Form Masters Thesis by elizabeth vereker

A MASTER’S THESIS By Elizabeth Vereker

The reward of a successful collaboration is a thing that cannot be produced by either of the parties working alone. Form is a thesis about those such collaborations.

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CONTENTS 1 2 3 4 5 6 7

Design Methodology Key Insights Design Program Form Navigation Design Principles Furniture & Finishes Brand Expressions

A Appendix

P_04 P_32 P_50 P_66 P_94 P_182 P_210 P_276

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ENGINEERING

URBAN DESIGN

INTERIOR DESIGN INTERACTIVE DESIGN

LANDSCAPE DESIGN

INDUSTRIAL DESIGN

3D GRAPHIC DESIGN

chapter FASHION DESIGN

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ARCHITECTURE

FINE AR T

DESIGN METHODOLOGY SAN FRANCISCO IS A COMMUNITY OF WORLD CLASS DESIGNERS. WE BELIEVE SAN FRANCISCO SHOULD BE A WORLD CLASS DESIGN COMMUNITY. Through the development of a cutting-edge design center, Form will encourage collaboration, increase continued education, and elevate the publicâ&#x20AC;&#x2122;s understanding of the design professions. Form will work to support existing professional design organizations while launching new programming that will become the precedent for future design centers. The built component of Form will house open offices for each of the professional organizations, as well as studio spaces, workshops, multipurpose rooms, galleries, lounges, cafes, and an extensive materials and resource library. In designing and planning Form, we completed a variety of quantitative and qualitative exercises. These exercises allowed us to engage with the target audience, observe the strengths and weaknesses of similar facilities, and better understand Formâ&#x20AC;&#x2122;s potential in the greater community.

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METHODOLOGY / OVERVIEW

Form is giving San Francisco design a place to call home.

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METHODOLOGY / OVERVIEW

A NEW PERSPECTIVE San Francisco is home to one of the largest and most diverse design industries in the world. Its proximity to the technological innovations of the Silicon Valley as well as its close ties to the Asian market have attracted thousands of design students and practitioners, many whom have made the city their permanent home. In order to understand how Form will support this diverse population, we must first look at how the design community currently functions, as well as identifying the target user groups within the larger design community. The design community of San Francisco has a rich history of talent and innovation. A colorful mix of world renown firms and quirky startups, the industry is supported by local branches of national professional design organizations such as the American Institute of Architects (AIA), International Interior Design Association (IIDA), The Professional Association for Design (AIGA), American Society of Interior Designers (ASID), The Industrial Designers Society of America (IDSA), and The Interactive Design Association (IxDA) among others. In addition to these organizations, the city is home to four universities offering graduate and undergraduate design programs, and playing host to an assortment of lecturers and visiting design fellows.

â&#x20AC;&#x153;Training, process, & mind-set have separated design disciplines for many years. However, the awareness of design, the democratization of information, & the accelerated pace of consumer demand have forced synchronization of disciplines and the sharing of understanding, learnings, process, & insights. Collectively, itâ&#x20AC;&#x2122;s breaking down walls for those open-minded enough to get it on a new level.â&#x20AC;? Michael Jager, JDK Design

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METHODOLOGY / OVERVIEW

Our process incorporated quantitate & qualitative explorations.

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METHODOLOGY / OVERVIEW

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METHODOLOGY / EXERCISES

COMMUNITY ANALYSIS

CONVERSATIONS

The community analysis consisted of both a quantitative and qualitative look at the San Francisco design community over a period of roughly eighteen months. The quantitative analysis involved: an in depth survey of all design events taking place over one quarter of the year 2009, a comparative look at professional design organizations on both the local and national level, and the collection of published surveys and professional analysis in the areas of design, education, and the allied professions. Qualitative exercises largely included attending design related events and participating in design community activities. Experiences that were had prior to beginning this thesis in the professional design communities of Washington, D.C. and Cincinnati, Ohio were also considered during this phase of the research. While at these events, data was gathered via observation, photographs, voice recordings, and personal feedback from other attendees. Several of the events and activities attended are:

One-on-one interviews and conversations were conducted over a period of 18 months, both in person as well as through mobile phone, webcam, and email. These conversations were spread out across the three user groups of Form: professional designers, design students, and the general public. While many of these interviews were based in San Francisco, there were also a large number that included individuals across the United States, helping to ensure that Form’s goals and processes would reach designers on a national level ( allowing for new Form locations in the future ). Some of the more eye opening and informative conversations were with the following:

Analysis Events

Conversation Participants

• D Talk Series / AIGA San Francisco / Adobe San Francisco

• David Peters / Design Director / SPUR

• AIGA Portfolio Day / AIGA / CCA

• Lawrence Li / Director / SPUR

• AIGA Traveling Lounge / AIGA / Various

• Pam Williams / PR Specialist / Williams & House

• AIGA Board Retreat / AIGA / San Francisco

• Melissa Mizell / Professor / CCA

• AAU Spring Show / AAU / San Francisco

• Rhonda Petrov / Interior Designer / Gensler

• Take Five Student Mixer / AIGA/ San Francisco

• Tia Krupa / Designer / Clean Well

• Handmade Hodown / San Francisco

• Randy Howder / Design Strategist / Gensler

• Petcha Kutcha / San Francisco

• Kristen Bouvier / Design Week Organizer / AIGA

• Cut & Paste / San Francisco

• Cory Ford / Professor / D School

• Design Revolution Roadshow / San Francisco

• Luc Meier / Programming / SwissNex

• Lecture: Enlightened Spaces / AIA / San Francisco

• Andrea Pellegrino / Principal / World Studios

• Lecture: Debbie Millmann / AAU / San Francisco

• Stephanie Smith / Founder / WeCommune

• MOMA Industry Night / SFMOMA / San Francisco

• Kathleen Lombardi / IIDA

• Dining By Design / IIDA / San Francisco

• Max Berry / Interactive Designer / IxDA

• Portfolio Day / IIDA AIA / Washington, DC

• Katie Clark / Designer / IDEO

• Roadworks / Center For The Book / San Francisco

• Brian Singer / SF President / AIGA

• IIDA Board Retreat / IIDA / Washington, DC

• Timothy Moran / Architecture Student / U of Illinois

• Hung Up / AIGA / San Francisco

• Brad Rhodes / Designer / Eudesco

• ConFab Employment Workshop / Coroflot / San Francisco

• David Pugh / Architectural Specialist / Teknion / AIA • Dan Mazzarini / Senior Designer / Ralph Lauren • Jamie Ray / Designer / H.O.K.

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METHODOLOGY / EXERCISES

USER GROUP SURVEYS

SITE OBSERVATIONS

Anonymous user surveys were conducted via the tools available on the website www.esurveyspro. com. Ninety surveys were sent out to thirty people each in the user groups of: professional designer, design student, and the general public. While each survey varied slightly in topic and length, each included both open ended and multiple choice questions. Topics that were touched on by the surveys include:

Site observations were held at various institutions across the United States. While nearly all of these observations were made in the Bay Area, several tours were made of notable institutions in other cities. The observation process was ethnographic and included: note taking, sketching, photographing, sound recording, and both passive and active research. Locations were chosen for a variety of reasons, relating to programming, aesthetics, interactivity, and audience. These observations are as follows:

Survey Topics

Observation Locations

• Collegiate Studies

• SwissNex San Francisco / 730 Montgomery Street

• Professional Affiliations

• IDEO Palo Alto / 100 Forest Avenue

• Hobbies

• SPUR / San Francisco / 654 Mission Street

• Work Experiences

• Gensler / San Francisco / 2 Harrison Street

• Motivators

• Gensler / Washington DC / 2020 K Street

• Ideal Work Environments

• AutoDesk Gallery / San Francisco / 1 Market Street

• Design Events

• The D School / Stanford University / Building 524

• Continuing Education

• CCA / San Francisco 1111 Eights Street

• Perception of Design

• AAU / San Francisco / 79 N. Montgomery Street

• Inspiration

• DAAP / University of Cincinnati / 2624 Clifton Avenue

• Design Methods

• San Francisco Design Center / 101 Henry Adams Street

• Future Indicators

• Washington Design Center / 300 D Street SW

• Trends

• Academy of Sciences / San Francisco / Golden Gate Park

• Community Participation

• San Francisco Museum of Modern Art/ 151 Third Street

• Skills

• SF Museum of Craft + Design / 550 Sutter Street

• Setbacks & Challenges

• Varnish Gallery / San Francisco / 77 Natoma Street • Creativity Explored / San Francisco / 3245 16th Street • 111 Minna Gallery / San Francisco / 111 Minna Street • New People / San Francisco / 1746 Post Street • AIA, AIGA / San Francisco / 130 Sutter Street • The Seattle Public Library / 1000 Fourth Avenue • 826 Valencia / San Francisco / 826 Valencia Street

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METHODOLOGY / EXERCISES

Spur Urban Center: An in-depth study of Spurâ&#x20AC;&#x2122;s programming, space plan, and branding was used as a case-study of best practices and important lessons learned.

