VICTOR ADJEI PORTFOLIO
Design is all about perspective. What I design versus what you design in response to the same subject will differ and create the landscape for us to learn from each other, critique each other, impress each other and affect each other. Why not continue to challenge common perspectives, interpretations, and meanings of everything as much as we can to continue to further effect and progress the way things operate and how we experience them? To re define an expected idea of a subject, to strip down it’s accepted capabilities in hopes of establishing a different expectation of that subject is the root of my inspiration.
Victor Adjei
240-643-7981
vaa8811@gmail.com
van.austin.designs@gmail.com
Learning From Superheroes Pt.1
Superhero Headquarters
SUPERPOWER This superhero headquarters explores the possibilities of architectural investigation by challenging how people can move through spaces in extraordinary, super manners. This results in also challenging how people can experience space differently, once those spaces respond to the super ways in which people can move. Ways and manners more like superheroes and supervillains, than human beings. The question the project asks and responds to is what will a place for people who move extraordinarily, like superheroes look like, and could this encourage others to attempt to expand the possibilities of their own movements?
What is architecture currently challenging or critiquing in the way(s) people function and operate in response to the design? Has architecture become comfortable in expressing different ways of doing the same thing? Are we stuck doing what we know is possible even though it seems to be extraordinary? Architecture has thrived on ideologies and movements that challenge a way of being, but for most of the 21st century, what has been a major critique in architectural designing of form and experience?
strength
hearing
swimming
ying
TABLE
1
MOVEMENT Why does a coffee table have to be obtrusive to a person’s mobility? Table1 creates a coffee table that diminishes the usual confinement of being close to a smaller table. The alignment of the table legs allows for the legs of a person to move more fluidly as they may twist, fidget and turn naturally by themselves or when talking to someone next to them. The surface of the table creates spatial orientation that responds to the legs configuration while also establishing a hierarchy of space that suggests what sizes of objects should be placed on what area of the table.
Angles give a more direct indication of direction than curvature. The division of the table top suggests explicitly the type of objects/things should rest in each space for organization. The angles also add a nice dymanic in comparison to the freedom of the freedom a persons legs now have with the openings offered by the table legs.
Learning From Superheroes Pt.2
HYPERFOCUS
SUPERPOWER
Neurotypical attention
Hyperfocused attention
Displays the superpower that many people with behavioral abnormalities possess. This is achieved through objects that establish an environment which displays the ability of hyperfocus to intensify and distort environments while giving undivided attention to something. The depiction shows the interesting ability which contradicts the common assessment of people with behavioral differences as having disabled, and undesirable traits of functioning. Through this display, the conversation of what people are capable of, no matter what form of functioning they have should lead towards looking at the enhanced and/or extraordinary things one can do, especially if those capabilities are essentially compelling superpowers.
wall clock
table
partition
Learning From Superheroes Pt.2
CLOCK
TIME While exhibiting the power of hyperfocus, abiding by time in the general measurement of seconds, minutes, and hours does not occur. Accounting for time is often distorted, merged, or un noticed to the point where it blends into the background of the environment and one’s mind. Traditional seconds, minutes and hours are difficult to notice compared to the time that one is living in while calling upon their hyperfocus power, even though they are also still in a world running on traditional time telling.
So what does time look like? There is the time that someone under hyperfocus abides by and the regular time that people in a “normal” state abide by. Both still are dependant on the human construct of 12 and 24 hrs, but while in hyperfocus that division of time isn’t uniform but randomized. ime isn’t necessarily in a cycle but sporadic, fragmented, and at different measurements of duration.
Learning From Superheroes Pt.2
TABLE
FOCUS Hyperfocusing is all about giving undivided attention onto a certain thing. In terms of what is being hyperfocused on as a “thing”, that object of attention can usually rest on a surface such as a table. A table provides an object that can house many hyperfocused things such as a laptop, drawing, making, etc. What happens to the table in perception creates a dynamic occurrence where the immediate space that is housing what is being hyperfocused on is also activated. As the surface moves further away from what is being focused on, the table falls into the background of attention just like the rest of the environment that isn’t being hyperfocused on does.
