficiencies vary greatly from sample to sample the microbial count data becomes meaningless no matter how many samples we obtain even though the samples are scored using a perfectly accurate instrument—for example, an ATP luminometer. This is another example of 'garbage in, garbage out'.
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from the Q-Tips that were originally used for this purpose, it's easy to see that it is going to be almost impossible to sample the whole of any surface completely with devices this narrow. Consequently, the basis of all swabbing protocols must be to sample the surface to be analyzed using a constant rubbing pattern of the swab within defined areas of the surface. After picking up the contamination, the release of each acquired sample must be
Seung-Hwan-Oh
SEUNGHWANOH
Assignment1Visual Synthesis
South Korea-based artist Seung-Hwan Oh creates some truly unusual portraits by unleashing little microbes and letting them eat away at his medium for months or even years. The project is called Impermanence, and it’s a series of microbemauled portraits that hardly resemble what they were originally captured as. Seung-Hwan gets these results by immersing
developed film into water and then adding in various collections of microbes. Over the course of a few weeks, months or years, the microbes destabilize and eat away at the silver halide particles in the emulsion. The final images are what remains of the organic process taking place, where the dyes and emulsion run off and change color over time.“ creates an aesthetic of
entangled creation and destruction that inevitably is ephemeral,” writes Seung-Hwan on his website. “And results in complete disintegration of the film so that it can only be delicately digitized before it is consumed.” Below are just some of the resulting ‘portraits’ left behind after the microbes have had their way with the negatives medium format positive film.
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HumanSuperorganism Assignment1Visual Synthesis
interactive screen which acts as a virtual Petri dish and reveals the ways in which diverse colonies of bacteria from the human hands can be grown in the lab on agar. The opening of the permanent exhibit was also accompanied by a participatory workshop where Dumitriu explained the processes used in developing the works in the exhibition.
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THE HUMAN SUPERORGANISM
The interactive installation “The Human Super-organism” commissioned by Eden Project is now on permanent exhibition at this world famous location as part of Eden Project’s groundbreaking exhibition “Invisible You: The Human Microbiome” alongside another major work by Dumitriu,. The work explores the bacteria that live and grow on our hands. Participants place their hands on an
JelteVanAbemma
JELTE VAN ABEMMA A new manner to publicly captivate without changing poster each week. Time gets barral at the work and transforms the image to something new. The bacteria act and create their own aesthetically induced dimensionVan Abbema printed on paper (top) and billboards (below), creating simple typographic forms that changed colour and form as the bacteria
multiplied and then died. This process used by Van Abemma was something i was immediately intrigued towards; the way in which the bacteria transforms the poster may be an aspect to consider when creating the concept for our final design. The use of the Bacteria cultures will be an intriguing way to integrate a system into our portrait of Aub.
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OriElisar Assignment1Visual Synthesis
hoping to question nature, culture, character and language with some new theories of my own," he said. This intuitive system, derived from cultivating Bacteria, is one tha I personally enjoyed researching into. If we were given a longer time scale, this method of growing the Bacteria would have been a great experiment to undertake. Maybe we should consider the combination of Typography and Bacteria in our final piece?
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ORI ELISAR
Jerusalem designer Ori Elisar has used a bacteria-based ink to grow a Hebrew alphabet in the lab for his Living Language type experiment. Working with Professor Eshel Ben-Jacob at Tel Aviv University, Elisar spent three months developing the initial concept into a functional ink, before taking a further two months to create the letters in petri dishes. "Using my research, experiments and results, I am
RedAmbush
RED AMBUSH
Assignment1VisualSynthesis
Eno Henze's work blends the topology between art, science and philosophy. What comes out of all his theorizing are these beautiful large scale abstract computer drawings. Here is a look at his colorful series Human Factor, Ambush and Cortices, along with a few words from an interview he did with himself. This topology between art, science and philosophy is riddled with cracks and grab handles that invite me to criss cross between these disciplines. Using scientific signatures as an artist produces some kind of pseudo-science, that doesn’t proof anything, but focuses on the aesthetic component of science and triggers a discussion about how scientification transforms our selfconception. There is a subjective microuniverse in every one of us that defies scientific description. And scientific language becomes very philosophical and blurry when looking at either the smallest, the largest or the oldest parts of our universe. Red Ambush is the result of Enzo Henze teaching a computer to draw like a human. While the individual lines-erratic and wobbly--appear to have been drawn by hand, the collective effect is too precise and ordered to be human-
generated I just want to understand how ‘our world works’. I’ve been reading “Spektrum der Wissenschaft” as a child and I am addicted to reading scientific journals today. It is not the functional inventions that fascinate me, but rather the recreations science produces on both aesthetic and utopian levels (very beautiful sometimes). I see the visual artefacts of science as an aesthetic challenge, but also to show that there are a lot of different takes on the concept of ‘our world’, not only one objective scientific interpretation. There is a subjective microuniverse in every one of us that defies scientific description. And scientific language becomes very philosophical and blurry when looking at either the smallest, the largest or the oldest parts of our universe. First of all, to me the computer is a machine of abstraction. At it’s core it operates completely abstract, with only two states of information:true and false. Through a process of enourmous complexification of the structure of this machine, we are able to address issues of a superior quality with it, a quality that does not look as if its was reducible to a binary logic. But in fact it is. So if I use a computer for subjective and sometimes vague
issues as in art, I can only use it as an exterior entity. It’s inhuman qulity becomes very apparent when I ‘talk’ to the machine. I have to condition my intention in a way the machine understands. Hence it is a sparring partner that forces me to translate my thoughts into a language of extra-human paradigms. This way, they obtain an absoluteness and abstraction that is impossible to achieve ‘manually’ - and in turn the untranslatable becomes obvious, too. Between human and machine is a border that can be crossed from both sides, each time transforming the quality of the crossing object, and leaving the untranslatable behind. It is a productive economy at this border, that constantly produces unanticipated results, on both conceptual and formal levels. The style of Red Ambush is one that we would like to refer back to when creating our final piece. This type of design would work amazingly well in combination with the Hardcoded Memory exhibit. I particularly find the way in which he has integrated technology and art to replicate something aesthetically natural. For us to combine similar topics within our outcome, would provide us with an intriguing piece of Generative Design.
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Subjektbeschleuniger Assignment1VisualSynthesis
– with all the debatable implications of this term ‌ So the drawing is not a scientific evidence, but rather an aesthetic evidence for our search for the absolute, for the fact that we want to know the rules that define the way our world works at its core. Similar to Red Ambush, the way in which Eno Henze has captured something that cannot be seen by the nakedeye, and has displayed it artisticly is very appealing to the eye. Although this design seems to possess a more technical appearence, it still demonstrates the possibilities of visualising the invisibile.
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SUBJEKTBESCHLEUNIGER
The Subjektbeschleuniger (subject accelerator) mimics signatures subatomic particles leave in collision detectors such as installed at the CERN in Geneva. I have always been fascinated by the beauty and simplicity of these signatures as opposed to their invisible meaningfulness. I use these shapes to create an image that still carries the symbolic reference of these signatures but that is dispensed from scientific interpretability at the same time. The drawing becomes a mere symbol for a very fundamental search. What we do at institutions like the CERN is the cutting edge of contemporary enlightenment
CedricdKiefer
CEDRIC KIEFER
Assignment1Visual Synthesis
Growing Data is a research project that examines how real processes and structures can be used to create an alternative form of data visualization to traditional statistical diagrams. Formal aspects of the most diverse natural phenomena are translated into visual systems. Generative strategies in particular lend themselves to creating visual patterns and structures, while the human brain is a master at quickly interpreting such structures and assembling these into an overall picture. Both of these characteristics are used to depict data in a different way. Rather than using the same abstract forms of data visualization over and over again, the main objective hereby is to allow new images to emerge that are not committed to the precision of the data but that tell a story and provide a quick overview. The main objective is
to allow new images to emerge that are not committed to the precision of the data but that tell a story and provide a quick overview. The project Growing Data is a part of this series and, using virtual plant growth, examines the possibilities of visualizing the air quality in various large cities. If one considers using plants or other growing life forms for this, the most obvious thing is to use the growth itself as the indicator for the changing data. Just as properties of the plants’ growth are determined by external influences, various data can control different aspects of digital growth. This data is assigned to different variables, which, for example, are responsible for life span, density and speed of growth. In order to relay information more directly and to reinforce its message, an additional information level is
added in which names, words and symbols are gradually created from the growing structures. Connected to various data interface and data bases, both the current data of various large cities and the reference values from other years can be visualized. The program is based primarily on a complex version of the “agent model� in which various agents are controlled by Brownian motion and are influenced in their movement by various variables. Similar to other artists previously researched within the book, this designs combines typography an almost Bacterial appearance. The way in which the letters grow would be an unusual way to illustrate our data findings, to replicate the growth of the Bacteria. I think by this point, we are certain on focusing upon the more organic and natural aspects that can be found throughout the AUB campus.
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KarstenSchmidt Assignment1Visual Synthesis Page37
KARSTEN SCHMIDT
Post-Spectacular studio, directed by Karsten Schmidt, in 2008 developed a dimensional typography Type & Form experiment that explores boundaries between animation, code, concrete poetry and sculpture. By synthesizing formal elements with technical skill, Schmidt establishes a benchmark for digital typography. The Type & Form font was grown generatively using a reaction-diffusion model. Pixels migrate into and populate rough letterform masks (islands that have sprouted in the diffusion fluid). 2D slices of pixels adhering to the substrate boundaries of this algorithmic process combine to form a 3D volume. The methodology borrows techniques from MRI data scanning. The final result is output from a 3D printer. This process is like an incunabula of the digital age. Type & Form might seem at first glance to be vulnerable to such a critique. Lacking in direct references to either human experience or organic nature, it can be interpreted as a superficial design exercise. Superfluous technology applied without concern for deeper resonance. Yet, an alternative interpretation is equally valid. Type & Form is a computational and poetic use of materials that explores language as mediated entity. It is a static fossil for now, but future descendants will be kinetic. Borrowing algorithms of fluid diffusion that mimic the flow of blood or estuaries to develop its form, superimposing complex layers, extruding data into brittle stone, Type & Form contains within its developmental process all the crucial vectors of a digital post-post-modernity. Linear flat paper poems become architectural nodes; concrete poetry gets an extrusion upgrade. This would be a perfect oppurtunity to learn how to use the 3-D printer. We could almost replicate the data interpreted into the machine to be printed automatically, similat to the appearance of Isofield.
AgarDishResearch
Assignment1VisualSynthesis
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AgarDishResearch
ContourConcept
Assignment1Visual Synthesis
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establish a smoother surface, and one that will not break at the touch, enabling audiences, young and old alike to interact with the design. The colours used within our final project are still a mystery to us at the moment, although red and purple are amongst those considered that would enhance the effectiveness of our piece to attract audiences’ interest.
Assignment1VisualSynthesis
projecting through the surface of the model, or maybe create some form of animation that would be projected onto the design. When creating the final model, it may be more effective to increase the height of the raised areas to create a more dramatic effect, producing a landscape that would solely represent the quantities of Bacteria. By creating this concept through the 3-D printer, we could
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The thought behind this process, is to display the quantity of Bacteria within particular areas around the AUB campus. As the mock-up is only made out of cardboard, the final piece may be made from the 3-D printer, and look something similar to Karsten Schmidt’s work. To create the impression that the model is moving, evolving and adapting, it may be a good combination to either use some form of lighting,
ContourConcept
CONTOUR CONCEPT
AugmentedReality
AUGMENTED REALITY
Assignment1VisualSynthesis
The process of superimposing digitally rendered images onto our real-world surroundings, giving a sense of an illusion or virtual reality. Recent developments have made this technology accessible using a smartphone. Augmented reality is hidden content, most commonly hidden behind marker images, that can be included in printed and film media, as long as the marker is displayed for a suitable length of time, in a steady position for an application to identify and analyze it. Depending on the content, the marker may have to remain visible. It is used more recently by advertisers where it popular to create a 3D render of a product, such as a car, or football boot, and trigger this as an overlay to a marker. This allows the consumer to see a 360 degree image (more or less, sometimes the base of the item can be tricky to view) of the product. Depending on the quality of the augmentation, this can go as far as indicating the approximate size of the item, and allow the consumer to ‘wear’ the item, as viewed through their phone. Alternative setups include printing out a marker and holding it before a webcam attached to a computer. The image of the marker and the background as seen by the webcam is shown on screen, enabling the consumer to place the marker on places such as the forehead (to create a mask) or move the marker to control a character in a game. In some cases, a marker is not required at all to display
augmented reality. Using a mobile application, a mobile phone’s camera identifies and interprets a marker, often a black and white barcode image. The software analyses the marker and creates a virtual image overlay on the mobile phone’s screen, tied to the position of the camera. This means the app works with the camera to interpret the angles and distance the mobile phone is away from the marker. Due to the number of calculations a phone must do to render the image or model over the marker, often only smartphones are capable of supporting augmented reality with any success. Phones need a camera, and if the data for the AR is not stored within the app, a good 3G Internet connection. Augmented reality has its origins as early as the 1950s and has progressed with virtual reality since then, but its most significant advanced have been since the mid 1990s. The technology has been around for many years, used in CAD programs for aircraft assembly and architecture, simulation, navigation, military, medical procedures. Complex tasks including assembly and maintenance can be simplified to assist in training and product prototypes can be mocked up without manufacturing. Augmented reality has been proven very useful on a day to day basis when tied with location based technology. Several apps are available that will show consumers their
nearest food outlets or subway transport stations when they raise the app and view their surroundings through the camera. Their use in marketing is particularly appealing, as not only can additional, detailed content be put within a traditional 2D advert, the results are interactive, cool, engaging and due to the initial novelty - have high viral potential. Consumers react positively to fun, clever marketing, and brands become memorable. The potential audience varies depending on the application of AR. Through a smartphone, it is limited to an audience with suitable handsets, and those willing to download an app. With printing a marker for use with a webcam, it is limited to those willing to follow through these steps, though often opens a wide demographic including children (printing an AR code on a cereal box to play a game for instance). What is certain is that the smartphone population is rising, and with this, the level of processing power is too. More and more consumers are carrying phones capable of displaying augmented reality, and once an app is downloaded and they have scanned their first code, they are far more receptive to future appearances of a code - driven by curiosity. As long as the resulting augmented content remains engaging and innovative, consumers will certainly adopt augmented reality as a new and fun twist to conventional marketing and services.
During the project, we were having difficulty growing the Bacterium cultures until the final few days before the Critical Evaluation. And in doing so, we decided to monitor the ways in which different groups of people move around the AUB Campus; similar to that of Bacteria. Page42
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Assignment1Visual Synthesis
AugmentedReality
PromotionalPoster
PROMOTIONAL POSTER
Assignment1Visual Synthesis
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Assignment1Visual Synthesis
PromotionalPoster
AgarDishVideoConcept
AGAR DISH VIDEO CONCEPT
Assignment1Visual Synthesis
Within this experimental project, we focused upon the moving qualities found within the groups of people throughout the AUB campus. We wanted to represent this within
these six Agar dishes, to replicate the style of growth of the Bacteria we had studied. The shapes created were completely random, and were not based upon any research
basis, as at this stage, we were mainly focusing upon the movement and colou and how this would correlate to the people found on campus.
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FinalExhibition
FINAL PROJECT& EXHIBITION
Assignment1Visual Synthesis
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FinalExhibition Assignment1Visual Synthesis Page49
This final design, creates the portrait of AUB almost through a time scale. The beginning of the day would start at the top of the design, and as the day progresses, the concept becomes longer. The centre of the design focuses around mid day, as within the areas we monitored, this was the time of day that was most busiest and involved the most movement.
FinalExhibition
Assignment1Visual Synthesis
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Assignment1VisualSynthesis
CRITIQUE FEEDBACK
CritiqueFeedback
Pros Good Concept Relate to the Brief Good amount of data Cons Quite hard to visually understand without an explanation Could Improve Table- The data can be addressed better Time can be managed better to create less ambitious concepts Focus more upon the initial idea of the bacteria and see the intentional process through instead of creating more concepts. Use this first part of data to create your final idea because it is a lot more interesting instead of changing the concept too much.
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Could use more interactivity and technology
Through the challenging and cogent nature of this project, the outcome was deemed unthinkable at the beginning of the process. Instinctively, ideas were constructed within my notebook, however the final piece was far from my initial intentions. This way of working in comparison to more simple briefs, guided us a group to arrive at some form of conclusion, in a different way to others. To create an effective piece of design, all group members were required to be committed and experimental with a multitude of concepts. As an individual, I rather enjoyed the more challenging nature of this assignment, as it gave me the opportunity to create something generative and systematic in a way that we did not know the outcome. In contrast to other projects that have been more specific and narrowing in terms of the final outcome, it was difficult to derive my state of mind from that cognitive behaviour, however, once I was in the required mind-set, I began to draw and sketch more loosely to generate more efficient ideas to a greater pace, becoming more confident of the process and more probable to design like this within the future.
The research performed at the beginning of this project, consisted of us looking at a wide multitude of systematic forms used within the real world, as well as within the field of Graphic Design. We, as a group, gathered a wide variety of data, ranging from chemicals within second-hand smoke to the varieties of people within the campus and their associated behaviour and movement around the site. The one concept that grasped our attention the most however was measuring the variety of chemicals in cigarette smoke, combined with measuring the chemicals in areas that people are forebode to smoke (inside buildings, within 5m of the building etc.). Yet, after undergoing such research and looking into the process of measuring these chemicals, the technology had only recently been introduced and would be very expensive and difficult to access. With this concept in mind, we then began to start looking into the objects that people see on a daily basis yet they are rarely acknowledged. Expanding further upon this, we also admired the idea of measuring things that we know are there, yet we are unable to see
Self-Evaluation Assignment1Visual Synthesis
(100 degrees being to high and would kill the microorganisms). Also, the simpler bacteria would grow instantly in comparison to the more beautiful types of bacteria which would take several hours, maybe even days to grow. This could be applied to create a portrait of AUB through the use of GPS. The location within the campus would determine the species of Bacteria growing on the surface; in parallel with the bacteria we discovered on site. I believe to have used my time effectively, individually and as a group. We have completed the final product efficiently and to great effect. The amount of experimentation we completed all contributed to the final design, whether it was just used to negate an option or whether it was used to determine materials, each individual experiment and each quick sketch all contributed to our final design. As a group, we managed each individual task well. The close relationship between all group members allowed for quick and efficient work. This being said, it was very rare that all group members were present at one specific time; this made it difficult to finalise several concepts as we needed the approval from every member. This did not seem to hinder the design process however. Several areas I need to personally improve upon is to give all my effort to the team, as I believe I had more to contribute to the project. Furthermore, I believe more sketches and design mock up ideas would only improve the final design. Maybe for the next project, I need to experiment with more materials and resources to elaborate upon the design.