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METHODOLOGY / EXERCISES

Seattle Public Library: Rem Koolhaasâ&#x20AC;&#x2122; Seattle Public Librar y is a outstanding example of how architectural elements and bold environmental graphics can enliven a public space.

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METHODOLOGY / EXERCISES

Varnish Galler: This storefront space is part gallery, part cocktail lounge. It’s revolving cast of up and coming artists and after work cocktail seekers ensures no two visits will be the same.

Gensler San Francisco: Gensler’s materials and finishes libraries, natural lighting, and open offices produce an ideal work environment.

The Cali f o rnia Acad e my O f S cie nces: The interactive displays, transparent materials, and night-time programming all contribute to the Academy’s popularit y.

AIA/AIGA San Francisco: The AIA/ AIGA’s shared offices on Sutter Street do not support open collaboration or large scale programming.

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METHODOLOGY / EXERCISES

San Francisco Design Center: The San Francisco Design Center is a maze of furniture and finish showrooms. Open to the trade only, the center does little to advance the design profession.

University Of Cincinnati DAAP: Peter Eisenmanâ&#x20AC;&#x2122;s architectural landmark houses the Universit y of Cincinnatiâ&#x20AC;&#x2122;s world renown DA AP school. The program, which includes design, architecture, fine art, and planning, shares multidisciplinar y studios and classrooms.

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METHODOLOGY / EXERCISES

IDEO: IDEOâ&#x20AC;&#x2122;s abundance of hands-on tools and design artifacts spur creativit y and facilitate dialogue.

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METHODOLOGY / EXERCISES

The D School: Off the shelf building materials, modular partitions, and an open floorplate allow the D School space to transform to meet the changing needs of students and projects.

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METHODOLOGY / LOCATION ANALYSIS

Formâ&#x20AC;&#x2122;s success is dependent on the success of its neighbors.

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METHODOLOGY / LOCATION ANALYSIS

BUILDING COMMUNITY In order to choose an optimal location for the Form Center, we evaluated potential sites on the neighborhood level and moved inward. Because the most important factor in planning a community center is the strength of the surrounding community, we looked at each siteâ&#x20AC;&#x2122;s residents as well as itâ&#x20AC;&#x2122;s environment. Transportation, density, foot traffic, and the utilization of public spaces were observed during the morning, noon, and evening hours on both weekdays and weekends.

Map Jackson Square SOMA Dogpatch

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METHODOLOGY / LOCATION ANALYSIS

TRANSPORTATION

DEMOGRAPHICS

Transportation and congestion will affect both attendance and brand recognition. Because Form will cater to spontaneous visits from passers-by as well as planned visits from Form members, a steady level of foot traffic is desired. In addition to foot traffic, adjacency to multiple modes of public transportation and connectivity to major highways will affect the success of Form. Because Form will be open during the evening hours, lighting and safety of public walkways, parking spaces, and bus stops are also factors in to the comfort and quantity of future guests.

Neighborhood demographics provide a quantitative snapshot of the neighborhood and it’s residents. The amount of vacant buildings and under utilized spaces can have a damaging effect on the success of a new institution. Similarly, the success of libraries, cafes, museums, galleries, and entertainment venues signals a thriving local economy. Population demographics such as age, education, and income help predict the likelihood of neighborhood participation and support of Form’s initiatives.

Transportation Analysis

Demographic Analysis

• Public Transportation / Quantity of Muni Bus Lines

• Building Demographics / Average Commercial Property Value

• Public Transportation / Quantity of Muni Train & Street Car Lines

• Building Demographics / Average Residential Property Value

• Public Transportation / Quantity of Bart Lines

• Building Demographics / Quantity of Class A & Class B Office Properties

• Public Transportation / Distance from Ferry Terminal

• Building Demographics / Quantity of Vacant Commercial Spaces

• Public Transportation / Distance from Caltrain

• Building Demographics / Quantity of Vacant Residential Spaces

• Public Transportation / Distance from Transbay Terminal

• Building Demographics / Median Monthly Gross Rent

• Motor Transportation / Distance from 80, 101, & 1

• Building Demographics / Quantity of Live/Work Spaces

• Motor Transportation / Average Speed Limit

• Population Demographics / Median Age of Residents

• Motor Transportation / Congestion & Flow

• Population Demographics / Median Education Of Residents

• Motor Transportation / Availability of Street Parking

• Population Demographics / Median Household Income Of Residents

• Motor Transportation / Quantity of Public Parking Lots

• Population Demographics / Ethnic Diversity of Residents

• Motor Transportation / Lighting and Safety of Parking

• Business & Govt. Demographics / Quantity of Educational Institutions

• Motor Transportation / Adjacency to Tour Bus Routes

• Business & Govt. Demographics / Quantity of Libraries

• Human Transportation / Quantity of Bike Lanes

• Business & Govt. Demographics / Quantity of Museums

• Human Transportation / Quantity of Secured Bike Storage

• Business & Govt. Demographics / Quantity of Design Related Vendors

• Human Transportation / Quantity of Continuous Sidewalks

• Business & Govt. Demographics / Quantity of Design Studios

• Human Transportation / Lighting & Safety of Sidewalks

• Business & Govt. Demographics / Quantity of Art Galleries

• Human Transportation / Quantity of Safely Marked Cross Walks

• Business & Govt. Demographics / Quantity of Cafes, Coffee Shops, & Bars

• Human Transportation / Congestion & Flow of Foot Traffic

• Business & Govt. Demographics / Quantity of Entertainment Venues

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METHODOLOGY / LOCATION ANALYSIS

AESTHETICS

PERSONALITY

The subjective aesthetic analysis consisted of a broad overview of each neighborhood’s natural and built environment. The prevalence of greens paces and vegetation, along with building height and weather have a heavy bearing on the mood of each neighborhood. Historical charm in the form of brick warehouses, turn of the century Victorians, and industrial live/work spaces add to the desirability of each location. Both commissioned public sculptures and graffiti murals enrich the neighborhood’s vibrancy and reinforce Form’s openness of expression.

A neighborhoods personality is a subjective, qualitative look at the overall character of an area. In the planning of Form, we looked for areas that had personality traits that would harmonize with out own. Neighborhoods that were progressive, diverse, young, and artistic are favorable, while areas that are ethnically based, under educated, blue collar, and conservative are likely to impair Form’s success.