As the surface supporting what is being hyperfocused on, part of the table also becomes part of the focus. In this section of what is being paid all attention to, activity and concentration are experienced here. The design of the table shows this activity where ones hyperfocused world lies at the table. Though there is a lot going on at this portion of the table through the hyperfocused lens, this same area of the table still supports certain objects like a regular table. The actual function of the table just may not matter at this point, resulting in its appearance merging into the rest of the background.
Learning From Superheroes Pt.2
PARTITION
PERSPECTIVE To appropriately illustrate the comparison between a neurotypical view of a space versus the space through a hyperfocused perspective, two separate scenes of one installation are erected. To divide but share the relationship of the two sides, a single partition responds to each space (one side at a time). The neurotypical side is a common straight white wall, and the side that is effected by a hyperfocused ability has irregularities, protrusions, and extrusions that relate towards a skewed and indistinguishable recognition of an environment.
A single difference of point of view can greatly alter the world someone experiences. What if you could see the opposing or alternative to what you see? Extrusions come out of the partition formed by different, unorganized angles that symbolize different point of views that people may have on a given subject.
HYPERFOCUSED
NEUROTYPICAL/”NORMAL”
WHISKY + ARCHITECTURE Experiencing whisky isn’t perceived to be predominately a formal event anymore. The experience equally thrives in diverse casual communal settings. The decanter of old does not. Enjoying whisky in today’s world should no longer have to force inclusion of the precious and solemn old style decanter. There should be a decanter that encourages consistent communal use without sacrificing an appealing aesthetic and prestigious design that people will love to display and interact with. That object is Arc 1.
The body of the ARC1 is in response to the ways in which whisk(e)y consumption occurs in modern times. There are grooves to ease the hand into where the vessel wants to be held. The body and its handle grooves also speaks towards the consistency of usage which has developed from traditional whik(e)y culture. More poeple in communal environemnts sharing more whisky should have a vessel that isn’t awkward to hold nor a vessel that isn’t durable for it use.
Branding
WHISKY + ARCHITECTURE Identity design for a lifestyle brand (that I am co-founder of) that merges the style and appreciation of the design/craft of spirits with the appreciation/discussion of design in the arts; focusing on Whisky and Architecture plus everything that revolves around the two. The W+A in the logo literally merge just as the abbreviation suggests. The idea of combining two different worlds by highlighting a common bond is executed in the logo through the difffernt letters sharing a common side. Social media sites founded and an by myself and two partners. instagram: @whisky.arch tumblr: whiskyarch.tumblr.com/ website: whiskyarch.com/
WTT II (Watch the Throne II) My proposal for the album art of a potential Watch the Throne II will build on the legacy, and status of the pair of rulers. The approach for “II� will build off of its predecessor and establish imagery rooted in stability lasting throughout time. Inspired by the Egyptian kings/gods, the cover art shows the kings on the throne sitting side by side. To further enhance the idea of divinity, the beings are distorted to remind the people that they are still not worthy to bask in the entire glory of The Throne. Just as the monuments to the gods have lasted the test of time so too will the music from The Throne.
RCR & SERVICES
OLD
NEW
The re-branding of a small business cleaning service company wanting a new identity that was more versatile in being used for different mediums of promotions and advertising. The goal was to keep aspects of the old within the new (color familiarity) while creating a modern update to the logo which not only would be applicable for the times but also establish an icon/emblem that could stand on its own.
Kellogg School of Management The design for Northwestern’s Global Initiatives in Management annual abroad trip of 2016 takes a connection theme such as the two destinations’ flags and unites them fluidly to signify their connection in terms of the program’s trip. Also, the design acknowledges the culture of the destinations and adds imagery elluding to that.
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van.austin.designs@gmail.com