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Strengths of the project include a wide variety of primary and secondary research. Our primary research, ranging from photographing the site, gathering bacterial samples and monitoring quantities of people. Whereas our secondary research extended from looking into artists and designers to looking into growing our own bacterial cultures. Furthermore, I believe our wide range of experimentation led us to our final outcome, and allowed us to create the project with time to spare. Ways in which we could improve are working as a team, as it was very rare for our whole team to be present at one time for discussions and idea generating. Furthermore, I wish we had stayed true to our initial idea as if we had waited for the bacteria cultures to grow we would have had some interesting data in order to create a more interesting final piece. This was also apparent within the critique feedback, as the majority of people found our final piece interesting and an effective portrait of AUB, however also agreed that our initial intention of focusing upon the bacteria collected from around the campus was more interesting and intriguing than focusing upon people within the campus. I have learnt a great deal concerning generative design within this project, allowing me to experiment further than usual and also to create a multitude of mock-up designs in relation to our final product. Furthermore, the primary research required for this project allowed me to go outside of my comfort zone and commit to gathering my own research on several occasions in order to create a more accurate and interesting piece of design. The Development process used throughout this project has inspired me to continue designing in a similar manner; to spend more time researching and designing than attempting to finalise the first cognitive concept. Considering our final feedback; “To focus more upon the initial idea of the bacteria and see the intentional process through instead of creating more concepts. Use this first part of data to create your final idea because it is a lot more interesting instead of changing the concept too much” our project could be advanced through extending the development into Bacteria. Also, to relate back to our project brief, a portrait of AUB can be created in multiple ways. One way in which I believe would be a sustainable way forward would be to create a mobile application. The features this mobile app would possess would be to mimic the life and growth of bacteria through touch. Primarily used on a larger interactive surface such as a tablet, the user would use their fingers to create whichever shape they desire on the surface. And after choosing your specific species of Bacteria, temperature and Humidity, the Bacteria would grow similar to how it would grow in reality. The temperature and Humidity would affect the speed and behaviour in which the bacteria would grow
SELFEVALUATION
them with the naked eye. Ideas that sprung to mind were smells, wind movement, kinetic/ background energy and the most engrossing of all, bacterium. Taking into consideration the time limit of only two weeks, we quickly began to sketch up some potential designs for these ideas, and deciding as a team that following the path of bacteria research led to more opportunities, this was quickly the favourite theme of the group. Our initial thoughts and intentions included the process of us gathering living bacteria samples from a variety of areas, in order to create the portrait of AUB effectively. In order to do this, masses of secondary research went into the planning and creating of this experiment. The main focus of our individual research was to learn how to collect and grow this bacterium within the petri dishes, allowing us more time to collate a path to lead towards a final idea. To create more of an image surrounding the multitude of systems within Graphic Design, I researched into generative design; a term that stimulated our project to its final outcome. However, creating that balance between information graphics and a piece of abstract artwork, whilst still maintaining the form of generative design proved challenging. A wide variety of work from artists and designers were thoroughly examined in order for us to create that perfect ‘balance’. Generative designers such as Eno Henze and Cedric Kiefer gave us an insight into the concept, however looking at artists that include bacterial input such as Jelte Van Abemma allowed us to create a piece of generative artwork effectively. The experimentation process at this point included several mock-ups of the design, and a multitude of sketches in order for us to create an effective piece of artwork. Using card, paper and polystyrene balls we collated an extravagant selection of conceptual designs all to which proved ineffective due to the nature of the bacterium we were currently growing as part of our research gathering. Many attributes of this experiment was required to be perfect in order for our bacteria to grow, however maybe due to a technical difficulty the bacteria were taking longer to cultivate than expected. With our time limit still in mind, we decided to elaborate upon our idea, still with the concept of AUB as an organism, and instead began to look into the movement of people and how the people within AUB create the life of the institution. Sitting back and taking a wider view of the concept we decided that maybe it was best to abandon the idea of growing bacteria and instead focus our attempts on gathering the data required to create a piece of generative design. Thusly, we monitored the quantities of people, within certain areas of the campus at regular time intervals throughout the day; supported through photography and a grid system in order to measure the data. And again the process of experimentation was started over. A full documentation of my creative development was fully recorder throughout the whole project.
IndividualResponse
Assignment1Visual Synthesis
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IndivdualResponse Assignment1Visual Synthesis Page55
INDIVIDUAL RESPONSE
My Individual response to the first brief is to create some form of application that can be used on any smartphone or tablet. Our main objective whilst creating the first concept was to combine 3-D elements with technology; which did not work out as planned. However, my app design would recreate the Bacteria found within the places around campus, and depending on where you are using the App at the time, you are able to grow Bacteria cultures by touching your screen. The user will be allowed to create their name or any other creation they desire, and watch it grow in front of their eyes. The more beautiful forms of bacteria that grow quite extravagantly, will take several hours to grow, whereas the more speckly species of bacteria will grow almost instantly. Furthermore, the Temperature and Humidity will be adaptable, allowing the user to grow various breeds of one species, and maybe breed their own in which they can save in the incubator to regrow within another design. The temperature and humidity will also effect the speed of growth or maybe even if the Bacteria will grow at all. When connected to the internet, users will be able to share their creations online, and even elaborate upon their growing process or where they were when they created their piece.
Brief Assignment2SmintPoster
Assignment brief Create a standalone Smint poster, which should be on brand, yet screams creativity. Please refer to MyAUB for the resource pack, fonts and sizing guides.
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Brief Assignment2SmintPoster Page57
ASSIGNMENT 2
Rationale It is important to recognise the bene ts of entering competitions and developing your work within a ‘real-world’ context. It can also help to build your portfolio and gain exposure to poten- tial employers. Competitions provide opportunities for new designers to be recognized for their ideas. This o ers a great platform to show your work - so make yourself lucky! This is an optional brief and the work will not be assessed, although if undertaken it can be documented in your journey book for the unit. Every brand has an underlying visual system that informs the design structure of touch points with its customers and potential customers. There will be a tight control of the brand narrative or company persona that these implementations generate. This competition brief requires you to push the Smint brand and it’s execution further, whilst keeping to the same family as the Fresh to Impress campaign.
SMINTPoster
SMINT POSTER COMPETITION ENTRY
Assignment2SmintPoster
The concept of my SMINT poster was to display the hidden strength of the miniscule mints. The longthought illustration of the mountain is actually an iceberg within this depiction; coinciding with the current ‘Fresh to impress’ campaign. The colour scheme used is similar to that used by SMINT throughout all of their branding. The main message of this design is to portray the hidden qualities within a person, that are maybe ignored when first impressions aren’t enough; on a first date for example. However, with a pack of SMINTs to hand, first impressions are soon forgotten about due to the complete freshness of the minty breath.
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Assignment3IndustryVisit
ASSIGNMENT 3
Brief During the second year of the course you will be developing your ability to think and work more critically and independently. As well as feedback from tutors and peers you need to constantly re ect on your own learning. It is essential as you prepare for the Graphic Design industry that you become increasingly independent and develop con dence in your own judgements and critical analysis. 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 eld require strong digital skills? It is important to re ect on your personal philosophies as well as your design strengths in relation to industry. Assignment brief For this project you 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.
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Assignment3Industryvisit
Brief
DesignBridgeIndustryVisit
DESIGNBRIDGE INDUSTRY VISIT
Assignment3IndustryVisit
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DesignBridgeIndustryVisit Assignment3IndustryVisit Page63
Design Bridge is an independent brand design agency. There is quite a lot that makes us who we are, in fact we’ve even written a book about it, but we’ll keep it simple and short for now. So a few facts: we are now well into our 3rd decade and have grown studios in London, Amsterdam and Singapore and have recently opened an office in New York. Our visit to DesignBridge was an influential experience. To grasp a brief concept of Industrial routines and atmosphere was a great opportunity. For confidential reasons, we were unable to obtain any photographs of upcoming work within any of the studios. However, I personally felt like the studio was a great place to be situated. The colleagues were undergoing some stunning and beautiful projects. Although mainly focused upon packaging design, the variety of work areas were producing 3-dimensional designs; draught beer pumps and exhibition display stand for example.
DesignBridgeIndustryVisit
DESIGNBRIDGE INDUSTRY VISIT
Assignment3IndustryVisit
Whilst visiting DesignBridge, we were lucky enough to have a question and answer discussion with two younger colleagues; both of which had graduated from University. The notes on the left are the responses from a group of questions asked towards the colleagues.
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DesignBridgeIndustryVisit Assignment3IndustryVisit
scale reqired to complete such large briefs. Due to the larger scale of the projects it can take up to 2 to 3 years due to factory production. When monitoring portfloios, they consider story telling to be the most important aspect of any designer. The briefs given at industry level are significntly different to those given at University. Dont tailor portfolios to one specific thing. Try to show a range of abilities, you may not even know what type of designer you are. They seem to focus more on the concept generation, around 90%. In the interview, dont get hung up talking about your final pieces, instead it may be more of a personality check to talk about your design process and how you arrived at your final idea.
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Both colleagues employed off back entry of new blood design competition. Seperate areas include 3d, finalisaton section, production, design, strategy research, product design and market analysis. Tend to collaborate with illustrators, however mainly depend upon their own skills and talents. Design leaders are generally excellent at putting the right designers together within a collaborative group. At the beginning of a project, people from different specialities. Nearly 300 people within the building Usually a large budget, due to the sheer size and gloabalisation of the brands, also negates any competiton from other agencies. From one company’s brief branches off to smaller sub-briefs and projects. The Larger companies are more aware of the time
Assignment3IndustryVisit
DESIGNBRIDGE PRESENTATION
DesignBridgeIndustryVisit
The purpose of the whole Insutry visit was to eventually create and display a presentation to other members of our course about what we had discovered on the visit. Our presentation was kept simple as we solely wanted to focus upon the contents it contained. We covered, several topics including the necessities to go into our interview portfolios, the variety of areas located inside the buulding and also the relationships they have with their large globalised clients. Personally I felt like DesignBridge would be an amazing opportunity to gain an internship or even employment.
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Assignment3IndustryVisit
DesignBridgeIndustryVisit
Self-Evaluation
SELFEVALUATION
Assignment3IndustryVisit
Contacting Design Agencies seemed to prove difficult; as some were unable to allow a large group of people to attend, with others simply not replying to my request. However, our most anticipated agency ‘DesignBridge’ were more than happy to accommodate us and give us a tour of the building. I personally decided to take it upon myself to create a group on Facebook on behalf of our design team for the project, allowing us to communicate easily in one place where all of us could access. I took the responsibility of contacting the agency as I was determined to work with this company, which I feel has given me more confidence and knowledge to approach clients and business – transferrable skills that I can use as a Graphic Designer. I also decided to create the presentation as I felt with the small timescale to complete the project, the lack of response from the group in producing a well-designed and
informative presentation was a struggle, therefore took it upon myself to do this. Once arriving at Design Bridge, I was highly impressed in the agency, giving me a huge insight into the industrial standards of graphic design. It enabled me to think about future job prospectives and the vast range of opportunity that is available to us as BA students. Our tour was provided by 2 post-graduate employees, making it feel somewhat real to us as students that this is a possibility. The presentation I felt went particularly well, we used imprompts to trigger our speech to present to the best of our ability, with only a few images to demonstrate the items that we wish to speak more about. As there was upcoming work that was not yet released, we was asked to sign disclaimers to keep confidentiality about these products, making it difficult to use the material we observed on our visit in the
presentation, yet completely understandable. We managed to cover several different aspects of the DesignBridge company as well as the visit; Portfolio requirements, relationship with cliental and the stages in which a design has to go through in production before publishing. Throughout the project I was really grateful at how cooperative DesignBridge was, providing us with this amazing opportunity and allowing us backstage passes into the world of Design at their agency. I felt I worked quite strongly where possible as a member of the team aswell as an individual, but I did feel that some members of the group did not participate enough in the planning and organising of the visit and the project as a whole, which caused it to become stressful as everybody was not cooperating leaving the majority of work on me.
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Assignment3IndustryVisit
Self-Evaluation
Rationale Assignment4Wayfinding
Rationale During this project you will build on your exploration and understanding of visual systems and begin to recruit your creative strategies to solve real world design problems. Way nding design involves the development of visual systems of signage, landmarks and mapping to facilitate the navigation of complex environments. Wayfinding sytems within urban, architectural or natural environments build on the inherent structures within the environment and engage with the expectations of the visitor. Buildings have oors, corridors and rooms. There will also be relationships with other building and the functionalities within these spaces. Outside spaces have paths and junctions, or areas, seams and edges. A visual system must allow a consistent visual language to facilitate e ortless understanding and navigation. The design of a way nding system might require consideration for a fragile natural habitat or a exibility within an environment that changes over time. An urban space might require a complex, trans-lingual information system and an extendable system of way nding categories. This project will give you the opportunity to explore how visual systems can o er an underlying structure and coherence to these design solutions. Within contemporary design practice it is important to consider the broader scope of way nding and navigation within interactive digital spaces. The information architecture within the virtual spaces of the web and other digital media require the same coherence and facility for intuitive navigation as physical spaces. A visual system for a space in the ‘real world’ will often need extending into the virtual navigation of an associated online element of any project.
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Brief
ASSIGNMENT 4
ASSIGNMENT 4
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Assignment4Wayfinding
Assignment brief You are required to work in groups to research and engage with a range of environments within which users will require a navigation system. In your groups you will identify a specific location or sets of locations, and use the creative strategies within visual systems to produce a comprehensive wayfinding system for your specific users.
WhatisWayfinding? Assignment4Wayfinding
Navigation from place to place is a fundamental human activity and an integral part of everyday life. Where are you? Where are you heading to? People use their knowledge and previous experiences to find their way in the build environment. The human perception of the build environment and information in a space comes down to balance and focus. What do you see? Why did you see it? What did you do with the information?
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WHAT IS WAYFINDING?
Landmarks To create a legible environment it is necessary to mark specific spaces and / or locations. This reinforces the recognition of places and plays a part in overseeing a larger area. With the use of landmarks and marking elements an area will become more visible and will be understand better in the human memory. Landmarks can be art-objects, buildings, streetart, wayfinding signs or striking elements in a landscape. These elements combined will shape the identity of an (unknown) area as seen from your perspective.
Navigation Navigating the physical reference to a particular area, setting or destination. With the usage of directional (static) signs people will be guided along their path towards destination(s). Strategic wayfinding design When creating a signage system for an area, building or architectural structure it is essential to develop a strategic wayfinding scheme. With this step you are able to build up a modular wayfinding system that will adapt to the build environment and the human expectations for orientation and navigation purposes. Research is an important step to understand the build environment and where information is needed to maximize legibility of the wayfinding system. There are four important type of signs: Information signs, for instance a signpole with locate a destination and / or to orientate yourself in the build environment. Directional signs, where information is displayed to find destinations, located on several strategic points in the build environment. Identification signs, where information about individual locations is displayed such as buildings, locations and public facilities. Warning signs, to indicate safety procedures such as a fire escape routes, no smoking areas and other regulations that is, or is not allowed in a specific area. To make a signage system work together a design grid is used to order information and to scale the signs to different sizes, as part of the sign family. With the example design I have used a base grid of 30 mm (milimeters) with a subdivision of 9. All the measurements of the example are based on the 9Ă—9 division. Be careful not to show too much information into one sign, this will be easily overlooked, instead use multiple signs to get good wayfinding results.
Signage design Be consistent in typography, type height, icons, grid design, color and material choice. The signs needs to be straight forward designed and in a consistent order to wayfinding scheme, always use the same order of displaying the information. Remember to make samples of the different sign types and check them in the build environment to ensure it becomes a best-practice design.
WhatisWayfinding
Signage typeface A signage typeface is usually a sans-serif type and available in various weights with a simple easy-to-read straightforward design. They have a good legibility with a large X-Height and wide letter proportions with prominent ascenders / descenders to ensure a good readability. When using an easy-to-read font the typeface is recognizable for many people to read and to understand the message clearly. Therefore the choice of a signage typeface is one of the keyfactors in order to make a wayfinding system work. When selecting a typeface for a signage design / wayfinding project please use the following characteristics: A clear and straightforward type design, sans-serif Easy recognizable letterforms Positive letter spacing to enhance the visual appearance The Font Family includes a package of many different weights The typeface has a large X-height for good readability In a follow-up article on designworkplan I will go deeper into selecting typefaces for signage design / wayfinding.
Assignment4Wayfinding
Do not make them think Create a comprehensive, clear and consistent visual communication system with concise messaging. Show only what is needed Show information what relevant is to the space, location and / or navigation path. Remove excessive information Remove unnecessary elements to create a clear visual environment ahead. How does wayfinding work? geographical maps vs journey experienceHow do people orientate, navigate or remember the build environment? Why will people recognize or understand one place easier than another? As shown in the images on the left, a geographical map versus cognitive (mental) map = reality versus human mental memory. When creating a wayfinding scheme the following characteristics influences the way we interpreted the build environment.
Orientation In order to navigate, you need to know where you are in the build environment and where other destinations are located. Preferable it is good to know the distance in time from one place to another. If you are able to orientate yourself within the build environment, it will be easier to understand destinations and to navigate by landmarks. In wayfinding, maps are common used to indicate your location. The usage of maps is a very powerful way of expressing and overseeing the build environment. Be sure to display the maps heads-up in the direction you are facing, this way you can easy relate yourself to the build environment.
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Wayfinding basics Wayfinding has the function to inform people of the surroundings in the (unfamiliar) build environment, it is important to show information at strategic points to guide people into the right directions. Complex structures in the build environment are interpreted and stored by the human memory. Distances, locations and time may be remembered differently than as they appear to be in reality. An effective wayfinding system is based on human behavior and consists of the following characteristics:
RouteDecision
ROUTE DECISION, ROUTE MONITORING& DESTINATION RECOGNITION
Assignment4Wayfinding
Have you ever found yourself staring at something that is supposed to be helping you understand where you are and where you are going? Have you ever stood there long enough to finally realize that you won’t be able to decipher the unidentifiable cluster of lines, shapes and letters on the map without the aid of another human being. It’s frustrating, somewhat humiliating, and above all, makes you wonder if the person who designed it ever had to use their own creation to find their way.
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RouteDecision is the page they were looking for. As more and more people utilize search engines to find the content they are looking for, it is extremely important to make sure your “signage” and navigational structure are visible, coherent and clearly helpful in navigating the rest of your website. Wayfinding is the process of successfully using contextual spatial information to navigate complex environments. In cities and online, we look for markers—unique identifiers—that allow us to simultaneously know where we are, where we have been and hopefully where we are going. By paying close attention to the information hierarchy, the copy writing, and the navigational representation, you increase the effectiveness of your pathways. Hopefully, for your users, finding what they are looking for is as enjoyable as the process of getting there. These four stages stated above refined what our project was going to look like, what its purpose would be, where it would be situated and when it will end. Throughout the whole design process, these four concepts were constantly referred back to, only to enable us to stay focused on the brief, and that it is indeed a wayfinding project.