Aesthetic Analysis

Personality Analysis

• Upkeep of Sidewalks

• Quantity of Public Seating

• Level of Pollution

• Utilization of Greens paces

• Prevalence of Graffiti

• Average Closing Time for Local Shops

• Quantity of Public Art & Civic Sculptures

• Ratio of Local Businesses to National Businesses

• Quality of Public Seating

• Quantity of Industrial & Warehouse Spaces

• Condition of Bus Stops

• Quantity of Local Landmarks

• Average Weather

• Upkeep of Vacant Lots & Buildings

• Quantity of Greens paces

• Prevalence of Sidewalk Cafes

• Quantity of Vegetation

• Weekday to Weekend Business Ratio

• Average Building Height

• Prevalence of Families

• Average Building Upkeep

• Quantity of Liquor Stores & Headshops

• Quantity of Glass Storefronts

• Presence of Neighborhood Citizens / Merchants Organization

• Quantity of Historical Buildings

• Presence of Community Gardens

• Topography & Views • Freeway Access & Overpasses • Quantity of Billboards & Large Signage • Width of Streets • Prevalence of Homeless • Steepness of Inclines • Prevalence of Street Vendors

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METHODOLOGY / LOCATION ANALYSIS

JACKSON SQUARE Location

Jackson Square is bounded by Pacific Ave. (and Broadway east of Montgomery St, Washington St. on the south, Columbus Ave. on the west and Battery St. on the east with any number of nearby satellite buildings and residents outside the bounds that truly belong to the neighborhood.

History

Jackson Square, once known as the famous Barbary Coast, is a unique enclave from the California Gold Rush. It withstood the 1906 San Francisco earthquake and fireâ&#x20AC;&#x201C;the only commercial district in the City to do so. With its architecture of brick and ornate cast iron buildings from the 1850s and 1860s, this historic district lends a unique ambience to a venue famed for decades for distinguished art and antiques.

Attractions & Characteristics

Jackson Square Historic District retains its character as one of the oldest commercial neighborhoods in San Francisco. Though in some cases extensively altered during seismic retrofit, the collection of three-story brick buildings found on the narrow streets and alleys offer a bright glimpse into the California Gold Rush that gave San Francisco its start. Buildings on the north side of Jackson between Montgomery and Sansome retain cast iron shutters as protection against fire.

Walking tours regularly assemble for the sights and recounting of history, even as the neighborhood changes with dramatic new development and commercial instability fueled by high rents. With few vacancies, there is plenty of evidence of neighborhood vitality. This is the interior designerâ&#x20AC;&#x2122;s district (predating the San Francisco Design Center), where the well-heeled order elegant furnishings, wall coverings, carpets, prints and the like most often only through the trade, and occasionally at retail. With twenty-five furniture and decorative art galleries, advertising agencies, architects and industrial or graphic designers still survive in the neighborhood, and law firms have offices in many of the prime locations. Watering holes and restaurants and clubs dot the streets and alleyways, and many of these are historic institutions in themselves.

Transportation

Jackson Square is accessible by Muni Lines 10, 12, 20, and 41, as well as the California cable car line. It is a 10-15 minute walk from the Embarcadero Bart station.

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Map

METHODOLOGY / LOCATION ANALYSIS

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METHODOLOGY / LOCATION ANALYSIS

DOGPATCH Location

Dogpatch is located on the eastern side of the city, adjacent to the waterfront of San Francisco Bay, and to the east of, and below, Potrero Hill. Its boundaries are Mariposa Street to the north, I-280 to the west, Tubbs Street to the south, and the waterfront to the east. It contains housing, some remaining heavy industry, more recent light industry, and a new but growing arts district. In 2002 it became an officially designated historic district of the city of San Francisco.

History

Because it survived the 1906 earthquake and fire relatively undamaged, and until recently had not been redeveloped, Dogpatch has some of the oldest houses in San Francisco, dating from the 1860s. Between the 1860s and 1880s, the marshes at the edge of the bay were filled, and the area was connected to the main part of the city by means of bridges across what was then Mission Bay (which has since been filled in). Located nearby to the working class defunct neighborhood of Irish Hill. This permitted development of industry and housing. Waterfront-oriented industry, including shipbuilding, dry docks and ship outfitting and repairs, warehouses, steel mills, and similar industries flourished until after World War II, when they began to decline. Dogpatch endured several decades of decline which lasted until the 1990s, when economic pressures led to modest gentrification of the existing housing stock, and new construction including loft-style condominiums, many of which were designated as “live-work” units for artists, graphic designers, and similar occupations. Today, Dogpatch is a neighborhood in transition. It maintains an offbeat, quaint, populist appeal, dating back to its working-class roots. But as the mix of residents and businesses continue to change, the character of the area could soon disappear unless steps are taken to save it. Neighbors hope that planners and developers will build from the legacy of Dogpatch’s colorful past in guiding the district to an even brighter future.

Attractions & Characteristics

The main commercial artery of Dogpatch is Third Street, which contains retail and service businesses and is served by the T Third Street light rail line operated by the San Francisco Municipal Railway. The Third Street corridor connects Dogpatch to San Francisco’s downtown, via new development zones including Mission Bay and the UCSF research campus. Notable sites in the neighborhood include Irving M. Scott School, the oldest public school building in San Francisco, built 1895; the historic shipyards at Pier 70; Dogpatch Studios, a film studio, design center, and event venue; a number of restaurants, the headquarters of the San Francisco Chapter of Hells Angels; and numerous historical residences.

Transportation

The Dogpatch is accessible by Muni bus lines 22 & 48, as well as the T train line. The Dogpatch is not directly accessible by Bart.

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Map

METHODOLOGY / LOCATION ANALYSIS

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METHODOLOGY / LOCATION ANALYSIS

SOUTH OF MARKET (SOMA) Location

The San Francisco Chronicle describes the SOMA area as bound by Market Street, South Van Ness Avenue and Caesar Chavez Street. Its borders are Market Street to the north-northwest, the San Francisco Bay to the east, Townsend Street to the south-southeast, and U.S. Route 101 (Central Freeway) to the west-southwest. It is the part of the city in which the street grid runs parallel and perpendicular to Market Street. The eastern edge along the Embarcadero and southeastern corner of this area (where Mission Creek meets the bay) is known as South Beach, a separate neighborhood, and the border below Townsend Street begins Mission Bay. The northeastern corner (where Market Street meets the bay) is often considered part of the Financial District, while the upper western corner of SOMA between Van Ness Avenue and 5th Street, and between Market and Howard Street is considered part of the “skid row” Tenderloin District. The neighborhood many smaller parks and sub-neighborhoods such as South Park.

History

During the mid 19th Century, SOMA was a largely low density residential enclave for the rich that centered around the Rincon Hill area. By the early 20th century, heavy industrial development due to its proximity to the docks and the San Francisco Bay, with the advent of cable cars, had driven the wealthy over to Nob Hill, and all points west, as the neighborhood became a largely middle and lower class slum of recent European immigrants, sweatshops, power stations, flophouses, and factories. The 1906 Earthquake completely destroyed the area, as many of the quake’s fatalities occurred there. Following the quake, the area was rebuilt with the wider than usual in San Francisco streets that are common in the area, as the focus was towards the development of light to heavy industry. The construction of the Bay Bridge and the U.S. Route 101 during the 1930s saw large swaths of the area demolished including most of the original Rincon Hill. Redevelopment plans were first planned in 1953. These plans began to be realized in the late 1970s and in the early 1980s with the construction of the conference center, Moscone Center, which occupies three blocks and hosts many major trade shows. Moscone South opened its doors in December 1981. Moscone North opened in May 1992, and most recently Moscone West in June 2003. With the opening of the San Francisco Museum of Modern Art in 1995, the Mission and Howard Street area of the South of Market has become a hub for museums and performances spaces. The area has long been home to bars and nightclubs. During the 1980s and 1990s some of the warehouses there served as the home to the city’s budding underground rave, punk, and independent music scene. However, in recent decades, and mostly due to gentrification and rising rents, these establishments have begun to cater to an upscale and mainstream clientèle that subsequently pushed out the underground musicians and its scene. Beginning in the 1990s, older housing stock has been joined by loft-style condominiums, many of which were built under the cover of “live-work” development ostensibly meant to maintain a studio arts community in San Francisco. During the late-1990s, the occupant of the “live-work” loft was more likely to be a “dot-commie”, as South of Market became a local center of the dot-com boom, due to its central location, space for infill housing development, and spaces readily converted into offices.

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Attractions & Characteristics

The neighborhood is a vast and diverse stretch of warehouses, auto repair shops, nightclubs, residential hotels, art spaces, loft apartments, furniture showrooms, condominiums, and technology companies. Despite the Dot-Com crash of the early 2000s, major software and technology companies have headquarters here, including Wired, Sega of America Inc., CNET Networks, Twitter, BitTorrent Inc., Yelp, and Advent Software among others. SOMA is home to many of San Francisco’s museums which include the Yerba Buena Center for the Arts, the Museum of the African Diaspora, the Cartoon Art Museum, the children’s Zeum, and the Contemporary Jewish Museum are also in the Yerba Buena area. The Center for the Arts, along with Yerba Buena Gardens and the Metreon, is built on top of Moscone North. Across Howard Street, built on top of Moscone South, is a children’s park featuring a large play area, an ice skating rink, a bowling alley, a restaurant, the Zeum, and the restored merry-go-round from Playland-At-the-Beach. The children’s park and Zeum are joined to Yerba Buena Gardens by a footbridge over Howard Street. Several of the city’s arts organizations are located here, including the SF MOMA, the Center for the Arts at Yerba Gardens and the California Historical Society. It has a bohemian undercurrent, with the museums, several independent bookstores, the line of artsy clubbers waiting to get into the gallery and club 111 Minna, and students from the Academy of Art slouching around the Utrecht art supply store on New Montgomery.

Transportation

SOMA is accessible by Muni bus lines 8, 10, 12, 14, 19, 27, 30, 45, & 76, as well as the J, K, L, M, & T train lines. Both the Powell Street and New Montgomery Street Bart Stations service the SOMA neighborhood.

Map

METHODOLOGY / LOCATION ANALYSIS

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METHODOLOGY / LOCATION ANALYSIS

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METHODOLOGY / LOCATION ANALYSIS

OUR ANALYSIS After careful analysis, we decided the South of Market neighborhood to be the optimal location for Form. While each of the three neighborhoods presented a unique opportunity, SOMA was centrally located, culturally diverse, and inhabited by a large number of designers. The findings from each of our observations have been summarized below.

Jackson Square

Jackson Square’s rich history and inviting, tree lined streets make it an ideal location for any business. While the area is bordered by the busy financial district, its ample greens paces give it a small neighborhood feel. Although this neighborhood plays host to a number of design firms and cafes, it has few private residents and doesn’t have the cultural diversity desired.

Dogpatch

Because the Dogpatch is currently undergoing a major revitalization, Form has the opportunity to become a cultural and physical anchor to future growth. The neighborhoods adjacency to the California College of Arts, as well as it’s multitude of live/work artists studios, give it an eclectic, design friendly personality. Ultimately, Dogpatch was not selected as the site because of its location, and the lack of foot traffic. The sleepy area is served by only a few muni lines, and the few main business avenues see little foot traffic during the evening and weekend hours.

SOMA

South Of Market was chosen as the site of Form because of its high ranking in each of the categories we analyzed. SOMA’s connectivity, high volume of foot traffic, balance of private and commercial residents, and cultural diversity make it an ideal neighborhood. SOMA plays host to more cultural venues than any other neighborhood in the city, as well as being the home to numerous schools and universities. In addition to its current day strengths, SOMA also has a culturally significant history, adding to its unique charm.

Next Steps

The analysis above are indicative of the characteristic that should be evaluated for each future Form site. Once a neighborhood has been chosen, specific blocks should be further analyzed for connectivity, personality, aesthetics, and demographics. Vacant spaces as well as existing buildings should being considered for possible sites, with local design teams weighing the economic, environmental, and historical benefits of building renovation versus new construction. Note: For the purposes of creating an identity and business system for this thesis, the site 2 Sansome Street has been selected. This site, formerly home to the Virgin Megastore, is in close proximity to public transportation and industry partners, has a high volume of foot traffic, and a large footprint that can provide flexibility and accommodate future growth.

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chapter

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KEY INSIGHTS THE DESIGN COMMUNITY HAS BEEN SLOW TO REACT TO THE CHANGES TAKING PLACE WITHIN THE GREATER DESIGN PROFESSION. Our research and observation tools gave us a comprehensive look both inside the local San Francisco design community and out side in the greater realm of public institutions. After an extensive data gathering process we synthesized this material into seven broad insights into what opportunity gaps exists, and how Form can best support these unfulfilled needs. These insights are not meant to act as a criticism of the current design community or the organizations which support it, but rather as statements that speak to the core of what it means to study, practice, and engage in design in the San Francisco Bay Area.

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KEY INSIGHTS / INTRODUCTION

07 Key Insights: 01 Organizations Operate in Seclusion

02 Design is a Social Process

03 T-Shaped Designers Are More Valuable

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KEY INSIGHTS / INTRODUCTION

04 Student to Professional Transition is Hard

05 There is a Perception of Elitism

06 Resources are Fragmented

07 There Is a Lack of Community Interaction

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KEY INSIGHTS /01

Professional design orgs operate in relative seclusion.

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KEY INSIGHTS / 01

EVOLUTION IS SLOW AT BEST The enrichment of the San Francisco design communit y is currently supported by a variet y of discipline specific professional organizations. While each of these organizations aims to provide educational and networking opportunities, they operate in relative seclusion of one another. Although each organization provides valuable resources to itâ&#x20AC;&#x2122;s members, there exists four fundamental inadequacies within this model. These inadequacies, or areas for improvement, include: the needs of cross disciplinary designers are not being met, professional organizations are slow to evolve, design organizations lack a strong physical presence, and the increase in social media is further fragmenting groups and information.

Inadequate information diffusion puts a break on progress. I believe knowledge should be shared across the entire design community. It is time we look outside of our individual firms and design organizations and embrace the power of open collaboration.

Current Structure

Formâ&#x20AC;&#x2122;s Vision

AIA

IDSA

AIGA

IxDA

ASLA

IIDA

AIA IDSA

AIGA

IIDA

ASLA IxDA

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KEY INSIGHTS / 02

Design is a social process.

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KEY INSIGHTS / 02

A PASSIVE COMMUNITY Although there are hundreds of design related events held in San Francisco every year, they are largely passive in nature and fail to adequately engage their participants. This inactivity exists on two levels: the format of the event and the participants involved. As identified in the our qualitative and quantitative research, a community based on talking rather than doing has resulted in a community of disconnected designers. Shifting to a community that focused on active learning and increased interaction would accelerate professional growth, encourage the development of design partnerships, and further the spread of knowledge and resources.

Shifting to a community that focused on active learning and increased interaction would accelerate professional growth, encourage the development of design par tnerships, and fur ther the spread of knowledge and resources.

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KEY INSIGHTS / 03

T-Shaped designers are more valuable than specialists.

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KEY INSIGHTS / 03

DIVERSE SKILL SETS + SOCIAL RESPONSIBILITY As the world for which we design continues to become more complex, designers with more diversified skill sets are required. Technological advances, environmental concerns, and the movement towards more socially responsible design have produced the need for designers that have the ability to successfully work across a wide variety of media and subject matter. In addition to a strong core education, designers must be willing to adapt their work styles to changes in media, social constructs, and client needs. As complex design systems and holistic design continue to rise, designers are urged to continue their education through workshops, seminars, and post graduate degrees in design, business, social sciences, and the humanities.

“We look for people who are so inquisitive about the world that they’re willing to try what you do. We call them “T-shaped people.” They have a principal skill that describes the vertical leg of the T — they’re mechanical engineers or industrial designers. But they are so empathetic that they can branch out into other skills, such as anthropology, and do them as well. They are able to explore insights from many different perspectives and recognize patterns of behavior that point to a universal human need.” Tim Brown, IDEO

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KEY INSIGHTS / 04

The transition from design student to design professional is disconcerting. 04 Page 42

KEY INSIGHTS / 04

MENTORING, INSPIRATION, & PROFESSIONAL PRACTICES Because design is such a diverse profession, many recent graduates feel unprepared for their first design jobs. While most design programs over a broad overview of design theory, conceptual skills, technical aptitude, and production, students entering the job force have varying degrees of specialization and professional practice. Increasing the interaction between students and professional through a more integrated design community would not only prepare students for the workforce, but also create a mutually beneficial relationship between designers, and universities.