Assignment4Wayfinding
to adapt and quickly identify the correct route. Maps are a good way to create a simple mental model of the space and allow the user to quickly identify areas of interest that will enable them to find their destination. Online, we see this represented in site maps and more recently in Mega Dropdown menus and big footers. Route Monitoring is the periodic determination of whether or not the chosen route is actually leading the user to their destination. Highway signage invokes this process by coupling a nearby, lesser known destination with a more distant, larger city to provide context. On the web, breadcrumb navigation is employed in much the same way in order to help visualize the route the user has taken thus far and expose convenient ways to back-track if necessary. Destination Recognition refers to the identification of the desired destination. Road signs, building marquees and signage are positioned to provide at-aglance identification. Online, destination recognition can be much more difficult as many users are arriving through search engines and only after scanning the page do they determine if they need to backtrack to the search results or confirm this
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Whether you are navigating public transit, a local college or an online store, the process of wayfinding is the same: Orientation, Route Decision, Route Monitoring and Destination Recognition. Or in other words: “Where am I?”, “Where am I going?”, “Am I still on the right path?” and “Ah-ha! I found it?” As designers, our goal is to always provide just enough context to help you move through each of the four stages. Orientation is essentially determining your current location relative to nearby objects and your final destination. It can be as simple as finding the “You Are Here” mark on the store map or as difficult as trying to decipher the vague language of a website’s navigational structure. You can improve orientation by leveraging signage and landmarks. In an online context you can chunk related content and provide visual cues that allow the visitor to quickly orient themselves. Route Decision is the process of choosing which route to take. Invariably, people will tend to take the shortest route—even if it happens to be much more complex. Decreasing navigational choices, adding suggested paths and using clear, simple messaging will allow users
BillingsJackson
BILLINGS JACKSON COLOUR& WAYFINDING
Assignment4Wayfinding Page76
The Coordinated Street Furniture Franchise is being installed and operated by Cemusa throughout New York City for the next twenty years. Grimshaw commissioned Billings Jackson to design the exclusive range for Cemusa, following the success of previous street furniture collaborations in Spain and South America. Billings Jackson worked closely with key stakeholders in New York including the NYC Department of Transportation and, notably, the Art Commission, to design furniture that is at once elegant and fit for purpose. Also involved was the Newsstand Operators Association, in order to understand its members’ varied and idiosyncratic needs. The consultation process was both highly complex and very rewarding, in that the dialogue between the designers and City representatives resulted in street furniture that is already a source of great pride for the City. The New York City Art Commission Award for Excellence in Design, awarded to the range in 2007, is the clearest expression of this success. There will be 3300 bus shelters ultimately, across the five boroughs of New York, together with newsstands and twenty automatic public toilets. The latter is a first for the City and another symbol of the successful
collaboration with stakeholders. The intention is to extend the range to include a waste bin, news rack and public information kiosk. The designs are all highly sensitive to context, in recognition of the importance of making minimal visual or spatial intervention in the urban landscape. As such, the bus shelter has only two ground fixings. The fully glazed rear panel does not obstruct the street facades and the simple cantilevered roof panels are translucent, providing solar shading and soft light. Both the newsstand and toilet share the shape and modulation of the bus shelter’s roofline. The canopy can extend past the walls for additional shelter and integrated lighting gives the furniture presence when it is dark. The overall designs are intended to convey vibrancy while affording security to the users. Robustness and durability were also key drivers. Components include highresistance tempered and laminated glass and stainless steel: high quality, self-finishing materials that will withstand heavy use and ensure that the furniture to built to last. The various elements of the range form a ‘family’ of objects, bringing coherence to the New York transit system. Billings
Jackson has successfully drawn from New York’s established vernacular for utility objects, where architectural interest takes the place of superfluous decoration, to evolve a design language that is highly distinctive while sitting lightly in its environment. The bus shelter was awarded a Bronze Award in the International Design Excellence Awards 2008, co-sponsored by the industrial Designers Society of America and BusinessWeek. Surprisingly, researching into Billings Jackson has provided me with more knowledge surrounding wayfinding, than actual wayfinding itself. Other factors such as robustness, sensitivity and durability must also be considered. Furthermore, maybe looking into furniture as a wayfinding technique may be essential, however, for people suffering from Dementia, it would need to be supported by another system, as it would not be effective enough stand-alone.
Typography & color contrast Not only is the contrast important also the chosen typeface will make the difference in a good or bad sign. When using too bold weighted typefaces the text will look like its expanding of the sign, when using too light weighted typefaces the text will fall back into its background. Medium or Regular weights are usually the best options to choose for a good and readable sign. Researching into colour systems has dramatically increased my personal perception of colour, and how it can instantly transform the user’s opinions and emotions, solely dependant upon the colour used. Whilst designing for Dementia patients, which may or may not be suffering from bad eyesight, we must consider the contrasting colours
BillingsJackson
stability. It symbolizes trust, loyalty, wisdom, confidence, intelligence, faith, truth, and heaven. Blue is one of mankind favorite color, as is represents sky, heaven, trust and faith. The color blue is good recognized with white lettering as information sign. In the Netherlands all highway signs are with blue background as well as the railway signs. To use blue in sign systems beware of create enough contrast in order to make the signs work best. For instance with light blue a higher contrast lettering will be needed such as black and for dark blue white lettering will work best. Advisable work areas: Highway signs, railway signs, hotel signage, retail signage, public spaces, indoor & outdoor usage. Silver (metal) is an often used color as background in sign systems. With metal signs you are able to gain a robust look & feel for the signage system. Metal has a different surface when looking at it from different angles, making it not always a good contrast with the lettering. On a silver background almost all colors work well, even white. In future articles I will go deeper into using silver as background. Metal signs are frequently used in office signage, with black lettering it will create a very stylish look and feel. Advisable work areas: Office signage, nameplate design, public spaces, indoor & outdoor usage.
Assignment4Wayfinding
Color examples and meaning Black is associated with power, elegance, formality, death, evil, and mystery. With a black background the lettering tends to stand out more onto to background than with other colored backgrounds. Black is one of the few surfaces that lets other colored text work great together. Beware of too small lettering with too high contrast (white lettering), these will lead to less legibility of the text because of overwhelming background. With large lettering white on black works great. Also yellow on black is a good combination. Advisable work areas: Airport signage, office building signs, visual overwhelming environments, hotel signage, indoor usage. White is associated with light, goodness, innocence, purity, and virginity. It is considered to be the color of perfection. White background surface gives the most workable combinations, but beware of that
white can absorb its environment. Black lettering tends to be squeezed into the background making it hard to read. Lower contrast lettering gives better results like blue, orange and red. White backgrounds can be used specific sign projects where design plays a bigger part than the actual wayfinding. For instance using silver lettering on a white background can give fabulous results, due the shadow of the silver lettering the text becomes readable on the white surface. Advisable work areas: Museum signage, office building signs, pylon signage, retail signage, hospital signage, indoor & outdoor usage. Red is the color of fire and blood, so it is associated with energy, war, danger, strength, power, determination as well as passion, desire, and love. Red is often used for warning signs, red sends out a signal of warning, danger. Many of the warning signs consist of a red background with yellow or white lettering, by using pictograms as warning the signs are multilanguage and don’t need explanation, even if you cannot read the text Red is a very powerful color which stands out in a visual crowded environment. I have seen various other signs produced with red but in my opinion red is a signal color. Works great with black, white and yellow lettering. Advisable work areas: Warning signs, public spaces, indoor & outdoor usage. Yellow is the color of sunshine. It’s associated with joy, happiness, intellect, and energy. Yellow background works best in visual crowded environments, for architectural and psychological factors yellow is often used. Yellow with black lettering sends out a clear information message which is needed in such an environment. Using yellow also makes in easy to use orange, red and green which all work great together in a signage system. Also for traffic signs yellow works good as background color in combination with black lettering. In a outdoor situation, yellow stands out from its background giving a clear message. In many European countries yellow is chosen as background color. Advisable work areas: Airport signage, road signs, public spaces, indoor & outdoor usage. Blue is the color of the sky and sea. It is often associated with depth and
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Contrast between the foreground and background is one of the most important factors for the ease of reading. If coloured text is used on a bright background the contrast will be weak, for optimal contrast results is white text against dark colored backgrounds. In signage & wayfinding design color is the combining factor to harmonize the sign with the environment. Color programs will distinguish signs from each other and can offer an indication of the message without having to be able to understand the language of the sign. Goethe’s Theory of Colours provided the first systematic study of the physiological effects of color (1810). His observations on the effect of opposed colors led him to a symmetric arrangement of his color wheel, “for the colours diametrically opposed to each other… are those which reciprocally evoke each other in the eye.” (Goethe, Theory of Colours, 1810) A Color Wheel is an abstract illustrative organization of color hues around a circle that shows relationships between primary colors, secondary colors and complementary colors. Knowing the relationship between colors is the first step in developing a color scheme for signage and wayfinding systems. Color contrast by science
AboriginalSonglines
Assignment4Wayfinding
ABORIGINAL SONGLINES
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Today, some people have become so reliant upon paper maps, Internet maps, and GPS systems that one wonders how they can make it across the street unaided, let alone navigate an entire city, region, or continent. And yet, that’s how humanity existed for thousands of years before the arrival of literacy and, eventually, cartography. Oral instructions and traditions passed down through generations, coupled with the knowledge that one can only gain from cold, hard exploration, led humanity to every nook and cranny of the inhabitable globe. Trade networks between vastly disparate peoples spanned entire continents.In huntergatherer societies, intimate knowledge of the landscape and its amenities was the key to survival. There are many different methods of pre-literate navigation that have been documented around the world. One of the most unique, a fusion of navigation and oral mythological storytelling, originated among the indigenous peoples of Australia, who navigated their way across the land using paths called songlines or dreaming tracks. In Aboriginal mythology, a songline is a myth based around localised ‘creatorbeings’ during the Dreaming, the indigenous Australian embodiment of the creation of the Earth. Each songline explains the route followed by the creator-being during the course of the myth. The path of each creator-being is marked in sung lyrics. One navigates across the land by repeating the
words of the song or re-enacting the story through dance, which in the course of telling the story also describe the location of various landmarks on the landscape (e.g. rock formations, watering holes, rivers, trees). In some cases, the paths of the creator-beings are said to be evident from their marks on the land (petrosomatoglyphs), such as large depressions in the land which are said to be their footprints (parallels can certainly be seen in some North American First Nation creation stories). Songlines often came in sequences, much like a symphony or album today. By singing a song cycle in the appropriate order could navigate vast distances, often travelling through the deserts of Australia’s interior (a fact which amazed early anthropologists who were stunned by Aborigines that frequently walked across hundreds of kilometres of desert picking out tiny features along the way without error). Each group had its own set of songlines that were passed from generation to generation so that future generations would know how to navigate when in neighbouring tribes’ territories. The extensive system of songlines in Australia varied in length from a few kilometres to hundreds of kilometres in length crossing through lands of many different Indigenous peoples. Since a songline can span the lands of several different language groups, different parts of some songlines were in different languages corresponding to the region the songline was navigating
through at the time, and thus could only be fully understood by a person speaking all of the languages in the song. As the various peoples of the continent traversed songlines, they left numerous glyphs and etchings along the way, serving as landmarks to help future travellers navigate, and as reflections of deep connections with the supernatural world. In some cases, a songline has a particular direction, and walking the wrong way along a songline may be a sacrilegious act (e.g. climbing up Uluru where the correct direction is down). Many songlines were lost during the colonial encroachment of the 19th and early 20th centuries, but thankfully many others exist to this day, preserving the living link between the land and the people who have lived on it for tens of thousands of years. As a group, we decided to not only consider the visual aspects of design, but to also enhance the mind’s focus through the simulation of other senses. Similar to how the indigenous cultures of Australia managed to navigate through song and dance. Although based around mythology, this ability to navigate with other senses is one to be researched into further. Music is just one aspect to experiment with, maybe the use of smells and touch will enhance the process, to imrpove naviagtion to it’s peak.
AIRMAIL BEACONS
AirmailBeacons
operate full-scale until 1933, when technology advancements and the higher cost of operation during the Great Depression – finally rendered it obsolete. After the program was de-funded, various beacons would continue to operate in limited capacities into the 1940s. At that time, the Department of Commerce decommissioned and disassembled the towers for their steel, a resource in short supply and desperately needed to support the war effort. The last airway beacon was officially shut down in 1973, although the Montana Department of Transportation Aeronautics Division reportedly continues to operate around 19 updated beacons in the mountains of Western Montana. Ninety years later, most of the towers have been dismantled. Many of the sites are long gone, victims of war, infrastructure growth, and aggressive private developers. During World War II, numerous concrete arrows were destroyed as well – so as to not help enemy pilots visually navigate the country. Still, hundreds of the arrows remain. But today they lack the bright yellow paint, and the cracks in the concrete worsen with each winter freeze. Arrows on top of mountains are safe for now, but several along the highways have already been lost to redevelopment. Arrows have been used in wayfinding for years, and undoubtedly, will be used for centuries to come. However, as a group, we decided instantly that we wanted to tackle the brief with no use of arrowing systems. Although this would allow us to arrive at our final concept sooner, we brought it upon ourselves to avoid using any such arrows within our wayfinding system.
Assignment4Wayfinding
would help pilots fly across the country at night and ultimately be the world’s first such system. The early iterations of the system used approximately 1,500 airmail beacons, each constructed roughly between 3 and 5 miles apart. The beacons featured a 50-foot tower with rotating lights placed on top of concrete foundations in the shape of giant arrows measuring between 50 and 70 feet long. To increase visibility of the concrete arrows, they were painted bright yellow. In clear weather the beacon lights could be seen for 10 miles (16 km). Below the main white beacon, a secondary set of red and green lights would flash a Morse Code letter to identify the beacon to pilots. To accommodate for emergencies, intermediate landing fields were established every 25 miles along the route. The fields were constructed with rotating incandescent electric lights mounted on 50foot towers set to sweep six times per minute. These less-common emergency field beacons were visible up to 75 miles away. The program was an immediate success and continued to expand throughout its operational life. By the end of the first year the airmail service had 18 terminal airfields, 89 emergency airfields, and more than 500 beacon lights in operation. As technology improved, so did the towers. Later versions on spur routes were built 10 miles apart and equipped with stronger beacon lights – up to one million candlepower – making them reportedly visible up to 40 miles in clear weather. But by the 1930s, navigation and radio technology had improved to allow flight without land-based visual guidance. The Low Frequency Radio Range (LFRR) system began to replace older visual-based systems. The airmail beacon program would continue to
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Scattered across the United States are a network of mysterious concrete arrows. They are often found in remote locations or areas difficult to access. Some will be accompanied by a small shack, a few have a metal tower affixed to their base. Many are in good condition while others have succumbed to nature. The shape and direction of the arrows vary, but it is clear they served the same purpose: helping early pilots navigate U.S. transcontinental flights at night. In an era before radar, pilots used ground-based landmarks for guidance. This solution worked for flight during the day, but grounded pilots at night. Before long, a system of beacons was established across the United States to guide airmail pilots around-the-clock. When radar and radio communications made the beacons obsolete years later, most were torn down or abandoned. In the mid-19th century the Wild West was largely unexplored. There was no infrastructure and very little law governing the land. Understandably, coast-to-coast message delivery was nonexistent. It was not until a gold discovery in 1848 that California became the destination for tens of thousands from the east. The trip across the country was arduous, dangerous, and could take anywhere from three to six weeks. Knowledgeable frontiersmen would race across the country on horseback, covering vast distances in shorter times. Flying at night was out of the question; bad weather and limited flight times meant delivery was limited and still spotty in frequency. The service was indeed faster, but it lacked flexibility and reliability of operations. A system of ground-based navigation beacons extending from New York to San Francisco
Assignment4Wayfinding
ACOUSTIC WAYFINDING
AcousticWayfinding
Ideally, technology is supposed to enhance our lives. Shane and Eileen, two seniors at Cornell have found a great way to enhance the lives of visually impaired individuals with their acoustic wayfinding device. In brainstorming for their final project, Shane and Eileen were inspired by a post to social media about robots as viable replacements for guide dogs. They sought to provide wearable, hands-free guidance and detection of primarily indoor obstacles; namely chairs, benches, and other inanimate objects below eye level. The wayfinder comprises two systems working in tandem: a head-mounted navigation unit and a tactile sensor worn on the user’s finger. Both systems use Maxbotix LV-MaxSonarEZ0 ultrasonic rangefinder modules to detect obstacles and vibrating mini-disc motors to provide haptic feedback at speeds proportionate to the user’s distance from
an obstacle. The head unit uses two rangefinders and two vibrating motors. Together, the rangefinders have a field of view of about 120 degrees and are capable of detecting obstacles up to 6.45 meters away. The tactile sensor comprises one rangefinder and motor and is used in a manner similar to a Hoover cane. The user sweeps their hand to detect objects that would likely be out of the range of the head unit. Both parts are ergonomic and size-adjustable. At power up, Shane and Eileen’s software performs a calibration of the tactile sensor to determine the distance threshold in conjunction with the user’s height. They’ve used an ATMega 1284 to drive the system, and handled real-time task scheduling between the two subsystems with the TinyRealTime kernel. A full demonstration video is embedded after the break.
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Smart Camera The Smart Camera relies on user-owned, camera-equipped mobile phones or MP3 players, along with Internet access. The system uses Quick Response codes, twodimensional barcodes that can be read by a mobile phone camera and interpreted into directions. These black and white icons contain digital information that is instantly decoded the moment the camera recognizes them. Each icon contains a URL address, which directs the attached mobile phone to retrieve the information stored there. The information is stored digitally and can be communicated in a variety of different ways—visually, aurally, or haptically. During the trials, the Smart Camera communicated it as spoken information. While Sweeney’s goal was to improve the experience of the visually impaired user, he also embraced an inclusive design ethos that recognizes there would be little benefit in designing a wayfinding system solely for their use. “Instead of treating those users as a group removed from the wider mainstream, we should treat them as people who have an acute form of something that we all experience—an inability to locate relevant information when we need it.” The way in which David Sweeney has harnessed the ability to capture the other senses when sight is not an option is osmething that we need to consider when designing our carehome wayfinding system. We need to consider that not all of the patients are suffering from the exact same illness and the exact same symptoms, therefore we need to elaborate upon the basic wayfinding sytem and create something more intuitive similar to David Sweeney. This would allow people with poor eyesight, vision or smell to use another sense which
DavidSweeney Assignment4Wayfinding
RFID Torch Recognizing that tactile maps are static and stationery, and therefore facilitate only the first two wayfinding tasks (orientation and route decision), Sweeney focused on mobile navigation solutions. The RFID Torch uses RFID tags as geographic markers. Each tag triggers the torch to speak the information describing that location. When the user lowers the torch and walks away, the description stops. The markers are interfaces to unlimited quantities of information, accessible whenever the user needs it via a wiki-style website called WikiNav, an online database for location-based information. The read range of the prototype device is about 15cm, but as RFID technology progresses and Digital Signal Processing systems improve, the range will increase to useful levels, says Sweeney. For Internet access, the torch connects to a mobile phone through a Bluetooth link, but as Near Field Communication technology becomes standard for most mobile phones, an external torch device will soon become unnecessary.
they may have available to themselves and possibly use touch. Although we don’t want our environment to be over-stimulating, we need to consider ways to include all of these different senses into a system without the user becoming confused and maybe even scared.