â&#x20AC;&#x153;There is a mismatch bet ween the kind of learning prescribed by enlightened experts and what many employers perceive to be their short-term needs. As a result of this mismatch, the school-to -work transition has become in increasingly difficult phase.â&#x20AC;? John Thackara, In The Bubble

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KEY INSIGHTS / 05

Elitism is not the problem. The perception of elitism is the problem. 05 Page 44

KEY INSIGHTS / 05

HUMANIZING DESIGN Despite a recent surge in human centered, sustainable, and socially responsible design, many people still think of designers as the starchitects and divas of design past. While initiatives like TED, Architecture For Humanity, and Project M are helping to eradicate old stereotypes, there is still much to be done in the way of raising the public perception of designers and the design profession. Designers must increase their outreach to local communities and strive to include end users in the design process in order to affect change on a larger scale.

â&#x20AC;&#x153;The days of the celebrity solo designer are over. Complex systems are shaped by all the people who use them, and in this new era of collaborative innovation, designers are having to evolve from being the individual authors of objects, or buildings, to being the facilitators of change among large groups of people.â&#x20AC;? John Thackara, In The Bubble

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KEY INSIGHTS / 06

Resources and information are fragmented.

06 Page 46

KEY INSIGHTS / 06

STAYING CONNECTED TAKES TOO MUCH EFFORT Designers must reach out to a large number of sources in order to find out what events are taking place on any given day. The dissipation of information that previously existed because of the structure of design organizations has been worsened by the unorganized adaptation of social media. In any given month designers must visit upwards of fifteen web sites in order to find out what design related events are taking place in the San Francisco area. If we look at the architecture profession for an example, there are over 500 architecture related common interest groups on Facebook. In addition to these groups, there are over 400 more groups affiliated with the AIA, the professional organization for architects in the United States. In addition to these 900 Facebook groups there are also student groups, blogs, venue web sites, and event specific web sites, all which can make finding out whatâ&#x20AC;&#x2122;s taking place in the city around you a daunting process.

The dissipation of information that previously existed because of the structure of design organizations has been worsened by the unorganized adaptation of social media.

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KEY INSIGHTS / 07

There is a lack of community interaction and user input. 07 Page 48

KEY INSIGHTS / INTRODUCTION

KEY INSIGHTS / 07

DESIGNERS ARE TIED TO THEIR COMPUTERS In addition to having a negative affect on the public’s perception of design, the failure to actively engage with users hampers the success of design systems and artifacts. Although firms are beginning to embrace ethnographic research and beta testing, there is still an industry-wide tendency to design in a vacuum.

“The ambition to be an open, connected, and integrated enterprise is shared by many advanced companies throughout the world—but by relatively few learning institutions.” Charles Hampden-Turner

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chapter

Page 50

DESIGN PROGRAM FOR Mâ&#x20AC;&#x2122;S PROGR A M FUNCTIONS AS A KIT-OF-PARTS, ADAPTING TO VARIOUS SIZES AND LOCATIONS. In building the program for Form, we focused on spaces that would facilitate collaboration, support education, and spur inspiration. Each of the spaces built into the program supports the inaugural events and initiatives of Form, while being malleable enough to meet future needs and growth. The resulting program will work with the design principals as a kit-ofparts, adapting to various building sizes, configurations, and locations. The program itself is an articulation of the goals of Form; it transforms a variety of disparate needs into a cohesive set of spaces that function both independently and in conjunction with one another.

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DESIGN PROGRAM / OVERVIEW

Form’s program reflects the needs of three user groups.

Page 52

DESIGN PROGRAM / OVERVIEW

Designers & Design Students

Allied Professionals

Community Members

Design students, educators, and practitioners are the core of Form. Whether they are independent or part of a larger firm, Form strives to provide designers with the resources, inspiration, and contacts necessar y to produce work that meets and surpasses industry standards.

Part of what separates Form from other design organizations is their outreach to, and inclusion of, allied professionals. Engineers, artisans, manufacturers, vendors, consultants, and representatives are encouraged to take an active part in the Form community.

In addition supporting individual designers, Form aims to advance the profession as a whole. By educating local citizens about design processes, advocating user focused design, and fostering interaction between designers and the communit y, Form hopes to promote a thriving design culture.

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DESIGN PROGRAM / PUBLIC SPACES

Creative spaces foster & attract creative minds.

Page 54

DESIGN PROGRAM / PUBLIC SPACES

PUBLIC SPACES Form’s open door policy is reinforced by the transparency of public spaces it houses. Each of the below spaces are open to the general public as well as Form members, and can be utilized for a variety of events and functions.

Entry Portal & Main Hall

Form’s entry portal reinforces the Form brand and creates a physical and emotional transition between the center and the outside world. Upon entry the guests sense will heighten, feeling welcome, curious, and creative. The Main Hall is located immediately off the entry portal and contains the welcome center, membership info, Story Forms, interactive displays, and flex seating.

Library

The resource library will act as a community ‘hub’ or ‘pantry’ and is the central feature of the Form center. It should act as the main navigation through the space, and contain a variety of seating areas that vary in scale and privacy. The library will house books and periodicals as well as materials and type samples. Two full time librarians will staff the library, with an information and help area to facilitate guest interaction. The library needs to be open enough to host visiting manufacturers and reps who wish to showcase new products and technologies.

Gallery(s)

The gallery hosts a wide range of programming, with instillations rotating on a monthly basis. Guests curators collaborate to produce shows with both local and global outlooks, each with a connective theme of innovation. The gallery’s architectural shell should be open and raw, with moveable drywall partitions, and adjustable lighting.

Shop

Much like the cafe, the shop will serve multiple functions, one of which is to draw in customers who may not normally attend Form events. In addition to attracting visitors, the shop will sell Form produced products and publications, showcase the wares of local independent designers, inspire creativity, and generate revenue for the foundation. The shop can be accessed by its own entrance, as well as from within the interior of the center. It’s architectural shell and interior fixtures should be flexible in nature, allowing the shop to shrink or grow depending on the format and quantity of design objects being featured.

Cafe(s)

The cafe serves four major functions. It draws in customers who may not normally visit Form, provides catering for Form functions, serves as an intimate venue for events, and generates revenue for the foundation. The cafe can be accessed both by its own entrance, and from the interior of the center. If zoning permits, the cafe should have sidewalk seating, an additional rooftop cafe is optimal where permitted. Food and drink in the cafe will be from local vendors, with a seasonal menu that highlights fresh produce, sustainable farming practices, and regional wines and micro brews. Membership to Form or attendance at Form event’s is not required for admission to any of the center’s cafes. Pricing is comparable to the locals other casual cafes.

Lounges

Studios

Lounges are located throughout the center, providing spaces for collaboration, conversation, and reflections. Lounges will range in scale, serving an occupancy as large as ten, or as intimate as two. Lounges should be flexible, with furnishings changing on a rotating basis as they are on loan from local furniture manufacturers and designers.

Multipurpose Room(s)

The technology center will support the needs of Form employees, as well as workshop and class curricula. Equipment in the technology center can be used by any of Form’s members, if appointments are made with technology center staff. The center will contain: large format plotters (black & white and color), a laser cutter, small format laser printers, wire and perfect binding machines, and a 3-D printer. In addition to providing printing services, the technology center will also educate visitors about new breakthroughs in computer software. Computers in the center’s lounge are equipped with the latest software by manufactures like AutoDesk and Adobe, allowing designers to explore the programs before making a personal investment.

Studio spaces are raw, malleable, and industrial, and open. They are used for a variety of activities, including but not limited to: screen printing, model making, drafting, bookbinding, and studying. The studios support Form programming, as well as that of outside vendors. Form members can rent studio time on an hourly basis.

Multipurpose rooms are used to support programming ranging from lectures to charrettes to film screenings. The rooms must be flexible in both size and configuration, with mobile, stackable furniture and moveable partitions. Multipurpose rooms will be equipped with tools to support a variety of communication methods, with ceiling mounted projectors, tackable surfaces, and easel pads. Multi purpose room furnishings should be light, durable, flexible, and comfortable.