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Talking Tactile Map The Talking Tactile Map combines a physical object with voice information to describe a building using hearing and touch. The shape of the map is a simplified version of the footprint of the actual space. Corridors are indicated by channels, while exits and entrances are indicated by ramps. A large stainless steel ball serves as the “you-arehere” indicator. When a user touches the map, he or she hears a spoken description of the function located at that point. The longer the person’s finger stays on the spot, the more information they receive. This approach allows the visitor to quickly scan through all the building’s functions and services. At the Vassall Centre, the map is connected to a video screen that displays the information as it’s spoken, providing aid to hearing-impaired as well as vision-impaired individuals. User feedback from the testing helped improve the style and depth of the information provided,
says Sweeney. The information is stored online, where it can be edited remotely by center staff.
DAVID SWEENEY; WAYFINDING FOR THE VISUALLY-IMPAIRED
New technologies such as RFID tags, Quick Response codes, and Wi-fi routers are dramatically altering wayfinding solutions for the sighted, but digital wayfinding tools for the visually impaired have been slower to develop. David Sweeney set out to research how new digital technologies could be used to create wayfinding solutions for the visually impaired. He developed prototypes for three navigation systems. Most wayfinding solutions are geared to the needs of people with good eyesight, says Sweeney. “Where systems have been designed for low-vision users, they’re generally limited to audio loops that can be expensive to install or Braille, which only a small percentage of people can read.” But the rapid development of wireless technology and the high uptake of personal electronic devices provide new options for the visually impaired. Sweeney has explored how these technologies could be harnessed to enable new forms of navigation that rely less on sight and more on the other senses. Sweeney’s devices use what he calls “nearfuture” technologies, those that are or soon will be accessible to most people. Using the devices, users access wayfinding information that can be stored on the Internet to provide “blow-by-blow” directions in real time as the user walks through a space. “People can also post their own directions or comments on a particular space and aid other users,” says Sweeney. “And recipients can adjust the amount of information they want to hear.” A key objective in Sweeney’s research was to develop concepts that would facilitate the four essential components of wayfinding: orientation, route decision, route monitoring, and destination recognition. Sweeney tested the devices at the Vassall Centre, a flexible community building in Bristol, England, designed to provide a barrier-free working environment for voluntary organizations oriented to the disabled. (The research was funded by the Audi Design Foundation based on the Vassall Centre’s request for wayfinding solutions for its visually impaired users.)
MoragMyerscough
Designer Morag Myerscough started the award-winning Studio Myerscough in 1993. Best known for their work in the integration of graphics within architectural settings, acclaimed projects include Westminster Academy, the Kentish Town Health Centre and the Barbican Arts Centre. Myerscough believes that letter forms are amazing, expressive and beautiful. Over the years Morag has concentrated on working way beyond the restrictions of 2D and creates and curates many different types of work including a train as a café, exhibitions, interpreting buildings and running her own gallery and shop. The studio's Power of Ten project for the London College of Communication was nominated for the 2010 Brit Insurance Designs of the Year. In 2012 Myerscough completed the new Zynga headquarters building in San Francisco. Myerscough believes that wayfinding is not purely about a series of signs but as much about bringing out the narrative in the built environment, enhancing the physical experience, “It is very important how people feel when they move through a space, if they can move easily, almost unconsciously, and if you can make them smile and feel happy that is one of the best outcomes.”
Assignment4Wayfinding
MORAG MYERSCOUGH Is Supergraphics more of an architectural term than a graphic design one? Architects often use it when they talk about wayfinding and signage. And then there’s this term ‘environmental graphics.’ But I suppose that’s when you’re putting more of the narrative in and then it becomes neither wayfinding nor signage, it is just graphics within the environment. Do you subscribe to the classical definition of ‘Supergraphics’ meaning graphics on a building that are too big for the building? I think it depends. Take the work that I’ve done at the Barbican in London. I’d say that the numbering system we created was an example of Supergraphics. But really, it was just a case of making big numbers. I really think that today, Supergraphics just means big graphics.
What was the first supergraphics piece that you did? Without going back to college days, I think it was when Tim Molloy (Creative Director, Science Museum, London) asked me if I’d done any banners before. I said no, but I’ll have a go. I ended up doing a 230m long hoarding in the Science Museum. At that time my sister was at the Slade and through her I got all these young artists – all quite well-known now – and we worked through the night painting the hoardings. I think that’s when I got the bug. And the next thing was the hoarding competition in Design Week for British Land with Allford Hall Monaghan Morris Architects and that’s when I started my relationship with them in 1995. We used the photographer Trevor Key. He was fantastic. He did it just before he died.
Can you talk about working on a giant scale. Does it need a different mentality from a 2D print project – a brochure for instance? Do you find you have two different approaches? Well, I find I’m not very good at print. There are lots of people who do print better than me. I think in a spatial way. For example, currently we’re working with Foreign Office Architects on a project in Paris, and when we’re doing it we’re thinking about how people are actually going to use the space. We’re thinking about all the social things: what they’re going to get from the space; what the light is going to be like; how they’re going to walk through the space; what response they’re going to get when they go in. At each point we think – what are we trying to say here, and what will fit in the architect’s space?
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The carpets used at Phillips stands out above the rest of the research as it is a potential possibility to create some form of wayfinding system without the use of arrows. Although, we have discovered that care home patients are unlikely to use a system found on the floor. However, it may be intriguing to have the soft carpet material situated on a wall, and this way, it will encourage people to touch and interact with its surface.
Assignment4Wayfinding
purpose, too. In Berlin, a publisher with Luminous Carpets outfitted in their main entrance used them to display the website newsfeed, along with event announcements and customized welcome messages for special guests. Philips also points out potential safety applications, especially for situations when the usual signage might be obscured by smoke. As for any sort of residential application, Philips doesn't see it as a practical fit just yet. The Luminous Carpets require a fairly intensive installation, and also a connection with a dedicated power source. That living room disco you've been dreaming of will have to wait at least a little while longer. The carpets are designed to interface with most building management systems currently in use, and come in a variety of neutral-toned patterns and colors. As for the LEDs themselves, they're built to last 20 years or more -- longer than the projected lifespan of the carpet sitting on top of them. Philips hasn't announced any specific destinations for the carpet just yet, but says that there's strong interest on multiple fronts. We'll keep an ear to the ground as businesses start trying it out.
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The future of flooring might be brighter than you think, if Philips has its way. After a few years spent developing the idea, the Dutch tech company is set to begin shipping and installing LED-enhanced "Luminous Carpets" throughout North America, with an official launch set for this week's Lightfair International trade show in New York City. The notion of carpets outfitted with LEDs is nothing new -- Philips has been working on the concept since 2013, when it partnered with Desso, a high-end European flooring manufacturer, with numerous test rollouts last year in cities like Venice and Berlin. Now, the futuristic carpets might soon be on their way to American floors. Airports seem like an especially obvious candidate, with carpets capable of directing travelers to their gate or to baggage claim, but Philips also envisions the carpets in places like hotels and theaters and in small business settings. Each Luminous Carpet section features a thin layer of LED lights underneath a layer of specially designed, "light transmissive" carpet. When the lights are on, they shine straight through; when they're off, they disappear completely. Philips claims the carpets are rugged enough to handle spills, cleaning and ample foot traffic without the LEDs malfunctioning or overheating. Directional applications come to mind first, but the carpets can serve an informative
PhillipsLEDCarpet
PHILLIPS LED CARPET
NYCManual
NYC MANUAL
Assignment4Wayfinding
The New York City subway was a confusing mess in the 1960s, with inconsistent, haphazard signage that made navigating the system a nightmare for commuters. In 1967, the New York City Transit Authority decided to do something about it. They hired Massimo Vignelli and Bob Noorda of the design firm Unimark International to design an improved signage and wayfinding system. The designers spent four years studying the labyrinth of the subway, analyzing the habits of commuters, and devising the iconic visual identity of the NYC subway that is still in use today, documented in the 1970 New York City Transit Authority Graphic Standards Manual.
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IphoneMapsfortheBlind
systems, which largely eliminate the opportunity for users to react to auditory clues from the surrounding environment, this unit is built around a unique perforated screen to be held in the hand. Moving pins sense a user’s location (with help from GPS and Google maps), and are constantly updated—raised and lowered—to mimic how the path unfolds: The length of the guideline shortens as destinations get closer; intersections are marked with a gap; the "view" can be quickly switched from bird’seye or simple line. "Cities are constantly evolving, so it’s important that users can provide feedback on changes," Spitz says of the key decision to incorporate open-sourcing. "Using the GPS and accelerometers on the phone, one could tell how the user is walking and the service could rate the route accordingly. The more people use a given route, the more accurate the ecosystem becomes," he explains. In addition, unexpected obstacles can be immediately reported with the press of a button, giving a more robust, real-time picture of a particular journey. The most challenging aspect of getting Blind Maps production-ready would be figuring out how to make the moving pins a physical reality. "We could use actuators such as micro-solenoids, or simulate texture with electricity," Spitz says. And while it’s currently just a concept, he hopes to have the opportunity to see it evolve. Although this concept is intuitive and brilliant, most people found within a care home do not own an I phone, and this device may seem to be directed towards a younger target audience. However, having the idea of using a portable device to locate your way around seems like an original idea. However, the cost may prove to be too high, and not evem that, but some people may simply forget where they have put the device- maybe a device that is stationary and fixed may prove more effective.
Assignment4Wayfinding
Imagine an urban route you know well— extremely well. It’s the kind of comfortable path you walk from your front door to the bus stop five days a week, or the shortcut you follow to your favorite coffee shop. After your first step, it’s like muscle memory kicks in and your body just takes you there without thinking. You feel like could do it with your eyes closed. Could you? Navigation becomes infinitely more complex when sight is no longer an option, and even more so when unknown territory is being explored. As part of a 36-hour project during an introductory course at the Copenhagen Institute of Interaction Design, Andrew Spitz, Ruben van der Vleuten, and Markus Schmeiduch created a concept for Blind Maps, a super-smart smartphone accessory that functions with an interactive, Braille-like interface to help the visually impaired safely find their way. Though the tactile feedback of haptic technology has been designed into everything from lighting to steering wheels to thermometers, its application in this field has been largely limited to some work on white canes and a (pretty rad) pair of vibrating shoes. The trio behind Blind Maps wanted to address how to use the tech to help augment one’s senses. Because of the quick, hackathon-style format, there wasn’t much time for the team to do extensive field research. Schmeiduch, however, had previously organized holiday trips for blind tourists in Austria, and they supplemented those insights with exercises that enabled them to begin to understand the experience firsthand—basically, hitting the streets wearing blindfolds. "Everyone should try that—it’s an amazing experience!" Spitz tells Co.Design. Prototyping and mock-ups quickly followed, resulting in the compact, Bluetooth-enabled attachment. Rather than rely on headphones and voice-activated
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IPHONEMAPS FOR THE BLIND
JanWeiner’sLecture
Route Learning- Cushman et all 2008 Experimenter directed tour on fixed path Several tasks in test phase 4 participant groups: Young, Old, MCI, AD Declining performance from young to old to MCI to EAD. Photo recognition vs photo location AD- related navigation deficits not simply memory imparements, but more specific Additional AD- related immpairements in all subtasks that require integrated representation of space. Route Learning- O’Malley and Weiner Most studies on effects of (a)typical ageing concentrated on differences during learning. Aims: 1. Develop new paradigm to study route knowledge after successful learning. 2. To study early effects of atypical ageing on route knowledge after successful learning MoCA (Montreal Cognitive Assessment) to screen for early signs of atypical ageing 3 participant groups Young Participants Older Participants with high MoCA score (2630)- typical ageing Older Participants with low MoCA score (2225)- early signs of atypical ageing
Assignment4Wayfinding
Learning Trials- Sign. Difference between young and older groups (both p<.001) No Difference between high MoCA and low
Possible solutions and Ways to improve design.
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“I’d like a round place, a centre place with all of us sitting all around, all the little flats with a central arena, I’d like that sort of Idea”
MoCA group in learning (p=.98) Route Recall- Sign. Differences between groups (all p<.01)- only correct trials entered further analysis. Dissociation between learning and recall in older groups Age-related differences in performance in landmark direction and Direction sequence task Young > Old Low MoCA > High MoCA Landmark sequence Task: No difference between groups (p=.96) Map Task: Specific defecit only in low MoCA group (both p < .001) Reasons for disorientation Design Dependant Repetitive design Moving between floors Inappropriate positioning and location of environmental cues. “You can get completely disoriented and the reason is because all the corridors are the same. You don’t know which one you’re on, or what level you’re on really until you look at the different messages on the side, but I think, they could certainly be improved. It’s important to have some sort of naviagtion aid I think in a big place like this” (c13)
Design Layout Design changes to space Use of colour along corridors (+pictures) “I think each floor, if it were up to me, would
have a different coloured carpet. There is a lower ground floor, there is a ground floor and there is a first floor. And red, green and blue, you know? Three easy colours. You would know straight away.”
Self Conclusion: I think the initial starting point is to distinctively recognise each seperate floor as a completely seperate section. Furthermore, it is imperative to create iconic ‘landmarks’ for the residents to acknowledge.
Assignment4Wayfinding
design. Guidelines suggestions (eg. colour, landmarks) Other environments used by Older adults need to be designed in a supportive way.
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There is often a discussion between what the professionals and residents of such developments want. (Godwin, 2014) The resident’s voice on their design preferences was consistent with existing dementia friendly
JanWeiner’sLecture
DR JAN WEINER’S LECTURE NOTES
Dementia
DEMENTIA
Assignment4Wayfinding
The word dementia describes a set of symptoms that may include memory loss and difficulties with thinking, problem-solving or language. These changes are often small to start with, but for someone with dementia they have become severe enough to affect daily life. A person with dementia may also experience changes in their mood or behaviour. Dementia is caused when the brain is damaged by diseases, such as Alzheimer's disease or a series of strokes. Alzheimer's disease is the most common cause of dementia but not all dementia is due to Alzheimer's. The specific symptoms that someone with dementia experiences will depend on the parts of the brain that are damaged and the disease that is causing the dementia.
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Each person is unique and will experience dementia in their own way. The different types of dementia tend to affect people differently, especially in the early stages. How others respond to the person, and how supportive or enabling the person's surroundings are, also greatly affect how well someone can live with dementia. A person with dementia will have cognitive symptoms (problems with thinking or memory). They will often have problems with some of the following: day-to-day memory - difficulty recalling events that happened recently concentrating, planning or organising - difficulties making decisions, solving problems or carrying out a sequence of tasks (eg cooking a meal) language - difficulties following a conversation or finding the right word for something visuospatial skills - problems judging distances (eg on stairs) and seeing objects in three dimensions orientation - losing track of the day or date, or becoming confused about where they are. As well as these cognitive symptoms, a person with dementia will often have changes in their mood. For example, they may become frustrated or irritable, withdrawn, anxious, easily upset or unusually sad. With some types of dementia, the person may see things that are not really there (visual hallucinations) or believe things that are not true (delusions).
Dementia is progressive, which means the symptoms gradually get worse over time. How quickly dementia progresses varies greatly from person to person. As dementia progresses, the person may develop behaviours that seem unusual or out of character. These behaviours may include repetitive questioning, pacing, restlessness or agitation. They can be distressing or challenging for the person and their carer. A person with dementia, especially in the later stages, may have physical symptoms such as muscle weakness or weight loss. Changes in sleep pattern and appetite are also common. There are many diseases that result in dementia. The most common types of dementia are outlined below: Alzheimer's disease - This is the most common cause of dementia. Brain cells are surrounded by an abnormal protein and their internal structure is also damaged. In time, chemical connections between brain cells are lost and some cells die. Problems with day-to-day memory are often noticed first, but other symptoms may include difficulties with: finding the right words, solving problems, making decisions, or perceiving things in three dimensions. Vascular dementia - If the oxygen supply to the brain is reduced because of narrowing or blockage of blood vessels, some brain cells become damaged or die. This causes vascular dementia. The symptoms can occur either suddenly following one large stroke, or over time through a series of small strokes or damage to small blood vessels deep in the brain. The symptoms of vascular dementia vary and may overlap with those of Alzheimer's disease. Many people have difficulties with problem-solving or planning, thinking quickly and concentrating. They may also have short periods when they get very confused. Mixed dementia - This is when someone has more than one type of dementia, and a mixture of symptoms. It is common for someone to have Alzheimer's disease and vascular dementia together. Dementia with Lewy bodies - This type of dementia involves tiny abnormal structures (Lewy bodies) developing inside brain cells. They disrupt the brain's chemistry and lead to the death of brain cells. Early symptoms can include fluctuating alertness, difficulties with judging distances and hallucinations. Day-to-day memory is usually affected less than in early Alzheimer's disease. Dementia with Lewy bodies is closely related to Parkinson's disease and often has some of the same symptoms, including difficulty with
movement. Frontotemporal dementia (including Pick's disease) - In frontotemporal dementia, the front and side parts of the brain are damaged over time when clumps of abnormal proteins form inside nerve cells, causing them to die. At first, changes in personality and behaviour may be the most obvious signs. Depending on where the damage is, the person may have difficulties with fluent speech or may forget the meaning of words or objects. The symptoms of these types of dementia are often different in the early stages but become more similar in the later stages. This is because more of the brain becomes affected as the different diseases progress. In the later stages of dementia, the person will need more and more support to carry out everyday tasks. However, many people with dementia maintain their independence and live well for years after their diagnosis. Information, advice and support are available for the person and their carer to help them live well with dementia. Rarer causes of dementia There are many other diseases that can lead to dementia. These are rare: together they account for only about five per cent of all dementia. They tend to be more common among younger people with dementia (under the age of 65). These rarer causes include alcohol-related brain damage (including Korsakoff's syndrome), corticobasal degeneration, progressive supranuclear palsy, HIV infection, Niemann-Pick disease type C, and Creutzfeldt-Jakob disease (CJD). Some people with Parkinson's disease or Huntington's disease develop dementia as the illness gets worse. People with Down's syndrome are also at a particular risk of developing Alzheimer's disease as they get older. Mild cognitive impairment Some people have problems with their memory or thinking but these are not severe enough to interfere with everyday life. In this case, a doctor may diagnose mild cognitive impairment (MCI). Research shows that people with MCI have an increased risk of developing dementia; about 10-15 per cent of this group will develop dementia each year. However, MCI can also be caused by other conditions such as anxiety, depression, physical illness and side effects of medication. Because of this, some people with MCI do not go on to develop dementia, and a small number of people will even get better.
Dementia Assignment4Wayfinding
drug treatments to be offered. Dementia will usually be diagnosed by a specialist doctor such as a psychiatrist (a mental health specialist), a geriatrician (a doctor specialising in the physical health of older people) or a neurologist (someone who concentrates on diseases of the nervous system). Occasionally a GP or specialist nurse will make the diagnosis, depending on their expertise and training. There is no single test for dementia. A diagnosis is based on a combination of things: taking a 'history' - by the doctor talking to the person and someone who knows them well about how their problems developed and how they are now affecting their daily life cognitive tests of mental abilities (eg memory, thinking) - simpler tests will be carried out by a nurse or doctor, more specialist tests by a psychologist physical examination and tests (eg blood tests) - to exclude other possible causes of the symptoms a scan of the brain - if this is needed to make the diagnosis. A common pattern is for the GP to make an initial assessment and then refer the person to a memory clinic or other specialist service for more detailed assessment. A specialist doctor will have more expertise in dementia and will be able to arrange more detailed tests and brain scans if needed. The diagnosis should be communicated clearly to the person and usually also those closest to them, along with a discussion about the next steps. How is dementia treated? The vast majority of causes of dementia cannot be cured, although research is continuing into developing drugs, vaccines and other medical treatments. There is also a lot that can be done to enable someone with dementia to live well with the condition. Care and support should be 'person-centred', valuing the person as a unique individual.
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It is predicted there will be around 850,000 people in the UK with dementia in 2015. It mainly affects people over the age of 65 (one in 14 people in this age group have dementia), and the likelihood of developing dementia increases significantly with age. However, it can affect younger people: there are more than 40,000 people in the UK under 65 with dementia. Dementia can affect men and women. Scientists are investigating the ways dementia might run in the family. In a very small number of people, certain types of dementia are inherited as a single gene that causes the disease, usually before age 65. A much larger number of people will inherit a combination of genes that increases or decreases their risk of developing dementia in much less direct ways. How can I tell if I have dementia? Becoming a bit more forgetful does not necessarily mean that you have dementia. Many people notice that their memory becomes a bit less reliable as they get older - for example they might forget someone's name. Memory loss can also be a sign of stress, depression or certain physical illnesses. However, anyone who is worried that their memory is getting noticeably worse, or who has other symptoms such as those listed above, should discuss their concerns with the GP. Diagnosing dementia It is very important to get a proper assessment of problems with memory or thinking. They may be caused by a treatable condition such as depression or an infection, rather than dementia. If the cause is dementia, a diagnosis has many benefits. It provides someone with an explanation for their symptoms, gives access to treatment, advice and support, and allows them to prepare for the future and plan ahead. Knowing the type of dementia (eg Alzheimer's disease, vascular dementia) may allow appropriate
READING THE SIGNS
ReadingtheSigns
Assignment4Wayfinding
Alzheimer's disease This is the most common cause of dementia. During the course of the disease, the chemistry and structure of the brain changes, leading to the death of brain cells.
Fronto-temporal dementia In fronto-temporal dementia, damage is usually focused in the front part of the brain. Personality and behaviour are initially more affected than memory.
Vascular dementia If the oxygen supply to the brain fails, brain cells may die. The symptoms of vascular dementia can occur either suddenly, following a stroke, or over time, through a series of small strokes.
Rarer causes of dementia There are many other rarer causes of dementia, including progressive supranuclear palsy and Binswanger's disease. People with multiple sclerosis, motor neurone disease, Parkinson's disease and Huntington's disease can also be at an increased risk of developing dementia.
Dementia with Lewy bodies This form of dementia gets its name from tiny spherical structures that develop inside nerve cells. Their presence in the brain leads to the degeneration of brain tissue.
Creutzfeldt-Jakob disease Prions are infectious agents that attack the central nervous system and then invade the brain, causing dementia. The best-known
prion disease is Creutzfeldt-Jakob disease, or CJD. Korsakoff's syndrome Korsakoff's syndrome is a brain disorder that is usually associated with heavy drinking over a long period. Although it is not strictly speaking a dementia, people with the condition experience loss of short term memory. People with HIV and AIDS sometimes develop cognitive impairment, particularly in the later stages of their illness. Factsheet: What is HIV-related cognitive impairment? Mild cognitive impairment (MCI) is a relatively recent term, used to describe people who have some problems with their memory but do not actually have dementia.
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Middle stage: As Dementia progresses to the middle stage, the signs and symptoms become clearer and more restricting. These include: becoming forgetful of recent events and peopleâ&#x20AC;&#x2122;s names, becoming lost at home, having increasing difficulty with communication, needing help with personal case experiencing behaviour changes, including wandering and repeated questioning. Late Stage: The late stage of Dementia is one of near total dependance and inactivity Memory disturbances are serious and the physical signs and symptoms: become more obvious.
ReadingtheSigns Assignment4Wayfinding
Early stage: The early stage is often overlooked, because the onset is gradual. Common symptoms include: Forgetfulness, losing track of time, becoming lost in familiar places.
Symptoms include: becoming unaware of the time and place having difficulty recognising relatives and having an increasing need for assisted self-care, having difficulty walking, experiencing behaviour changes that way escalate and include aggression.
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Dementia affects each person in a different way, depending upon the impact of the disease and the personâ&#x20AC;&#x2122;s personality before becoming ill. The signs and symptoms linked to dementia can be understood in three different stages.
MORRIS WATER MAZE
MorrisWaterMaze
Developments of an open-field water-maze procedure in which rats learn to escape from opaque water onto a hidden platform are described. These include a procedure (A) for automatically tracking the spatial location of a hooded rat without the use of attached light-emitting diodes; (B) for studying different aspects of spatial memory (e.g. working memory); and (C) for studying non-spatial discrimination learning. The speed with which rats learn these tasks suggests that they may lend themselves to a variety of behavioural investigations, including pharmacological work and studies of cerebral function.
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MorrisWaterMaze Assignment4Wayfinding
disease and 14 age matched controls. Qualitative differences were observed in the regional patterns of neuronal loss related to normal ageing and Alzheimer's disease. The most distinctive Alzheimer's disease related neuron loss was seen in the CA1 region of the hippocampus. In the normal ageing group there was almost no neuron loss in this region (final neuron count in the CA1 region: 4·40 X 106 neurons for the Alzheimer's disease group vs 14·08 × 106 neurons in the normal ageing group). It is concluded that the neurodegenerative processes associated with normal ageing and with Alzheimer's disease are qualitatively different and that Alzheimer's disease is not accelerated by ageing but is a distinct pathological process.
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The distinction between the neurodegenerative changes that accompany normal ageing and those that characterise Alzheimer's disease is not clear. The resolution of this issue has important implications for the design of therapeutic and investigative strategies. To this end we have used modern stereological techniques to compare the regional pattern of neuronal cell loss in the hippocampus related to normal ageing to that associated with Alzheimer's disease. The loss related to normal ageing was evaluated from estimates of the total number of neurons in each of the major hippocampal subdivisions of 45 normal ageing subjects who ranged in age from 13 to 101 years. The Alzheimer's disease related losses were evaluated from similar data obtained from 7 cases of Alzheimer's
VoskresenkoeWayfinding
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VOSKRESENKOE WAYFINDING & IDENTITY BY TOMAT DESIGN
VoskresenkoeWayfinding Assignment4Wayfinding
“We developed a wayfinding which is also an identity for new health and entertainment center opened within Voskresenskoe clubhotel near Moscow. One of the tasks was not only to create comfortable navigation system, but also to position the center as an independent place that offers services also for people who live near the hotel territory in Voskresenskoe district. Thus we didn’t use the identity of the hotel.”
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This concept of combining a vast array of line designs with iconography may prove to be the most effective way of creating the wayfinding sytem for people suffering from Dementia. The continuous line which stretches down the corridors, however, may seem to work, yet it doesn’t create a ‘homely’ vibe to the environment, and instead looks like some signage system found within a playground.
ARCHITECTURAL APPROACH ArchitecturalApproach
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ArchitecturalApproach Assignment4Wayfinding
Postbox, telephones- beacons. Significant things in the environment LED Lights in carpets
Awareness- dressing- narrow down problem- show people how to dress. Outside- Lounge- RoomRecognising door Encouraging to go outside- confident to go out and recognise way back
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Narrow down the journey What landmarks can you create? Doesnâ&#x20AC;&#x2122;t have to be on the wall
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Smell is not often included as part of a wayfinding strategy, but people will use it to identify and remember places; for example, people will identify a cafe by the smell of food and coffee. Smells can affect people’s emotional state in either a positive or a negative way, so the smells in an environment should always be considered though for wayfinding, smells are usualy not specific enough to enable people to literally “follow their nose”. Healthcare facilities are often busy, noisy places. People use noises, sometimes subconciously, to help them find their way. For example, a lift that is out of sight (through a closed door or round a corner) but which has a bell when the doors open, signals the lift is there. Spoken announcements inside the lifts, saying the floor number and perhaps other information too, are increasingly used. This type of audible wayfinding system can also be used effectively elsewhere, such as at pedestrian crossings or at pedestrin exits to car parks, telling people the name of the car park and that they need to pay for parking. People often prefer to ask someone for spoken directions, reassurance and information rather than using signs and other wayfinding aids. It is often necessary to screen out irrelevant sounds in order to hear a person speaking. Screening out sounds is harder than ignoring irrelevant sights, but people are generally accustomed to doing this. As with sight, people’s hearing deteriorates with age, so sites must always consider how to help people who are deaf or hearing impaired find their way around. There are some specific considerations, but having a clear and effective signage system is crucial.
THE PROUST EFFECT
Proust
either sweet-smelling or malodorous atmosphere. For a nursing home in the Dutch town of Doetinchem, he designed three â&#x20AC;&#x2DC;Smellflowersâ&#x20AC;&#x2122; made from plastic-coated metal, one for each of the three residential pavilions for older persons with Dementia
Assignment4Wayfinding
leisure tast and olfactory stimuli that have the power to activate subconscious sense memories. The Flemish artist Peter de Cupere, for example, designs smell installations where visitors can activate and deactivate smells in order to envelop themselves in
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The power of sense memories has not only been used in the literary genre, but in other artistic disciplines too. A group of visual artists recently began designing and constructing installations, mostly in museums and galleries, which allow visitors to experience at their
PeterDeCupere
PETER DE CUPERE
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Imagine a room with a thick layer of sweet smelling tobacco leaves on the floor, with food-experiments, fungi and spices everywhere you look and with two mouldy mattresses hung on the wall as if they were paintings of high pictorial quality. We are speaking of 1997, the year I first became acquainted with the work of the Belgian artist Peter De Cupere at an open-studio day at the Higher Institute for Fine Arts - HISK (still in Antwerp at the time). Upon entering the space, the visitors were treated to a sweet smell of fermentation and tobacco. In the center of the space was set up “Fleur d’Anus” (Anus Blossom), a strange, grayish but elegant flower growing from an orange stool and nourished by the artist’s feces from a pot underneath it. Beauty and filth went hand-in-hand in this remarquable installation. The tone had been set. After a lifelong fascination for smell and two years of experimenting with the artistic qualities of it, Peter De Cupere had decided to dedicate the rest of his days to the artistic exploration of the aesthetical potential of odors. The presence of smell in art had untill then been quite limited. As a concept smell allready appeared in two works of Marcel Duchamp (resp. in his urinoir “Fountain” (1917) and in “Air de Paris” (1919)), but it was only since the 1970ies – with a higher frequencity during the last 10 to 15 years – that smell started to appear as a medium sporadically in installations and performances. Why then would an artist decide to devote his whole oeuvre to a volatile medium as smell? Besides his personal love for odors since he was a child, De Cupere refers to the suppressed history of smell as one of his motivations behind his exceptional artistic practice. His aim is to convince us from the
fact that, in contradiction to what philosophers have been adopting for centuries smell can be the source of a genuine aesthetic experience. Smell works directly on our memories and emotions via our limbic system , only thereafter to be appropriated by a cognitive process, which makes smelling a very intuitive and associative act. Hidden herein is probably also the potential power of smell as an artistic medium: there where an unforeseen odor finds its way to our olfactory epithelium, we are thrown momentarily off balance, the effect of which can be emotional and disarming. Peter De Cupere has developed a masterful talent for creating and combining visual and olfactory elements which evoke forgotten memories or generate the most unexpected and memorable experiences. He knows how smells work from a scientific perspective and experiments with every possible use of smells like a contemporary alchemist. From the most obscure, ‘malodorous’ smells to ‘heavenly’ scents and combinations of aromas are fired directly at our olfactory epithelium . His odorous material can vary from essences used in the composition of perfumes to aromas used in food, to odors that arise from diverse materials through experimentation—such as, for instance, food, abject substances, flowers, mould, plants, soaps, dirt, spices, etc.—or smells inherent to the materials used. Though his creations are all related to smell in one way or another, De Cupere prefers not to be called a “smell-artist” but a “visual artist working with smells”, referring to the fact that his work is much more than a collection of shapeless smelly experiments. He works magic with recognizable visual elements and thereby generates, in combination with scents, unanticipated synaesthesias between
different sensual experiences. Confronted with his scent-related sculptures, installations, objects, paintings, drawings, photographs, video’s, performances, graphic designs, scent-concerts, etc., we are encouraged to reposition our perception of smell in relation to other senses. A considerable portion of Peter De Cupere’s work floats on an undertone of socially critical reflections referring to the field of tension between nature and culture, representing a longing for pure olfactory sensations and a certain sadness due to the literal and figurative defilement of purely sensual—and primarily olfactory—experience. Often covered with a subtle layer of humor and irony, his visually attractive works invite the public in a playfull way to let go of conventions and of culturally constructed or naturally grown resistance against unexpected confrontations with odors. As an advocate for the use of odors in art, Peter De Cupere seems to prepare the path for future artists. In many different ways he invites or provoques the audience to reconsider their perception of smell, or to think about it at least. As a pioneer in his field, he didn’t exactly choose the easiest path one can think of, but we’re convinced it’s at least a very interesting and promising one which might open up new perspectives for smell in the field of contemporary art and beyond. Or as the American art-critics Larry Shiner and Julia Kristkovets have written in 2007: “Peter De Cupere has created an artistic identity that is a cross between artist and olfactory chemist that may become a model for other olfactory artists in the future”.
Effective wayfinding cues Landmarks, for example a particular tree or garden bed Interior and exterior neighbourhood decorating schemes Sculpture, paintings and other decorative features Planned architectural features, like personalised doorways Changes in colour Changes in lighting levels Changes in floor surfaces
Alzheimer’s Australia highlights the need to: Keep signs simple as people may no longer be able to understand complex language or writing. Place signs at eye level, for those using wheelchairs. Use bright contrasting colours. Personalise room entries to make them more relevant to individuals. Create a regular schedule so daily life experiences are in the same place at the same time of day. Create purpose-specific rooms so people know what to expect when they enter them. Make key places such as dining rooms, bathrooms and living rooms easily seen.
Assignment4Wayfinding
Wayfinding makes use of cues such as paths, garden beds, special plants, sculptures, colour schemes and sounds, both inside and outside a facility.
Determine meaningful ‘decision points’ where design features can help orient people with dementia Netten 1989 .
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Wayfinding helps people with dementia move independently from one spot to another. It refers to ‘what people see, what they think about and what they do when finding their way from one place to another’ Brawley 1997 .
Dementia-FriendlyEnvironments
DEMENTIA FRIENDLY ENVIRONMENTS
Psychology,Smell&Life
PSYCHOLOGY, SMELL& LIFE
Assignment4Wayfinding
Upon detecting a smell the olfactory neurones in the upper part of the nose generate an impulse which is passed to the brain along the olfactory nerve. The part of the brain this arrives at first is called the olfactory bulb, which processes the signal and then passes information about the smell to other areas closely connected to it, collectively known as the limbic system. The limbic system comprises a set of structures within the brain that are regarded by scientists as playing a major role in controlling mood, memory, behaviour and emotion. It is often regarded as being the old, or primitive, part of the brain, because these same structures were present within the brains of the very first mammals. Knowing this helps us to understand why smell plays such an important role in memory, mood and emotion. Smell and Memory The sense of smell is closely linked with memory, probably more so than any of our other senses. Those with full olfactory function may be able to think of smells that evoke particular memories; the scent of an orchard in blossom conjuring up recollections of a childhood picnic, for example. This can often happen spontaneously, with a smell acting as a trigger in recalling a long-forgotten event or experience. Marcel Proust, in his ‘Remembrance of all Things Past’, wrote that a bite of a madeleine vividly recalled childhood memories of his aunt giving him the very same cake before going to mass on a Sunday.
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Smell and Emotion In addition to being the sense most closely linked to memory, smell is also highly emotive. The perfume industry is built around this connection, with perfumers developing fragrances that seek to convey a vast array of emotions and feelings; from desire to power, vitality to relaxation. On a more personal level, smell is extremely important when it comes to attraction between two people. Research has shown that our body odour, produced by the genes which make up our immune system, can help us subconsciously choose our partners - read more here. Kissing is thought by
some scientists to have developed from sniffing; that first kiss being essentially a primal behaviour during which we smell and taste our partner to decide if they are a match. It is likely that much of our emotional response to smell is governed by association, something which is borne out by the fact that different people can have completely different perceptions of the same smell. Take perfume for example; one person may find a particular brand ‘powerful’, ‘aromatic’ and ‘heady’, with another describing it as ‘overpowering’, ‘sickly’ and ‘nauseating’. Despite this, however, there are certain smells that all humans find repugnant, largely because they warn us of danger; the smell of smoke, for example, or of rotten food. The Psychological Impact of Smell Loss Given that our sense of smell clearly plays an important part in our psychological make-up, in addition to it being one of the five ways in which we connect with the world around us, its absence can have a profound impact. Anosmia sufferers often talk of feeling isolated and cut-off from the world around them, and experiencing a 'blunting' of the emotions. Smell loss can affect one's ability to form and maintain close personal relationships and can lead to depression. An important issue here is the fact that smell loss is invisible to all but the patient; how would you know that you had met an anosmia sufferer unless they themselves told you? This is one of the reasons, alongside the general lack of understanding of the impact that smell has on our lives, why anosmia has never received much attention - you really do not know what you have got until it is gone. Going back to the points made about the strong connection between smell and memory, it can be seen that losing one’s sense of smell can result in the loss of an important sentimental pathway to memories. Research has shown that loss of olfactory function can be an indicator of something far more serious. Smell loss occurs with both Parkinson’s disease and Alzheimers, and studies have indicated that a diminishing sense of smell can be an early sign of the onset of both conditions, occurring several years before motor skill problems develop.
2. Smell and Emotion Did you know that smell has a strong influence on the emotions we feel in our daily lives? The emotions we feel effect the way we relate to places and brands. Dr. Alan Hirsch has conducted countless research studies that explore the ways in which smell affects human behavior. “The part of the brain that smells and tastes is part of the emotional
Psychology,Smell&Life
3. Smell and Time Dr. Hirsch has also led studies into the way that smells can influence our perception of time. In one of the studies, 20 separate participants were exposed to a baby powder aroma, a coffee aroma, and no aroma at all. While the coffee aroma produced a reduced perception of time, the baby powder aroma produced a longer perception of time. Likewise, pleasurable fragrances have been shown to create “dwell-time” in stores, increasing the likelihood of customers making purchases. 4. Smell and Health Care Creating a comfortable and relaxing atmosphere for patients is a challenge for every health care facility, be it large or small. For example, lavender fragrances have been used in nursing homes to calm residents and emergency rooms to calm worried visitors. Additionally, hospitals, treatment centers and nursing homes are prone to musky smells and malodors making it imperative that the facilities invest in a scenting solution. 5. Smell and Productivity Our senses of smell can even affect productivity in office environments. Specific smells have been found to increase alertness which in turn results in higher productivity rates. One study found that when lemon oil was diffused throughout a Japanese office building, productivity among data entry operators increased by 54%. Scents can also be used to ward off mid-afternoon brain fog by revving your concentration levels.