Circulation Spaces

Walkways and corridors, which are often overlook by designers, are an integral part of the Form experience. Integrated way finding, colorful displays, and dynamic architectural forms activate the space and enrich the user journey.

Technology Center

Gamers Den

The Gamers Den and multipurpose library provide a place for visitors to decompress, as well allowing interactive designers to beta test new technologies and programs.

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DESIGN PROGRAM / SEMI-PUBLIC & PRIVATE SPACES

“Designers have now been paying attention to elevators, stairwells, bathrooms, meeting rooms and other social spaces. These previously ignored and undervalued spaces are becoming an integral part of design strategies — and not just to look good, but also to function well. By adding colour, neon, digital interiors, irregular shapes and patterns — cool stuff to look at, to touch, or to sit in or on — we’ll heighten the senses and draw out creative thinking.” Coolhunter.com

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DESIGN PROGRAM / SEMI-PUBLIC & PRIVATE SPACES

SEMI-PUBLIC SPACES Semi-Public Spaces still retain the transparent nature of public spaces, but are have a more limited access. These rooms predominantly serve the staff of Form and its partners, but can be utilized for outside events when needed.

Open Office

The open office area serves the staff of Form and it’s partners (AIGA, AIA, IIDA, etc.) The open office space facilitates collaboration with furnishings that support a variety of work modes. The workspace represents best practice in corporate design, showcasing how the needs of various teams and hierarchies can be met with an open, flexible system. The open office is furnished with ample storage, tackable surfaces, ergonomic workstations, and adjustable task lighting. The adjacent phone rooms and huddle rooms will supply the visual and acoustical privacy for specialized tasks. The open office should have ample day lighting and operable windows when the building permits.

Conference Room

The conference room supports the meeting needs Form’s staff and it’s partners. The conference room has audio and visual privacy, and is adjacent to the open office. Like the multipurpose room, it will be equipped with tools to support a variety of communication methods, with ceiling mounted projectors, tackable surfaces, and easel pads. The conference room should have furniture that is flexible, comfortable, and modern.

Pantry(s)

The pantry supports the day to day needs of Form staff. Equipped with coffee makers, microwaves, dishwashers, and refrigerators, they are self service and employee maintained. Depending on staff and size, the pantry will have communal lunch tables and bar seating. The pantry should have access to natural light.

Restrooms

Just as the owners’ attitudes are reflected in the staff they hire, their true values and beliefs are revealed in the places that get overlooked in poorly executed concepts: parking garages, coat checks, and most commonly, bathrooms. Form’s restrooms will be designed with the same best practices, sustainable systems, and innovative materials that are used throughout the center.

PRIVATE SPACES

Huddle Rooms

The private spaces in Form provide support functions such as storage, equipment, and environmental controls. These spaces are accessed only by appointed Form staff.

The White Room

Server rooms are located along core walls as needed to support the needs of the facility.

Huddle rooms are semi-private meeting rooms for groups of two to four individuals. They support the open office by providing a collaborative space for casual meetings, conference calls, and other activities. Huddle rooms have a variety of furniture to accommodate different activities, and are equipped with tackable surfaces, task lighting, and audio/visual connectivity.

Like the huddle rooms, the White Room is an informal collaboration space that affords visual and acoustical privacy. Furnished with white washed walls, and flexible furniture, it is an ideal space for charrettes, brainstorming, and team work. The White Room is outfitted with tackable panels, writable surfaces, and a variety of brainstorming tools.

Phone Rooms

Phone rooms are private enclaves for short phone calls. They are located adjacent to both the open office and the gallery, providing individual privacy without distracting from the overall openness of the space. Phone rooms should be tucked into core walls along main corridors.

Server Room

Storage Closets

Storage closets are located throughout the center to house equipment, supplies, and unused furnishings. Storage closets can be scattered throughout the space, but must be adjacent to the multipurpose room, technology center, studios, and gallery.

Janitorial Closets

Janitorial closets with mop sinks are to be located throughout the space as needed. When possible closets should be located along core walls.

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DESIGN PROGRAM / ATTRIBUTES

Formâ&#x20AC;&#x2122;s program is focused on spaces that are both malleable and transparent.

Page 58

DESIGN PROGRAM / ATTRIBUTES

MALLEABLE

PUBLIC

Lounges

Entry Portal

Gallery

Library

Multipurpose Room

Gallery

Open Office

Lounges

Studios

Circulation Spaces

Cafe

Shop

Huddle Room

Studios

Library

Multipurpose Room

Cafe

Pantry

Technology Center

Pantry

Open Office

Conference Room

Phone Room

Entry Portal

Restrooms

Phone Room

Huddle Room

Restrooms

Conference Room

Storage Closet

Server Room

Janitorial Closet

Lounges Gallery Multipurpose Room Open Office Studios Circulation Spaces Shop Huddle Rooms Library Cafe Technology Center Pantry Conference Room Entry Portal Phone Room

FIXED Flexibility: The chart above shows the function of each space as it falls in the range from malleable to fixed. The colors represent the following: Educational Collaboration Inspiration Support

FIXED

PRIVATE

Flexibility: The chart above shows where each function falls in the range from malleable to fixed. The three shades of orange represent the following: Flexible Architecture & Furnishings Flexible Furnishings Fixed Architecture & Furnishings

Openness in the range following:

& Access: The chart above shows where each function falls from public to private. The three shades of blue represent the

Open Access Invited Guest Access Staff Access

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DESIGN PROGRAM / TRANSPARENCY & ADJACENCY

TRANSPARENCY A

Cl Studios

Conference Room

Studio

PhoneLibrary

Cl Library

Rr Huddle

Window Wall

Huddle

Multipurpose Rooms

Library

Lounge Cl

Open Office

Lounge

E n t r y Portal

Main Hall

Cl Gallery Shop

Cafe

Pantry

Enter

Window Wall

Transparency A: The chart above illustrates the desired transparency and connectivity of the Form program when applied to a single floor space with mezzanine. The shades of blue and varied line weights represent the following: Open Access Invited Guest Access Staff Access Open Spaces (No Line) Semi Permeable Spaces Demountable Partitions Solid Partitions

Window Wall

Open

Phone

Lounge

Enter

Technology Center

Library

Stair

Server

Stair

DESIGN PROGRAM / TRANSPARENCY & ADJACENCY

ADJACENCY A

Conference Room

Cl Studios

Library

Studio

Phone

Cl Library

Huddle

Cl Rr

Lounge

Main Hall

Library

Lounge Cl

Entry Portal

Enter

Multipurpose Rooms

Huddle

Open Office

Lounge

Main Pedestrian Walkway

Open

Phone

Library

Stair

Technology Center

Library

Main Pedestrian Walkway

Server

Stair

Lounge

Rr Cl

Gallery Shop

Cafe

Pantry

Enter

Secondary Pedestrian Walkway

Adjacency A: This diagram shows the recommended relationships between various functions for a single floor with mezzanine building. Please note: Colors are for readability and do not reference previous diagrams.

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DESIGN PROGRAM / TRANSPARENCY & ADJACENCY

Window Wall

Transparency B: The chart above illustrates the desired transparency and connectivit y of the Form program when applied to a t wo floor space. The shades of blue and varied line weights represent the following: Open Access Invited Guest Access Staff Access Open Spaces (No Line) Semi Permeable Spaces Demountable Partitions Solid Partitions

Stair

Window Wall

TRANSPARENCY B

DESIGN PROGRAM / TRANSPARENCY & ADJACENCY

ADJACENCY B

Stair Phone Rr

Main Pedestrian Walkway

Phone

Stair Rr

Secondary Pedestrian Walkway

Adjacency B: This diagram shows the recommended relationships between various functions for two floor space. Please note: Colors are for readability and do not reference previous diagrams.