Assignment4Wayfinding
1. Smell and Memory Scent is the sense closest linked to memory. Studies have shown that people can remember a scent with 65% accuracy after 1 year while visual memory sinks to 50% after only a few months. The smells we experience play a crucial role in how we associate with memories and places. Have you ever come across a whiff of something that instantly takes you back to an old memory? Whether it reminds you of your mother’s cooking or a childhood trip to the ocean, a distinctive scent sinks into your brain and stays there.
brain where our personality lies,” said Dr. Hirsch in an interview with Men’s Health last November.
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When you think of the five senses, your mind might leap first to your sense of sight and all the visual wonders you might behold. Perhaps you’re like me and usually think first with your stomach, placing taste at the top of your sense priority. However, you might be surprised at how important of a role your sense of smell plays in your day-to-day decisions, emotions, and memories. Anyone who makes choices about business interiors should always remain conscious of how the space is experienced by smell. Whether it’s a retail space with customers, a hotel lobby with guests, or an office space with clients and employees, scents (both pleasing and off-putting) can make a big difference. Why is our sense of smell so important? Read below to discover 5 ways smell influences your everyday life.
AlanHirsch Assignment4Wayfinding
According to Dr Alan Hirsch of the Smell and Taste Treatment and Research Foundation in Chicago, by the year 2000 many of us will be living in houses that have aroma-air-conditioning systems. Ten minutes before we want to wake up they’ll start to pump a stimulating aroma into the air. Our eyes will open. When we go into a cafe for breakfast we’re induced by pre-packaged aromas to eat more (or less). At work, aromas will be designed to cut the error rate, while in the gym they’ll be designed to invigorate. When you come home, there will be a relaxing aroma in the house, and when you go to bed, a soporific or aromorous one, depending on your choice. Dr Hirsch and his team have carried out forty-six research studies including one involving 12,000 people which looked at the effect of olfaction on learning. Among other things, Dr Hirsch has discovered that people will judge a product better value when bought from a shop where there is a pleasant aroma, and in another trial he found that when a mixed floral aroma was suffused throughout a room of calculus students, they increased their speed of learning by 230 per cent. When gambling machines in Las Vegas were ‘aromatized’ with a certain aroma number 1, Dr Hirsch discovered that the punters spent 45 per cent more cash. These and the other recent
discoveries are leading us into an aromatic future- whether we know it or not. Next time you go into an office to make a furious complaint, and come out unplacated but subdued, consider the possibility that the waiting room was suffused with an aroma to make clients calm down. It is possible, and it gets more probable every day. Science is catching up with what aromatherapists have been saying for years: aromas can improve performance and capacity to remember and they can make you alert or relaxed and change your mood. Aromatherapy uses natural aromas, which have, of course, been used for similar purposes throughout centuries. But, while it is nice to have one’s work confirmed, we now have the situation where even more man-made, synthetic, non-biodegradeable chemicals will be pumped into the atmosphere. Do we really need them when naturals will do it aswell, if not better? The reason aroma has such a direct action on the brain is that aroma molecules connect with receptor cells in the cilia extending from the two olfraction bulbs- which are themselves actually an extension of and part of the brain. Olfaction is thus the most direct interface between the brain and the outside world. Through our sense of smell, aroma molecules set off a cascade
of reactions involving proteins, enzymes, cell depolarization and second messengers- all leading to an electrical impulse being sent to the brain. The part of the brain most directly involved is the limbic system, evolutionarily the oldest part of the brain, and home of our emotions. The olfaction bulbs are extraordinary organs, looking like two small upside-down spoons. Directly under th match-head-sized bulbs in the cribiform plate, thin bone, but the olfactory neurones pass through perforations in this and end-inside the nose- in protein-rich-cilia, which are the site of the receptor cells and ion channels which convert an odour into, eventually, an electrical impulse to the brain. That’s the theory anyway; it has not been proved. The cilia are emebedded in a layer of mucus which is about the size of two shirt buttons on the top and either side of the nasal cavity. Aroma molecules must pass through this before reaching the receptor cells on the cilia. I think that the use of smells and scents at specific locations will dramatically enhance the wayfinding experience. However I personally believ that this will not be a strong enough concept to be a stand-alone design. Instead, I feel the introduction of another wayfinding sytem, maybe something visual will be more efficient.
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AlanHirsch
DR ALAN HIRSCH WAYFINDING
GatheringIdeas
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GatheringrIdeas
FINAL CONCEPT FinalConcept
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Focusing on scent trails was our main focus when visualising our final concept. To enable the residentâ&#x20AC;&#x2122;s to locate themselves around the building, we thought that at least another scent had to be in operation for effective wayfinding. Researching into Peter de cupere and the Proust effect led us to believe that smell was one of the strongest senses. It was considered one of the last senses to leave the human body whilst suffering from Alzheimerâ&#x20AC;&#x2122;s and other forms of Dementia. Considering that care homes arenâ&#x20AC;&#x2122;t the most pleasantly fragent of places, using scent emitters would most indefinately bring a pleasant atmosphere. In correlation to the smells, will also be the form of Graphics similar to Voskresenkoe. However, we interpreted different colour walls to enhance the visibility and further distinguish the wayfinding lines used. The variety of shapes and symbols will all be allocated to a different area within the building, and will be consistent throughout multiple homes within the UK, similar to the mass recognition of Blissymbolics and Isotype.
Exhibition
EXHIBITION Assignment4Wayfinding
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CRITIQUE FEEDBACK
To Consider: Dr Jan Weiner said he was very interested in using scent; the very ambitious system really works. Scent Dangerous? When you smell a scent for so long, you adjust to the smell. What about the people you struggle to smell? What about people who have colds? Why does a place smell the way it does? Do you have multiple diffusers placed in rooms? Sometimes people donâ&#x20AC;&#x2122;t want overwhelming smells in their own rooms? Maybe put it in the hallway only for a subtle implementation? Design of the rooms are nice but how does the navigation help? Smell maybe to remind you, but use visuals for a more reinforced wayfinding system? Pros Subconscious Wayfinding Great initiative approach Good starting point Emotional feel. Interesting approach Using scent is a clever way to wayfind. Cons Maybe look into the lines as patterns as they arenâ&#x20AC;&#x2122;t strong enough It works for some people, but there is something missing, it needs to work in conjunction with another system.
Self-Evaluation
SELF EVALUATION
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Throughout the project, I have thoroughly enjoyed focusing upon the conceptual approach to design, prioritizing the creative process and expanding upon the experiments before arriving at the final conclusion. I feel in doing so, I have broadened my skills in conceptual design since the first assignment. Although challenging at times to create an intuitive idea, it has been rewarding to create an effective final piece. In completing the project, I believe I will have more confidence to approach the process within the future. I have particularly enjoyed researching into the psychological aspects of the project; as it allowed myself to look at the process from another angle. Undergoing Primary research, proved quite difficult due to the nature of the brief. After contacting several care homes in order to gain an insight of the environment which we are focusing in, none of which replied to my request. The visiting professor Dr Jan Weiner, however provided us with an insight into the Psychology aspect of typical and atypical ageing. For the project, secondary research proved more effective in gathering an insight into Dementia. Furthermore, researching into Phillips’ LED carpet design and Voskresenksoe inspired our final piece. The Proust effect was also a key aspect within our project. This relevant theory allowed us to explore into scent trails and to combine this with Dr Jan Weiner’s research into Dementia and Way finding. Exploring a wide range
of ideas, processes and materials throughout the brief was imperative to arrive at the most effective conclusion. Managing patients suffering from Dementia. It would have been an amazing opportunity to gather an insight into a care home, and given more time, actually apply some of the techniques created by our group. Documenting my processes and experiments allowed me to improve upon my previous ideas, and elaborate further to create a more effective design. I believe one of my strengths within this project is undergoing a significant amount of research into not only wayfinding, but also psychology, scent trails and Dementia all of which are essential to create the final outcome. Also I believe I have created a strong amount of quality conceptual sketches, and in doing so, I had created a strong visual aid whilst thinking of final pieces. The weaknesses within the project are that I wish I had experimented more with materials and technological techniques. Although the project was mainly conceptual, I wish I had the time to create more professional final pieces. I have learnt an extensive amount of information around Dementia, and the Psychology of wayfinding in order to approach the brief. Also I have extended my knowledge of creating a design after deep consideration instead of jumping straight to the conclusion. Honestly, I don’t feel like the work I am producing is of any professional quality. Maybe
if I had a longer time scale in order to produce a more effective design, I would be able to spend as much time designing as I do creating a concept. To improve the project, I have designed a fibre optic carpet, that would be placed on the wall about five feet high. In order for the design to work, the patients would select a place in which they would like to go on a tablet like device. Once they have selected the place in which they are going, once they touch the carpet; due to its soft and irresistible feel, the microfibers will detect the patient through fingerprint recognition. At each significant area, a ‘landmark’ will be placed to easily distinguish the areas. Also located at each of these areas will be another tablet like device so the user can select a new location, otherwise the carpet will automatically direct the patient back to their room. To enforce the locations around the home, scents will be circulating around the area. Each of the lines and areas will be of a different colour for the patients to easily distinguish areas further. I believe that the group worked poorly together, due to the lack of organisation to the final project. It felt like the final concept wasn’t executed as well as it could have been. After the extensive amount of research, I believe that the final outcome could have been improved in a multiple amount of ways. I personally need to work on time management, similar to the first assignment, as I personally don’t feel like I had time to complete an effective final outcome.
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Assignment4Wayfinding
Self-Evaluation
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INDIVIDUAL RESPONSE IndividualResponse
IndividualResponse light carpet on touch, and in that way, the patients also have a physical guide in which they can follow through touch. Another concept would be for the patients to wear bracelets, and when the bracelet would be in range of the carpet, it would guide them to their destination. However, the patients may not want to have a wrist band on all day long, nor constantly be followed by lights, and after considering this, I belieev the first concept is a much stronger one. In correlation to the lines used on the strip, there will also be a landmarking icon, such as a tree or lighthouse at each location. Each of these will be further stimulated through the sense of smell, in which we have much faith in being a supporting wayfinding system.
Assignment4Wayfinding
One of the main health hazards which has been considered is the cultivating of Bacteria along this surface, as it is sure to be prone to the growth of harmful Bacteria through the contact of multiple hand surfaces. We have come up with a quite simplistic solution to this problem, and that is that the material used will be completely waterproof; able to withstand any disinfectant. Once the patient has reached his/her destination, there will be another tablet-like device at that area before you leave the room, in which the resident can select to go to another area. If they do not wish to go to another area, or they simply forget to do so, then the sign strip will automatically lead them back to their room. One main issue raised with this concept, is that we donâ&#x20AC;&#x2122;t want the home looking like some sort of light show, and that we want it to feel as homely as possible. One way in which we can solve this is to activate the
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My Individual response to the wayfinding project, after recieveing feedback is that the concept to needs to be improved in multiple ways. One in particular, is to come across more visually. This is completely understandable as the people we are directing our design towards may have an impaired sense of smell. For me to tackle this issue, I have decided to create some sort of interactive signage system. Initially, each room will be placed with a tablet-esque screen, in which the patient will select where they are wanting to go to. Then, once they leave the room, they will be guided by a strip along the wall. Now to consider for those with impaired eyesight, the strip will look and feel almost like a carpet. However, each strand of â&#x20AC;&#x2DC;hairâ&#x20AC;&#x2122; will in fact be a fibre optic cable. This system, will pulsate lines similar to the ones above to guide the person to where they are wanting to go.
Brief Assignment4IndustryBrief The Problem Coach Travel has a big perception problem. People see it as a holi- day choice for the grandparents, a last resort option, or just ummm... s**t. Worst of all, Eurolines isn’t even seen as great value - Mega bus has that dialed. Oh and who the hell are Eurolines anyway? Eurolines is a part of National Express. The master brand resonates far better - how can we piggy back that? Our Goal. To connect Europe. We have over 600 destinations. The core of these being London Victoria to Paris, Brussells and Amsterdam. We take you from one city centre, right to the heart of another.
Who are we talking to? Good question. Unfortunately Eurolines has a bit of a split personal- lity. On one hand it’s students like you, their loan has just landed and they’re going on a balls to the wall blow out in Amsterdam. On the other, it’s UK and Non-UK people (typically 22-35) visiting friends and relatives for a good old catch up (emotional stu - think reunions). So what’s the task? We need an integrated campaign that targets both audiences (together or seperately), showing that we connect Europe. A more linked aproach between National Express and Eurolines gives us a strong brand benchmark, allowing us to talk con dently about coach travel. Europe is awesome, and we take you their cheaply, e ciently and right to the city centres.
Anything else to throw in the mix? - More and more people are brought into the UK from all around the world. It’s a big missed op- portunity if we don’t look at ways to speak to this audience. - Awareness is of Eurolines is low so consider this in your media mix. - Think about key times of year for travel. - Featuring price points would also be awesome. -Technically there’s pretty much unlimited baggage with Eurolines. - The key competitors are Megabus and IDbus. Deliverables and Mandortry stu . Think lower budget (not TV) but don’t let that hold you back. Check out Eurolines.co.uk & Facebook/ EurolinesUK for tone of voice and brand inspiration.
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Rationale
ASSIGNMENT 5
Assignment5IndustryBrief
rative teams on an industry led brief to a tight deadline. Each team will present their work to industry professionals.
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Rationale 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 collabo-
UncoveringEurolines
UNCOVERING EUROLINES We’re the UK’s top provider of scheduled coach travel to Europe. This is your easy way to make sure you don’t miss out on all that Ireland and Europe have to offer. As part of National Express, we can offer connections by coach from all over the UK.
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UncoveringEurolines
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GATHERING RESOURCES GatheringResources
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AppConcept
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GatheringIdeas
StoryboardPosterConcept
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StoryboardPosterConcept
PosterConcepts
POSTER CONCEPTS
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PosterConcepts
PresentationSlides
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an insight into how these smaller Graphic Design Agencies work and function. Our presentation was designed to be straight to the point of the concept; to convey our idea efficiently.
Furthermore, this allowed our group to engage in communication with the members of the visiting Agency.
WalkerAgencyPresentation Assignment5IndustryBrief
Presenting our ideas to members of the Walker Agency and being given the opportunity meet and collaborate with an Industrial company was a great chance to grasp
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WALKER AGENCY PRESENTATION
Assignment5IndustryBrief
CRITIQUE FEEDBACK
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Concept: 30th anniversary of Eurolines. Group Feedback: Life experience- told through life story in 5 year jumps. Agency asked if parents needed to die?- maybe a bit too extreme. The life story is the real strength of the idea. It also says 30 years of trust- Great! The celebration is great idea and could be pushed further. Some great copyEurolines creates moments in your life; â&#x20AC;&#x153;660 possibilitiesâ&#x20AC;?great too! Research led to destinations Good art direction Slight mixed message with poster concept. Generally it felt like the group had worked well together and the presentation felt coherent and upbeat. Individual Feedback: Callum- the personal stories of coach travellers were good/ personal touch and engaged agency. Hannah- consider using reminder cards to help keep focus and ease nerves Helen- be careful not to interupt client or peers- while still maintaining enthusiasm.
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ited to what we could produce. Allowing us to gain an insight into an Industry was advantageous, as it allowed us to work to a tight schedule; similar to Industrial briefs. The strengths of the project, was the fact that we managed to work efficiently to a short time schedule, and produced an intriguing and effective concept in correspondence to the brief. The weaknesses of the project were that we were unable to obtain the effective images required to gain the full idea that we, as a group, were thinking of. Also, I believe that we should have been more original when thinking of the Graphics of the Posters. One advantage to our storyboard concept, was that it carried the potential to be applied to multiple platforms. The group as a whole, worked really well together. We all contributed to the final presentation and were all willing to take the project as far as it could potentially go within the time scale. To improve upon the project, I believe that we need to gather the images required to create the effective storyboard campaign, as well as designing some effective and striking graphics to correspond with the redesigning of the brand. Personally, I believe that I need to create more conceptual sketches, and also create more final designs, as I personally think that I haven’t created any effective designs. Also, I believe that I need to work on gathering more Primary Research.
SELFEVALUATION
For a short time-scale given within this brief, focusing upon the process of the design seemed easier than the other projects. After gathering a deep insight into the Eurolines company and how they operate, we then began thinking of ideas on how to connect Europe and bring people closer together. The main competition we believed was other bus companies such as MegaBus and National Express, which do in fact travel to specific points in Europe. In comparison, Eurolines travels to over 600 destinations. In order to do such a thing, we decided to target a more family orientated audience. Our first thoughts were to create an app, that would do multiple functions such as allowing the passenger to track their locations, book hotels and share photos of the areas they visit using Eurolines. However, we believed that an app would only target a specific audience; those with access to recent technology. Also, we believed that one of Eurolines biggest problems was the fact that they were celebrating their 30-year anniversary yet no one actually knew anything about them. After realising this, we decided that our biggest goal would be to advertise the company to the largest audience possible. Considering the short time scale in which we worked in, we experimented with a few concepts and designs, which led us to our final concept of the storyboard. Furthermore, the Primary research of this project was limited, as we weren’t able to take photos around Europe and ask people questions about Eurolines as a company. However, having the design agency; ‘WalkerAgency’ come into the University to speak to us and provide us with the Primary Research required. I believe we have explored a range of potential ideas, however due to the specific nature of the brief, we were lim-
Brief Assignment6JourneyBook
ASSIGNMENT 6
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Rationale This project will give you the opportunity to select, organise and structure information through visual systems using grids, typography, composition, hierarchy, colour, etc. You will document and tell the story of your design process through a systematic and considered presentation. Assignment brief Produce a journey book that communicates the journey of your Visual Systems unit.
Consider carefully how you document the development and realisation of your work. Tell the story. Think about the narrative of the elements that you include. Be selective. You are encouraged to evaluate and edit your work. Include key research, insights, design thinking, testing, experiments, critical analysis and all material that is relevant to your creative process. This should also include photographed pin-up reviews and prototypes, iterations
of key design elements and re ections on your design development. It is important that you consider: • Typeface selection • Hierarchical structures and systems • Tone of voice • Legibility / Readability / Narrative • Grids / layout • Format
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ExtractMaking&BreakingtheGrid Page134
ism restated that long-ingrained sense of order, formalizing yet another degree and transforming it into an established part of design. The typographic grid- a fundamental tenet of the international style- is an orthoganal planning system that parcels information into manageable chunks. The assumption of this system isb that placement and scale relationships between informational elements- whether words or images- help an audience understand their meaning. Like items are arranged in similar ways so that their similarities are made more apparent and therfore, more recognizable. The grid renders the elements it controls into a neutral spatial field of regularity that permits accesibility- viewers know where to locate information they seek because the junctures of horizontal and vertical divisions act as signposts for locating that information. The system helps the viewer understand its use. In one sense, the grid is like a visual filing cabinet. The history of the gridâ&#x20AC;&#x2122;s development is convoluted and complex. Modern graphic design, as we know it, is a young profession, but incidences of grid use predate the Romans and Greeks; a full expositionof that history would be impossible here. For our purposes, the grid that is used in Western graphic design involved during the industrial Revolution. Ideas circulate oin artistic
communities, however; trying to pinpoint the precise genesis of one does history a dissersive. Gathered here is a rather simplified overview a complicated process. Contributions by thousands of designers, over more than a century, have been generalized into a few pages; many have been overlooked or mentioned only briefly in passing. The bibliography at the end of this book will help interested readers pursue a more in-depth understanding of this intricate subject. All design work involves problem solving on both visual and organizational levels. Pictures and symbols, fields of text, headlines, tabular data: all these pieces must come together to communicate. A grid is simply one approach to bringing those pieces together, Grids can be loose and organic, or they can be rigorous and mechanical. To some designer, the grid represents an inherent part of the craft of designing, the same way joinery in furniture making is a part of that particular craft. The history of the grid has been part of an evolution in how graphic designers think about designing, as well as a repsonse to specific communication and production problems that needed to be solved. A grid consists of a distinct set if alignment-based relationships that act as guides for disturbing elements across a format. Every grid contains the same basic parts, no matter how complex the grid becomes. Each part fulfills a specific function; the parts can be combined as needed, or omitted from the overall structure at the designerâ&#x20AC;&#x2122;s discretion, depending on how they interpret the informational requirements of the material. A grid is truly successful only if, after all of the literal problems have been solved, the designer rises above the uniformity implied by its structure and uses it to create a dynamic visual narrattive of parts that will sustain interest page after page. The greatest danger in using a grid is to succumb to its regularirty.