Page 63

DESIGN PROGRAM / TRANSPARENCY & ADJACENCY

Window Wall

TRANSPARENCY C

Window Wall

Studio

Window Wall

Transparency C: The chart above illustrates the desired transparency and connectivit y of the Form program when applied to a three floor space. The shades of blue and varied line weights represent the following:

Open Access Invited Guest Access Staff Access Open Spaces (No Line) Semi Permeable Spaces Demountable Partitions Solid Partitions

Window Wall

Sta

ADJACENCY C

Main Pedestrian Walkway

DESIGN PROGRAM / TRANSPARENCY & ADJACENCY

Sta

Secondary Pedestrian Walkway

Sta

Main Pedestrian Walkway

Studio

Main Pedestrian Walkway

Secondary Pedestrian Walkway

Adjacency C: This diagram shows the recommended relationships between various functions for a three floor space. Please note: Colors are for readability and do not reference previous diagrams.

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chapter

Page 66

FORM NAVIGATION FORM SAN FRANCISCO WILL SERVE AS A CASE STUDY FOR FUTURE FORM LOCATIONS. The following pages provide a systematic walk through Form San Francisco. By applying with transparency and adjacency studies, programming, and Key Insights to a three floor space, we were able to develop a flexible and functional design center.

Page 67

FORM NAVIGATION / FLOOR ONE

Floor One

Program Zone 01 01 Town Hall 02 Welcome Center 03 Story Forms 04 Community Center 05 Exhibitions Wall 06 Entry Portal 07 Gallery Zone 02 08 Cafe 09 Elevators 10 Main Stairway 11 Restrooms 12 Kitchen 13 Shop 14 Display Window Zone 03 15 Studio A 16 Closet 17 Help Desk 18 Studio B 19 Library 20 Stair Two 21 Studio C 22 Multipurpose Room 23 Closets

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Studio

FORM NAVIGATION / FLOOR ONE

16 15 09 11 10 17 08 12

13 02

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FORM NAVIGATION / FLOOR ONE

1a Main Entrance

1b Entr y Portal

1c Welcome Center

1d Town Hall

Opinions

Industy Trends Form Programming Design Advice Community Development New Products

Connections

Events

Mentors Collaborations Partnerships Freelance Designers Competitions Study Groups

Continuing Educatio Workshops Charrettes Product Demonstrations Competitions Lectures Film Screenings Exhibitions Training Courses Tours

1e, 1f Communit y Forum

Exhibitions

Multi

What would you like to see in future exhibits?

01 Jeremy Fish 02 Martha Cooper 03 Biomimicry 04 Maybeck: A Retrospective 05 Apple Design

1g Exhibition Wall

1h Galler y

Stair

Purpose

FORM NAVIGATION / FLOOR ONE

FLOOR 01, ZONE 01 As Form’s primary entrance, Zone 01 is dedicated to inspiring visitors and creating a lasting impression. Containing the most public of programming, the area has an open floorplate, with the Town Hall and Entry Portal anchoring a sky lit atrium. In addition to the Welcome Center, which has a membership bar with registration for Form events and membership in our partner organizations, there are numerous interactive touch-points throughout the space. Both the Exhibitions Wall and the Community Center invite visitors to voice their ideas, connect with one another, and collaborate on future programming. Tensile Story Forms morph out of the entry portal, creating dramatic storytelling nooks within the three story space. The Cornerstone, the primary wall in the town hall displays content from Form’s blog, and the area’s flexible seating allows the space to be converted for a variety of programming.

Program • Town Hall • Welcome Center • Story Forms • Community Center • Exhibitions Wall • Entry Portal • Gallery

Welcome Center Town Hall

Story Forms

1e Community Center Entry Portal

1g Events Wall

1f Gallery

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FORM NAVIGATION / FLOOR ONE

1i Main Stair

1j Shop

1k Shop

1l Bar

1m Cafe

FORM NAVIGATION / FLOOR ONE

FLOOR 01, ZONE 02 Program

Zone 02 contains the secondary entrances, shop, cafe, and primary vertical egress. The cafe and shop draw passersby into Form and helps generate revenues to support programming and initiatives. Sharing a glass storefront, they interact with the surroundings via integrated signage and sidewalk cafe seating. Both spaces have flexible furnishings and relatively open floorplates, preserving their transparency and allowing the spaces to cater to special events. The elevator vestibule, entryway, and main stair are visitors first introduction to the primary wayfinding system used throughout the building.

• Cafe • Freight Elevator • Elevators • Main Stairway • Restrooms • Kitchen • Shop • Display Window

1l 1m

Cafe

1k Elevators

Restrooms

Kitchen

Shop

Main Stair

Display Window

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FORM NAVIGATION / FLOOR ONE

Elevatore Cafe Restrooms

Studio One

1o Information

1p Studios

Stair

Multi

1q Multipurpose

1r Studio

Purpose

FORM NAVIGATION / FLOOR ONE

FLOOR 01, ZONE 03 Zone 03 supports the Form’s educational and special events programming. Three studios and a multi-purpose room open up to the first floor library, the entry which provides secondary seating to large scale programs stemming from the town hall. Floor to ceiling glazing allows the activities taking placed to be viewed throughout Form across the space’s central atrium. The oversized, salvaged garage doors add flexibility and character to the multipurpose room. Strategically placed closets and a studio loading dock allow the studios to be used for a variety of programs, ranging from letterpress to drafting.

Program • Studio A • Closet • Help Desk • Studio B • Library • Stair Two • Studio C • Multipurpose Room • Closets

Closets

Studio C

Studio B

Multi-Purpose

Studio A

Library

Help Desk

Stair Two

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FORM NAVIGATION / FLOOR TWO

Floor Two

Program Zone 01 01 Library Info Center 02 Borrowing Station 03 Reading Rooms 04 Library Lounge 05 Free Form Studio 06 Closets 07 Main Stair 08 Elevators 09 Restrooms Zone 02 10 Graphic Library 11 Library Information 12 Odds & Ins Library 13 Light Boxes 14 Textile Library 15 Materials Library Zone 03 16 Secondary Stair 17 Atrium Overlook 18 Gamers Den 19 Multi-Media Library 20 Closet 21 Performance Gallery

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06 05

FORM NAVIGATION / FLOOR TWO

10 11 02 12

01 08 04

07 09

Page 77

FORM NAVIGATION / FLOOR TWO

7JSUVBM -JCSBSZ

2a Librar y Information

Arrivals

Departures Periodicals

Hidden Track Typography 28 LEED V3 Study Guide Project on the City The Cheese Monkeys Brandscapes Area 2 S, M, L, XL Pattern Language Flashback Meditative Spaces Perspective Drawing Handmade Books 1000 Chairs IBC 2007 Inside Magazines The Art of Construction ILayout Workbook Structure as Architecture Drawing For Designers Thinking With Type Made To Stick

Frame #58 Mark #3 Metropolis 2.09 Architecture Digest 10.07 How 2.10 CMYK 5.08 Novum 12.08 Ottagono 8.09 Display & Design 07.09 Hotel Design 2.06 Computer Arts 12.09 I.D. 11.09 Interior Design 2.10 Monocle 4.10 Azure 11.09 Azure 8.09 Contract 6.10 Novum 3.09 Icon 4.09 Materia #41 Ambidextrious #57

Materials

Books

Periodicals

Materials

Heath Tile Concrete Color Swatches 3Form Varia Ecoresin EcoTimber Bamboo Marmoleum 23891 IceStone Terrazo Larson Upholstery Fabric Joel Berman Glass Knoll Panel Fabric Benjamin Moore Paint Deck Donghia Panel Missoni Upholstery Fabric Ann Saks Tile Dodge Walnut Veneer Flor Tile Armstong Grid Calcatta Marble Corian Stone B+N Iconic Panels

LEED V3 Study Guide Looking Sideways Area 1 Mutations Building Structures Project on the City LIfeStyle Interior Graphic Standards Blob Architecture Sustainable Urbanism Cities of Tomorrow Sourcebook: Mod Furniture Guide to Frame Architecture Dictionary of Textiles Digital Textile Design EAT! Places of the Soul Thermodynamic Buildings The Layout Book The Modular City