MAKING& BREAKING THE GRID
Assignment6JourneyBook
The typographic grid is an organizing principle in graphic design whose influence is simultaneously ingrained in current practice and fought over in design education, revered and reviled for the absolutes inheritent in its conception. It is a principle with roots in the oldest societies on the planet. Eking out an existence with some kind of meaningand creating an understandable order for that meaning- is one of the activities that distinguishes our species from all others. Structural thinking, even before its latest codification through European and American Modernism, has been a hallmark of cultures struggling towards civilization. The Chinese, the Japanese, the Greeks and Romans, the Incaall these cultures have pursued structural ideas in laying out their towns, conducting warfare, and arranging images. In many instances, that structure was predicted on the notion of intersecting axes that correspond to the intersection of sky and Earth. The grid instituted by Modern-
rational theoretical approach that underpins their form. The shapes of signal panels are chosen for their ability to make a strong visual impression. Form follows function.
ExtractLefttoRight
beyond the boundaries associated with any single spoken language. The sheer volume of human traffic through public spaces means that physical signs have become an unavoidable part of our environment. The design of pictograms has a
Assignment6JourneyBook
The Pictogram Much of our daily life is assisted and structured through the use of pictograms that functions directions, orders, warnings, prohibitions or instructions. Transport systems and other business-related networks now extend well
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human communication. This writing would be free of the need to translate speech and independent of the alphabet. Such a writing system could operate outside the normal territorial boundaries of politics. This system would be more like musical or mathematical notation. If music can be described as a series of graphic marks without recourse to phonetic symbols, then why can this not be extended to other forms of the human experience? After all, music is widely recognised as having an international appeal and can be understood and appreciated all over the globe. There is of course plenty of scepticism about this idea. It is described by someone as a romantic notion based around a fascination with the mystical nature of eastern culture. Others see it as a linguistic impossibility. Certainly the structural view of the relationship between thought and sound suggests this idealistic paper with thought on one side and sound on the other. We cannot cut the front of the sheet without cutting the back at the same time. Sound and thought cannot be divided. In his compelling historical overview entitled The Story of Writing, the critic and author Andrew Robinson reaffirms this view. The accepted linguistic approach is that pictograms lack something and that something is sound. The signs are in effect too ‘open’. The argument follows that they are imprecise and they lack clarity and detail. Their interpretation is left to the sensibilities and cultural background of the reader and consequently their meaning is likely to change from reader to reader.
Definitions Analogue Codes Analogue Codes are paradigms where the distinctions between each unit are not clear; they operate on something more like a continuous scale. Music or dance, for example, could be described as analogue codes. However, many analogue codes are reduced to digital codes as a means of reproducing them in another form. Musical notation, for example, reduces the analogue qualities of sound to distinct notes with individual marks. Digital Codes In Image, Music, Text (1977), Roland Barthes poses the question whether it is possible to have codes that are analogical. For linguists, codes must be digital- that is to say that they are composed of a fixed number of units or digits. Digital codes are paradigms where each of the units in the set are clearly different from each other. The alphabet is arguably
the most common example of a digital code. Full Writing A system of graphic symbols that can be used to convey any and all thought. Iconic Signs Recognisable representation of an object. A photograph of someone could be described as an iconic sign in that it is a natural resemblance of the thing it represents. It is also possible to have iconic words where the sound resembles the thing it represents. Onomatopoeic words like ‘bang’ or ‘woof’ could be described as ‘iconic’. Semantic Signs Symbols that stand for ideas and do not denote sounds, i.e. a picture of a lion denoting bravery. Terms from The Domain of images by James Elkins: 1.Allographs This includes calligraphy, typography, palaeography and layout. It is the sum of changes that can be made to alphabetic shapes without losing identity. 2.Semasiographs Pictographic scripts where the images are the writing rather than on writing (as in Allographs) 3.Pseudo writing A set of signs that appears to be writing, but does not function as a record of languages or a transcription of a full system of writing. 4.Subgraphemics Clear signs that fail to show any order of arrangement. These are described as being at the border of ‘pure’ pictures you removed from them. 5.Hypographemics Images that seem that they might be read, but lack a disjoint signary. 6. Emblemata Any image that includes an explanatory text. Without the text, the image would be baffling, so the two work together to make sense. 7.Schemeta Images that have fewer pictures and texts, but a high proportion of notation. The sociologist Scott Lash offers us a theoretical structure that might help us understand the shift from text to image. In essence, Lash’s proposal is based around a contrast between what he calls the ‘discursive’ modernist sensibility from the ‘figural’ post-modernist sensibility. The 17th century philosopher, Gottfried Wilhelm von Leibniz was the first to imagine a contemporary full writing system where images could be used to describe all
LEFT TO RIGHT
In Type, Sign, symbol, Adrian Frutiger suggest that there are essentially two main types of signs- pictorial and alphabetical. Pictorial scripts use pictures to represent objects, actions or ideas and it is generally agreed that there are traces of this in most alphabets. Chinese script, for example, has retained some of its pictorial nature despite evolutionary change. He describes alphabetical scripts as writing where the pictures have changed over the centuries to become phonetic signs, reduced to simplified strokes and eventually to abstraction through the practice of writing. In the Latin alphabet the letter ‘A’ begins life as a drawing of a bull’s head before turning upside down to become the letter we now recognise. Grouping signs into two broad areas of ‘pictorial’ and ‘alphabetical’ is very practical and useful, and it helps us to describe the evolution of ancient writing in general terms. Common sense would suggest that in most cases, words and images are easily identifiable. According to Leonard Schlain, the activities of reading images and reading words can be differentiated through the way that the brain behaves in each case. He describes a situation where the left side of the brain would be active in ‘reading this page’, but would rest while the right side of the brain engaged when ‘watching images on television’. However, this apparent polarity between words and images is a fairly simplistic definition that doesn’t take account of some of the complexities and subtleties at play in the act of ‘reading’.
ExperimentingwithGrids
To obtain an effective grid system, I decided to experiment with several styles of Grids. The first consisted of twelve rows and three columns, the second consisted of twelve rows and six columns, the third, zero rows and three columns and the fourth, six rows and six columns. After experimenting with multiple systems, these four were the final four I decided to elaborate upon and demonstrate. The one used throughout this book consists of six columns and twelve rows as I wanted my journey book to look like a sketch book and not be constricted by a tight grid system. However, I felt that having six columns and twelve rows for guidance allowed for readability and legibility.
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EXPERIMENTING WITH GRIDS
Assignment6JourneyBook Rows: 12 Columns: 3 Margin: 6mm
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Rows: 12 Columns: 6 Margin: 6mm Assignment6JourneyBook
ExperimentingwithGrids
ExperimentingwithGrids
EXPERIMENTING WITH GRIDS
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Rows: 6 Columns: 3 Margin: 6mm
ExperimentingwithGrids Rows: 6 Columns: 6 Margin: 6mm
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Assignment6JourneyBook
The large margin around the page measures; Top:20mm, Inside: 30mm, Outside: 25mm and Bottom: 30mm. This was designed to be allocated to small notes extracted from my sketch book to reflect upon the research or experimentation
ExperimentingwithTypography
FuturaCondensedExtrabold
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HelveticaNeueCondensedExtrabold
HelveticaNeueBold
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HalloSansBlack
EXPERIMENTING WITH TYPOGRAPHY EXPERIMENTING WITH TYPOGRAPHY EXPERIMENTING WITH TYPOGRAPHY EXPERIMENTING WITH TYPOGRAPHY EXPERIMENTING WITH TYPOGRAPHY EXPERIMENTING WITH TYPOGRAPHY
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Tem volorio ellaborunt ommod magnimin re volute dolorestem idero maximpo restibus volo venimaxim faces apit ut dollandus dolupta nonseque raesequi se volo verae et minum enimagnam, omnim rest et a volupta tionecab invelloria quistota vendel magnimaximi, tem repedicae sum, quiaece aquam, eatur asitataque plia qui in porectur aut excepe custet, optam is venecto ideles imus aut omni bla explit, eius. Vid qui omnimin umquatur, te sit alitemqui optate voloreprem verumqui omnistr umquae
Tem volorio ellaborunt ommod magnimin re volute dolorestem idero maximpo restibus volo venimaxim faces apit ut dollandus dolupta nonseque raesequi se volo verae et minum enimagnam, omnim rest et a volupta tionecab invelloria quistota vendel magnimaximi, tem repedicae sum, quiaece aquam, eatur asitataque plia qui in porectur aut excepe custet, optam is venecto ideles imus aut omni bla explit, eius. Vid qui omnimin umquatur, te sit alitemqui optate voloreprem verumqui omnistr umquae
Tem volorio ellaborunt ommod magnimin re volute dolorestem idero maximpo restibus volo venimaxim faces apit ut dollandus dolupta nonseque raesequi se volo verae et minum enimagnam, omnim rest et a volupta tionecab invelloria quistota vendel magnimaximi, tem repedicae sum, quiaece aquam, eatur asitataque plia qui in porectur aut excepe custet, optam is venecto ideles imus aut omni bla explit, eius. Vid qui omnimin umquatur, te sit alitemqui optate voloreprem verumqui omnistr umquae
Tem volorio ellaborunt ommod magnimin re volute dolorestem idero maximpo restibus volo venimaxim faces apit ut dollandus dolupta nonseque raesequi se volo verae et minum enimagnam, omnim rest et a volupta tionecab invelloria quistota vendel magnimaximi, tem repedicae sum, quiaece aquam, eatur asitataque plia qui in porectur aut excepe custet, optam is venecto ideles imus aut omni bla explit, eius. Vid qui omnimin umquatur, te sit alitemqui optate voloreprem verumqui omnistr umquae
Tem volorio ellaborunt ommod magnimin re volute dolorestem idero maximpo restibus volo venimaxim faces apit ut dollandus dolupta nonseque raesequi se volo verae et minum enimagnam, omnim rest et a volupta tionecab invelloria quistota vendel magnimaximi, tem repedicae sum, quiaece aquam, eatur asitataque plia qui in porectur aut excepe custet, optam is venecto ideles imus aut omni bla explit, eius. Vid qui omnimin umquatur, te sit alitemqui optate voloreprem verumqui omnistr umquae
Assignment6JourneyBook
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Tem volorio ellaborunt ommod magnimin re volute dolorestem idero maximpo restibus volo venimaxim faces apit ut dollandus dolupta nonseque raesequi se volo verae et minum enimagnam, omnim rest et a volupta tionecab invelloria quistota vendel magnimaximi, tem repedicae sum, quiaece aquam, eatur asitataque plia qui in porectur aut excepe custet, optam is venecto ideles imus aut omni bla explit, eius.
Tem volorio ellaborunt ommod magnimin re volute dolorestem idero maximpo restibus volo venimaxim faces apit ut dollandus dolupta nonseque raesequi se volo verae et minum enimagnam, omnim rest et a volupta tionecab invelloria quistota vendel magnimaximi, tem repedicae sum, quiaece aquam, eatur asitataque plia qui in porectur aut excepe custet, optam is venecto ideles imus aut omni bla explit, eius. Vid qui omnimin umquatur, te sit alitemqui optate voloreprem verumqui omnistr umquae
Tem volorio ellaborunt ommod magnimin re volute dolorestem idero maximpo restibus volo venimaxim faces apit ut dollandus dolupta nonseque raesequi se volo verae et minum enimagnam, omnim rest et a volupta tionecab invelloria quistota vendel magnimaximi, tem repedicae sum, quiaece aquam, eatur asitataque plia qui in porectur aut excepe custet, optam is venecto ideles imus aut omni bla explit, eius.
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MinionProRegular
ExperimentingwithTypography
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ExperimentingwithTypography
Assignment6JourneyBook
EXPERIMENTING WITH TYPOGRAPHY
Page142
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
ExperimentingwithTypography
The Quick Brown Fox Jumped over the Lazy Dog
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog. The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
Assignment6JourneyBook
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
The Quick Brown Fox Jumped over the Lazy Dog.
Page143
The Quick Brown Fox Jumped over the Lazy Dog.
BarcodingSystem Assignment6JourneyBook Due to the whole brief being focused upon systems used within Graphic Design, I wanted to integrate some form of system into my Journey Book. The most effective way I thought of was using the QR Barcode
BARCODING SYSTEM
System. After downloading and using a QR Scanner on your smart phone, you are able to be redirected to thedesignated site; whether that be a research page, video or simply just an image. I found this way of including
a system into my book allowed for people to go and do extra research on the topics for themselves. Furthermore, this system gives more credit to the pages in which I gathered the research.
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Red
Light
Dark
I decided to focus upon these three colours to use throughout my book, due to their stark contrast and their ability to attract the readerâ&#x20AC;&#x2122;s attention to specific areas of a page. I usually use black, white and grey within my colour schemes within books, however I decided to experiment with a different
approach, and personally I do prefer these colours. The three colours used are the last in each of the three columns. The red used is a slightly off cherry red, as a pure red was too vibrant to be used against the pale beige colour. The pale beige colour was to replace the paper white of the typical paper surface.
Due to my intention of recreating the style of a sketch book, I believed this colour works well. The black used however is pure plack on the CMYK scale, as this is always the perfect contrast with almost every lighter colour.
Page145
Assignment6JourneyBook
ColourSystem
COLOUR SYSTEM
Self-Evaluation
Assignment6JourneyBook
Page146
PROJECT SELFEVALUATION
Self-Evaluation
to be a quicker paced discussion and allowed us to arrive at a conclusion faster than it did with a larger group. Also, if we needed further advice or recommendations, it was easier to gain necessary feedback from fellow groups. I did particularly enjoy experimenting with several projects and displaying the development of each one within the Journey Book. This is a professional way of displaying our creative processes alongside our research and development of the projects. Ways in which I believe I can improve, are ways in which I have struggled with throughout each individual assignment. My time management throughout this project has been poor, and I wish that I also would have experimented more before arriving to the final conclusions. However, I believe that throughout the project, I have learnt a considerable amount of new information, within design, psychology and other real world situations; all of which is applicable to projects within the future.
Assignment6JourneyBook
when developing our ideas, however it has felt that almost all of our research secondary. The short time frame in which we had to complete all of our projects enforced us to rely solely on the work of others. For some projects, in which we had less than a week to complete, we were unable to conduct our own experiments and data gathering In contrast, the most influential primary research we underwent was the gathering of Bacterial samples for our first project. This and the visit from neighbouring Bournemouth University Professor; Dr Jan Weiner. This allowed us to gain an indepth analysis of Dementia and its background which was most beneficial. The majority of this project was focused around group work and discussion, which did seem to slow down the pace of the projects, however seemed beneficial when gathering ideas and creating concepts. The various sizes of the groups allowed me to see which number of people I work best with, and in this case, I preferred working in smaller groups, as it seemed
Page147
The aim of this project is to derive us from coming to immediate conclusions in our head, and to elaborate upon the development stages of the design process. I personally believe that the briefs provided have certainly achieved this. The short time frames in which we have been required to work have been rather intense and demanding to create a vast array of conceptual designs for a multitude of audiences and purposes. Considering the purpose of the brief, I have thoroughly enjoyed the challenge of developing conceptual designs in depth, however I have been slightly disappointed that we have not had the opportunity to create a final piece. I feel we have had the chance to create an amazing and advanced conceptual design, yet we havenâ&#x20AC;&#x2122;t had the chance to put it into practice by having the time to create a final product. For example, the Wayfinding brief would have been an amazing opportunity to create some stunning visuals to put into our portfolios for interviews as a complete project used within the real world. Secondary and Primary research have proved essential
Bibliography Assignment6JourneyBook Page148
2015 Fuller Challenge Semi-Finalists (2014) Available at: https://bfi.org/dymaxion-forum/2014/07/google-steam-ing-code (Accessed: 6 October 2015). Agar Powder Preparation Recipe - Science Fair Project Ideas (no date) Available at: http://www.sciencestuff.com/playground/agar_powder.shtml (Accessed: 6 October 2015). Ambushes (no date) Available at: http://enohenze.de/ambush/ (Accessed: 12 October 2015). Atkinson, J. (2002) Trauma Trails, Recreating Song Lines. United States: Spinifex Press. BBC (no date) Homes - Design - 1950s. Available at: http://www.bbc.co.uk/homes/design/period_1950s.shtml (Accessed: 22 October 2015). Beekmans, J., de Boer, J. and Nowek, A. (2010) ‘Arrow, Crane’, 4 February. Available at: http://popupcity.net/arrow-crane/ (Accessed: 22 October 2015). Blissymbolics (1998) Available at: http://www.omniglot.com/writing/blissymbolics.htm (Accessed: 18 October 2015). Blissymbolics (2013) Available at: http://joachimesque.tumblr.com/post/60456535396/blissymbolics (Accessed: 15 November 2015). BlogShopping basket (2015) Available at: https://uniteditions.com/blog/supergraphics-morag-myerscough/ (Accessed: 22 October 2015). Booth-Clibborn Editions – I Am A Camera: The Saatchi Gallery 2000 | Publication (2000) Available at: http://www.graphicthoughtfacility.com/booth-clibborn-editions-i-am-a-camera-publication/ (Accessed: 6 October 2015). Boulton, M. (no date) Five simple steps to designing grid systems - Part 1 | Journal | The Personal Disquiet of Mark Boulton. Available at: http://www. markboulton.co.uk/journal/five-simple-steps-to-designing-grid-systems-part-1 (Accessed: 6 October 2015). Brewer, J., Porter, J. and jbrewer (2010) Finding Your Way. Available at: http://52weeksofux.com/post/1049250085/finding-your-way (Accessed: 20 October 2015). Chalcraft, E. (2012) Hardcoded Memory by Troika at the Design Museum. Available at: http://www.dezeen.com/2012/09/13/hardcoded-memory-by-troika/ (Accessed: 2 October 2015). Cragg, M. (2011) Björk’s Biophilia. Available at: http://www.theguardian.com/culture/2011/may/28/bj-rks-biophilia (Accessed: 5 October 2015). Crow, D. (2006) Left to Right: The Cultural Shift from Words to Pictures. 1st edn. Lausanne, Switzerland: Distributed in the USA & Canada by Watson-Guptil Pub. Department of Health (2013) Launch of pioneering dementia care pilot projects. Available at: https://www.gov.uk/government/news/launch-of-pioneering-dementia-care-pilot-projects (Accessed: 22 October 2015). Design, ico (no date) Society for General Microbiology | About Microbiology - Introducing microbes - Bacteria. Available at: http://www.microbiologyonline.org.uk/about-microbiology/introducing-microbes/bacteria (Accessed: 6 October 2015). Development, S., Care, A., Wellbeing, Care, I. and Government, V. (2009) Wayfinding: Dementia-friendly environments – Victorian Government Health Information. Available at: http://www.health.vic.gov.au/dementia/strategies/wayfinding.htm (Accessed: 23 October 2015). Estates, N., Miller, C., Lewis, D. and Ltd, I. D. U. (1999) Wayfinding: effective wayfinding and signing systems ; guidance for healthcare facilities. London: Stationery Office Books. Eurolines (2015) Coach travel to Europe - holidays & trips from the UK. Available at: http://www.eurolines.co.uk/ (Accessed: 13 November 2015). Evolving Logo (2006) Available at: http://interaktivegestaltung.net/evolving-logo-2/ (Accessed: 12 October 2015). Felton, P. (2006) The Ten Commandments of Typography: Type Heresy: Breaking the Ten Commandments of Typography: AND ‘Type Heresy: Breaking the Ten Commandments of Typography’. New York: Merrell Publishers. High Contrast (2014) Available at: http://dementia.stir.ac.uk/design/good-practice-guidelines/colour-and-contrast (Accessed: 22 October 2015). How to Grow Bacteria in a Petri Dish (no date) Available at: http://www.wikihow.com/Grow-Bacteria-in-a-Petri-Dish (Accessed: 4 October 2015). Hubbard-Green, T. and Society, A. (no date) What is dementia?. Available at: http://www.alzheimers.org.uk/site/scripts/documents_info.php?documentID=106 (Accessed: 22 October 2015). IKEA: Homemade Is Best (2010) Available at: https://adsoftheworld.com/media/dm/ikea_homemade_is_best (Accessed: 6 October 2015). Interior wayfinding signage and signs | Architectural signage, interior and exterior signs: Signbox (2015) Available at: https://www.signbox.co.uk/ interior/wayfinding (Accessed: 6 October 2015). Love couple in Paris | CoolPicsme | HD - image #890327 by rickkang on Favim.com (2013) Available at: http://favim.com/image/890327/ (Accessed: 6 November 2015). Lövdén, M., Schaefer, S., Noack, H., Bodammer, Christian, N., Kühn, S., Heinze, H.-J., Düzel, E., Bäckman, L., Lindenberger, U. and Bodammer, N. C. (2012) Spatial navigation training protects the hippocampus against age-related changes during early and late adulthood. Available at: http://www. neurobiologyofaging.org/article/S0197-4580(11)00042-X/abstract (Accessed: 22 October 2015). Menu (2014) Available at: http://www.eea.europa.eu/about-us/what/shared-environmental-information-system-1 (Accessed: 2 October 2015). Morag Myerscough | Archive | The Typographic Circle (no date) Available at: https://typocircle.com/archive/poster/morag-myerscough1 (Accessed: 22 October 2015). Morris, R. (1984) ‘Developments of a water-maze procedure for studying spatial learning in the rat’, Journal of Neuroscience Methods, 11(1), pp. 47–60. doi: 10.1016/0165-0270(84)90007-4. Muller-Brockmann, J., Müller-Brockmann, J., Müller-Brockmann, J., English and Stephenson, D. Q. (1996) Grid Systems in Graphic Design: A Visual Communication Manual for Graphic Designers, Typographers and Three Dimensional Designers. New York, NY: Hastings House Publishers. Nokia’s ‘world’s biggest signpost’ in London (2010) Available at: http://www.wirefresh.com/nokias-worlds-biggest-signpost-in-london/ (Accessed: 22 October 2015). Olfactory video: DRUNKEN (2015) Available at: http://www.peterdecupere.net/ (Accessed: 23 October 2015). Ori Elisar grows typography in a lab using bacteria-based ink (2015) Available at: http://www.dezeen.com/2015/09/14/ori-elisar-grows-letterforms-labusing-bacteria-filled-petri-dishes-hebrew/ (Accessed: 6 October 2015). Ovsyannykov, I. (2012) Top 40 Book Recommendations For Designers. Available at: http://inspirationfeed.com/articles/design-articles/top-40-book-recommendations-for-designers/ (Accessed: 8 October 2015). Photographer Immerses His Film in Live Bacteria for Years to Create Unique Portraits (2014) Available at: http://petapixel.com/2014/09/25/impermanence-lets-loose-live-bacteria-on-negatives-of-portraits-for-mesmerizing-results/ (Accessed: 6 October 2015). Psychology and Smell (no date) Available at: http://www.fifthsense.org.uk/what_is_smell/psychology/ (Accessed: 23 October 2015). Samara, T. (2002) Making and Breaking the Grid: A Graphic Design Layout Workshop. Gloucester, MA: Rockport Publishers. Similar Diversity (2007) Available at: http://andreaskoller.com/Similar-Diversity (Accessed: 12 October 2015). Stephan und Andreas Lauhoff (no date) Available at: http://gestaltung.fh-wuerzburg.de/stephan-und-andreas-lauhoff (Accessed: 5 October 2015). Stunningly Simple Minimalist Cookbook: The IKEA ‘Homemade Is Best’ | Jeannie Huang (2011) Available at: http://www.jeanniejeannie.com/2011/08/ stunningly-simple-minimalist-cookbook-the-ikea-homemade-is-best/ (Accessed: 6 October 2015). Take Two Wearables and call me in the morning (2013) Available at: http://www.digitalistmag.com/industries/healthcare/take-two-wearables-call-morning-0524096 (Accessed: 6 November 2015). Tate, T. (2014) Information Wayfinding, Part 3: Designing for Wayfinding:: UXmatters. Available at: http://www.uxmatters.com/mt/archives/2014/03/
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information-wayfinding-part-3-designing-for-wayfinding-1.php (Accessed: 21 October 2015). The Importance of Correct Sampling and Swabbing in ICM Programs - Kaivac Cleaning SystemsTM (no date) Available at: https://www.kaivac. com/a_53-The-Importance-of-Correct-Sampling-and-Swabbing-in-ICM-Programs (Accessed: 7 October 2015). Thrift, J. and Roberts, L. (2002) The Designer and the Grid. 1st edn. Switzerland: Rockport Publishers. Traffic signs » The Highway Code » The Interactive Highway Code CD-ROM (no date) Available at: https://dl.weeaboo.com/dsa/hwc/highway-code/ chapter-20.html (Accessed: 2 October 2015). Transport and House, W. (no date) Design standards - Transport for London. Available at: https://tfl.gov.uk/info-for/suppliers-and-contractors/design-standards?intcmp=4530 (Accessed: 2 October 2015). Type Families (no date) Available at: http://www.fonts.com/content/learning/fyti/typefaces/families (Accessed: 2 October 2015). Types of Bacteria (2015) Available at: http://www.newhealthguide.org/Types-Of-Bacteria.html (Accessed: 6 October 2015). Van Buskirk, E. (no date) Bjork’s Lead App Developer on Music, Nature, and How Apps Are Like ‘Talkies’ (Part One). Available at: http://evolver. fm/2011/07/26/bjorks-lead-app-developer-on-how-music-nature-and-how-apps-are-like-talkies-part-one/ (Accessed: 5 October 2015). Wayfinding for the Visually Impaired (no date) Available at: https://segd.org/wayfinding-visually-impaired (Accessed: 21 October 2015). What is Augmented Reality? (2012) Available at: http://onvert.com/guides/what-is-augmented-reality/ (Accessed: 15 October 2015). What is a system? definition and meaning (no date) in Available at: http://www.businessdictionary.com/definition/system.html (Accessed: 2 October 2015). Worwood, V. A. (1997) The Fragrant Mind: Aromatherapy for Personality, Mind, Mood and Emotion. United Kingdom: Bantam Books (Transworld Publishers a division of the Random House Group). 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Available at: http://www.billingsjackson.com/projects/transport-and-urban/nyc-coordinated-street-furniture/ (Accessed: 20 October 2015). designworkplan (no date) Available at: http://designworkplan.com/wayfinding/introduction.htm (Accessed: 2 October 2015). designworkplan (no date) Available at: http://designworkplan.com/design/signage-and-color-contrast.htm (Accessed: 20 October 2015). greendiary.com, Opinionator, autoblog.com, cntraveler.com, TrendHunter.com, carrentals.co.uk, interiii.com, dezeen.com, ArchDaily, dezeen.com, weburbanist.com, decoist.com, Co.Design, archdaily.com, flickr.com, ArchDaily, culture24.org.uk, Architonic, wizzley.com and alliesandmorrison.com (2013) Architecture: Car Parks. Available at: https://www.pinterest.com/mrsmacey/architecture-car-parks/ (Accessed: 22 October 2015). kuschk (2010) The Top 8 Best-Selling Music Singles Featuring Place Names. Available at: http://basementgeographer.com/songlines-how-indigenous-australians-use-music-to-mark-geography/ (Accessed: 20 October 2015). (no date) Available at: http://gavingrindon.net/wp-content/uploads/2015/09/Gavin-Grindon-Cruel-Designs-at-Dismaland.pdf (Accessed: 2 October 2015). (no date) Available at: https://creativemarket.com/blog/2013/07/23/designing-a-brand-identity (Accessed: 2 October 2015). (no date) Available at: https://www.madewithcode.com/static/why-coding-is-kind-of-a-big-deal.pdf (Accessed: 2 October 2015). (no date) Available at: http://www.helpscout.net/blog/psychology-of-color/ (Accessed: 2 October 2015). poba (no date) Business travel by train. Business people during a train journey,.. Available at: http://www.gettyimages.co.uk/detail/photo/businesspeople-working-on-the-passenger-train-royalty-free-image/171579252 (Accessed: 6 November 2015). sisman, candas (no date) Candas sisman personal portfolio. Available at: http://www.csismn.com/filter/installation/F-L-U-X (Accessed: 6 October 2015). sisman, candas (no date) Candas sisman personal portfolio. Available at: http://www.csismn.com/filter/installation/Isofield (Accessed: 6 October 2015). sisman, candas (no date) Candas sisman personal portfolio. Available at: http://www.csismn.com/filter/installation/CYCL (Accessed: 6 October 2015). subdrewgans (2014) Good Books. Available at: http://www.graphicdesignforum.com/forum/forum/graphic-design/resources/1575145-good-books (Accessed: 8 October 2015). thomwhite (2013) Isotype Infographics, only an ocean between, 1943. Available at: http://www.thomwhite.co.uk/?p=1303 (Accessed: 15 November 2015). tourismspot (2015) Venice – romantic floating city, suitable for couple. Available at: http://tourism-spot.com/venice-romantic-floating-city-suitable-for-couple/ (Accessed: 6 November 2015). xMichaelSFx (2009) Nokia Signpost Arrow - Ovi Maps Ad. Available at: https://www.youtube.com/watch?v=RePnJfplFA8 (Accessed: 22 October 2015). Citations, Quotes & Annotations 2015 Fuller Challenge Semi-Finalists (2014) Available at: https://bfi.org/dymaxion-forum/2014/07/google-steam-ing-code (Accessed: 6 October 2015). (2015 Fuller Challenge Semi-Finalists, 2014) Agar Powder Preparation Recipe - Science Fair Project Ideas (no date) Available at: http://www.sciencestuff.com/playground/agar_powder.shtml (Accessed: 6 October 2015). (Agar Powder Preparation Recipe - Science Fair Project Ideas, no date) Ambushes (no date) Available at: http://enohenze.de/ambush/ (Accessed: 12 October 2015). (Ambushes, no date) Atkinson, J. (2002) Trauma Trails, Recreating Song Lines. United States: Spinifex Press. (Atkinson, 2002) BBC (no date) Homes - Design - 1950s. Available at: http://www.bbc.co.uk/homes/design/period_1950s.shtml (Accessed: 22 October 2015). (BBC, no date) Beekmans, J., de Boer, J. and Nowek, A. (2010) ‘Arrow, Crane’, 4 February. Available at: http://popupcity.net/arrow-crane/ (Accessed: 22 October 2015). (Beekmans, de Boer, and Nowek, 2010) Blissymbolics (1998) Available at: http://www.omniglot.com/writing/blissymbolics.htm (Accessed: 18 October 2015). (Blissymbolics, 1998) Blissymbolics (2013) Available at: http://joachimesque.tumblr.com/post/60456535396/blissymbolics (Accessed: 15 November 2015). (Blissymbolics, 2013) BlogShopping basket (2015) Available at: https://uniteditions.com/blog/supergraphics-morag-myerscough/ (Accessed: 22 October 2015). (BlogShopping basket, 2015)
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Booth-Clibborn Editions – I Am A Camera: The Saatchi Gallery 2000 | Publication (2000) Available at: http://www.graphicthoughtfacility.com/boothclibborn-editions-i-am-a-camera-publication/ (Accessed: 6 October 2015). (Booth-Clibborn Editions – I Am A Camera: The Saatchi Gallery 2000 | Publication, 2000) Boulton, M. (no date) Five simple steps to designing grid systems - Part 1 | Journal | The Personal Disquiet of Mark Boulton. Available at: http://www. markboulton.co.uk/journal/five-simple-steps-to-designing-grid-systems-part-1 (Accessed: 6 October 2015). (Boulton, no date) Brewer, J., Porter, J. and jbrewer (2010) Finding Your Way. Available at: http://52weeksofux.com/post/1049250085/finding-your-way (Accessed: 20 October 2015). (Brewer, Porter, and jbrewer, 2010) Chalcraft, E. (2012) Hardcoded Memory by Troika at the Design Museum. Available at: http://www.dezeen.com/2012/09/13/hardcoded-memory-by-troika/ (Accessed: 2 October 2015). (Chalcraft, 2012) Cragg, M. (2011) Björk’s Biophilia. Available at: http://www.theguardian.com/culture/2011/may/28/bj-rks-biophilia (Accessed: 5 October 2015). (Cragg, 2011) Crow, D. (2006) Left to Right: The Cultural Shift from Words to Pictures. 1st edn. Lausanne, Switzerland: Distributed in the USA & Canada by Watson-Guptil Pub. (Crow, 2006, p. 1) Department of Health (2013) Launch of pioneering dementia care pilot projects. Available at: https://www.gov.uk/government/news/launch-of-pioneering-dementia-care-pilot-projects (Accessed: 22 October 2015). (Department of Health, 2013) Design, ico (no date) Society for General Microbiology | About Microbiology - Introducing microbes - Bacteria. Available at: http://www.microbiologyonline.org.uk/about-microbiology/introducing-microbes/bacteria (Accessed: 6 October 2015). (Design, no date) Development, S., Care, A., Wellbeing, Care, I. and Government, V. (2009) Wayfinding: Dementia-friendly environments – Victorian Government Health Information. Available at: http://www.health.vic.gov.au/dementia/strategies/wayfinding.htm (Accessed: 23 October 2015). (Development et al., 2009) Estates, N., Miller, C., Lewis, D. and Ltd, I. D. U. (1999) Wayfinding: effective wayfinding and signing systems ; guidance for healthcare facilities. London: Stationery Office Books. (Estates et al., 1999) Eurolines (2015) Coach travel to Europe - holidays & trips from the UK. Available at: http://www.eurolines.co.uk/ (Accessed: 13 November 2015). (Eurolines, 2015) Evolving Logo (2006) Available at: http://interaktivegestaltung.net/evolving-logo-2/ (Accessed: 12 October 2015). (Evolving Logo, 2006) Felton, P. (2006) The Ten Commandments of Typography: Type Heresy: Breaking the Ten Commandments of Typography: AND ‘Type Heresy: Breaking the Ten Commandments of Typography’. New York: Merrell Publishers. (Felton, 2006, p. 1) High Contrast (2014) Available at: http://dementia.stir.ac.uk/design/good-practice-guidelines/colour-and-contrast (Accessed: 22 October 2015). (High Contrast, 2014) How to Grow Bacteria in a Petri Dish (no date) Available at: http://www.wikihow.com/Grow-Bacteria-in-a-Petri-Dish (Accessed: 4 October 2015). (How to Grow Bacteria in a Petri Dish, no date) Hubbard-Green, T. and Society, A. (no date) What is dementia?. Available at: http://www.alzheimers.org.uk/site/scripts/documents_info.php?documentID=106 (Accessed: 22 October 2015). (Hubbard-Green and Society, no date) IKEA: Homemade Is Best (2010) Available at: https://adsoftheworld.com/media/dm/ikea_homemade_is_best (Accessed: 6 October 2015). (IKEA: Homemade Is Best, 2010) Interior wayfinding signage and signs | Architectural signage, interior and exterior signs: Signbox (2015) Available at: https://www.signbox.co.uk/ interior/wayfinding (Accessed: 6 October 2015). (Interior wayfinding signage and signs | Architectural signage, interior and exterior signs: Signbox, 2015) Love couple in Paris | CoolPicsme | HD - image #890327 by rickkang on Favim.com (2013) Available at: http://favim.com/image/890327/ (Accessed: 6 November 2015). (Love couple in Paris | CoolPicsme | HD - image #890327 by rickkang on Favim.com, 2013) Lövdén, M., Schaefer, S., Noack, H., Bodammer, Christian, N., Kühn, S., Heinze, H.-J., Düzel, E., Bäckman, L., Lindenberger, U. and Bodammer, N. C. (2012) Spatial navigation training protects the hippocampus against age-related changes during early and late adulthood. Available at: http://www. neurobiologyofaging.org/article/S0197-4580(11)00042-X/abstract (Accessed: 22 October 2015). (Lövdén et al., 2012) Menu (2014) Available at: http://www.eea.europa.eu/about-us/what/shared-environmental-information-system-1 (Accessed: 2 October 2015). (Menu, 2014) Morag Myerscough | Archive | The Typographic Circle (no date) Available at: https://typocircle.com/archive/poster/morag-myerscough1 (Accessed: 22 October 2015). (Morag Myerscough | Archive | The Typographic Circle, no date) Morris, R. (1984) ‘Developments of a water-maze procedure for studying spatial learning in the rat’, Journal of Neuroscience Methods, 11(1), pp. 47–60. doi: 10.1016/0165-0270(84)90007-4. (Morris, 1984) Muller-Brockmann, J., Müller-Brockmann, J., Müller-Brockmann, J., English and Stephenson, D. Q. (1996) Grid Systems in Graphic Design: A Visual Communication Manual for Graphic Designers, Typographers and Three Dimensional Designers. New York, NY: Hastings House Publishers. (Muller-Brockmann et al., 1996, p. 1) (Muller-Brockmann et al., 1996) Nokia’s ‘world’s biggest signpost’ in London (2010) Available at: http://www.wirefresh.com/nokias-worlds-biggest-signpost-in-london/ (Accessed: 22 October 2015). 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