Computer Arts 12.09 Metropolis 2.09 Frame #51 Mark #6 How 2.09 CMYK 5.08 Novum 3.08 Ottagono 9.09 Display & Design 07.07 Hotel Design 2.06 I.D. 11.09 Interior Design 12.09 Monocle 2.08 Azure 2.09 Azure 8.09 Contract 5.10 Icon 6.09 Azure 3.08 GD 2.10 Print 1.10 Print 2.10

EcoTimber Oak Veneer EcoTimber Pine Veneer Ecotimber Ash Veneer Shaw Tile 897234-093 Panelite Mica Architex Upholstery Fabric Health Tiles Delray Lighting Guide Armstrong Ceiling Panel Geometrix Panel Livinglass Panel Stone Source Reclaimed Tile 3Form C3 Molo Softblock Cambridge Wire Shade Panelite Panel Veritas Panel Wolf Gordon Wallcovering

Borrowing Station

Books

2b Borrowing Station

Reading Rooms

2c Librar y Lounge

Free Form Studio

2d Reading Rooms

2e Free Form Studio

2f Free Form Studio

2g Stair

FORM NAVIGATION / FLOOR TWO

FLOOR 02, ZONE 01 Zone 01 of the second floor contains the primary vertical egress, library support spaces, and the Free Form Studio. Upon entering the second floor visitors are greeting with the interactive Library Information Center, which features a new products display, materials request, digital library, and borrowing stations. Adjacent to this is the large Library Lounge. In an effort to maximize collaboration across disciplines, and increase the visibility of a variety of resources, reading rooms and workspaces have been collocated in this centralized space. Furnished with a variety of flexible seating, the lounge overlooks the atrium, providing visibility to the activity below. Reading rooms with tackable panels, task lighting, and privacy panels are ideal for small study groups and informal meetings. Adjacent to the lounge, the Free Form Studio provides a space for visitors to work with materials from the main library. Overflow and discontinued materials are available for use; guests are invited to repurpose them for their own projects.

Program • Library Info Center • Borrowing Station • Reading Rooms • Library Lounge • Free Form Studio • Restrooms • Main Stair • Elevators • Closets

Elevators Library Info Center

Restrooms

2a 2g

Main Stair

Borrowing Station

Library Lounge

Closets

Free Form Studio Stair Two

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FORM NAVIGATION / FLOOR TWO

2h Light boxes & Textile Librar y

2i Odds & Ins Librar y

2j Borrowing Station

2k Graphics Librar y

FORM NAVIGATION / FLOOR TWO

FLOOR 02, ZONE 02 Adjacent to the Library Information Center, Zone 02 houses the specialty libraries and light box workstations. The graphic, textile, materials, and odds & ends libraries each contain kiosks with carts and Form’s digital library. These spaces are located along the primary window wall, with storage placed perpendicular to the glazing to allow for maximum light penetration throughout the space. Aside from a code reference area at the rear of the materials libraries, and the light box workstations, seating has been omitted from these rooms to encourage the congregation of visitors the Library Lounge.

Program • Graphic Library • Library Information • Odds & Ens Library • Light Boxes • Textile Library • Materials Library

Odds & Ins Library Graphic Library

Light Boxes

Materials Library Textile Library

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FORM NAVIGATION / FLOOR TWO

2l Performance Galler y

PLAY

2m Multi-Media Librar y

2n Gamers Den

FORM NAVIGATION / FLOOR TWO

FLOOR 02, ZONE 03 The specialized spaces in Zone 03 support creative and educational programming. The Performance Gallery is a raw concrete and space with mobile, partial height partitions. The gallery is reserved for monthly live-art events, in which local designers are invited to collaborate on exhibitions, with visitors able to view the entire creative process. The multi-media library and Gamers Den encourage creative play, while providing an opportunity for designers to beta test new programming and media. The gamer’s den’s full height glazing opposite the atrium overlook allows play to be viewed from throughout the space.

Program • • • • •

Atrium Overlook Gamers Den Multi-Media Library Performance Gallery Closet

Atrium Overlook

Gamers Den

Multi-Media Library

Performance Gallery

2l Closet

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FORM NAVIGATION / FLOOR THREE

Floor Three Program Zone 01 01 Open Office 02 Files 03 Mail Room 04 Project Rooms 05 Phone Room 06 Teaming Areas 07 Secondary Stair 08 Main Stair 09 Elevators 10 Restrooms Zone 01 11 History Center 12 Visiting Workstations 13 Huddle Rooms 14 The White Room 15 Technology Center 16 Conference Room 17 Atrium Overview Zone 01 18 Cafe 19 Pantry 20 Multi-Purpose Room

Page 84

04 05

FORM NAVIGATION / FLOOR THREE

06 02

09 03

08 10

13 13

17 20

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FORM NAVIGATION / FLOOR THREE

Three 03

Partnerships AIA AIGA AISD IIDA IDSA IDxA

Think Tank History Center Visitor Workstations Huddle Rooms The White Room Technology Center Conference Room Multi Purpose Room Pantry / Cafe

Project Rooms

3a Open Office

Project Rooms

3b Teaming Wall

3c Project Rooms

3d Open Office

3e Stair

FORM NAVIGATION / FLOOR THREE

FLOOR 03, ZONE 01 Zone 01 of the third floor consists of the open office spaces and primary egress for the third floor. The spacious open office houses the workspaces for Form staff, as well as that of the local design organizations with which Form partners. Although the office has a large open floorplate, teaming areas, project rooms, and small break out spaces support a variety of work styles and privacy needs while retaining the overall transparency. The office’s location along the primary window wall, as well as it’s full height glazing overlooking the atrium, increase the natural light in the workspace and visibility to community guests. The workspace support functions, filing, and mail room are located along the spaces core, preserving the otherwise open space.

Program • Open Office • Files • Mail Room • Project Rooms • Secondary Stair • Phone Room • Teaming Areas • Main Stair • Restrooms

Teaming Area

Phone Room

Teaming Area

Project Rooms

Open Office

Stair Two

3a 3e

Elevators

Files

Main Stair

Restrooms

Mail Room Page 87

FORM NAVIGATION / FLOOR THREE

3f Technology Center

3g Huddle Rooms

3h White Room

Partnerships AIA AIGA AISD IIDA IDSA IDxA

3i Histor y Nook

Three 03 Think Tank History Center Visitor Workstations Huddle Rooms The White Room Technology Center Conference Room Multi Purpose Room Pantry / Cafe

FORM NAVIGATION / FLOOR THREE

FLOOR 03, ZONE 02 Zone 02 houses numerous spaces dedicated to collaboration, and production. The huddle rooms, White Room, and conference room support the meeting needs of the open office, as well as being available for public rental. The staffed Technology Center offers large scale printing and modeling resources, allowing independent designers access to resources previously reserved for large firms. The Technology Center’s lounge and computer bar allow visitors to try new design software through online tutorials, product demonstrations, and workshops.

Atrium Overlook

Program • • • • • •

History Center Huddle Rooms The White Room Technology Center Conference Room Atrium Overview

Conference

History Center

Huddle Rooms

Technology Center

3f 3i

The White Room

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3j Multi-Purpose

3k Pantr y

3l Cafe

FORM NAVIGATION / FLOOR THREE

FLOOR 03, ZONE 03 Located off the open office, Zone 03 houses the informal support spaces for Form staff, partners, and volunteers. The spacious pantry supports the day to day needs of staff, and can also be used as a catering station as needed for larger programming. Both the in house multipurpose room and cafe are located along the primary window wall and overlook the central atrium, making them and ideal place for small conferences, charrettes, and lectures, as well as comfortable space for informal meetings and daily lunches.

Program • Cafe • Pantry • Multi-Purpose Room

Pantry

Cafe

Multi-Purpose

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FORM NAVIGATION / SUMMARY

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FORM NAVIGATION / SUMM ARY

03 02 01 Page 93

chapter

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DESIGN PRINCIPLES BASED ON THE INSIGHTS WE GAINED THROUGH THE EXPLORATIONS, OBSERVATIONS, & CONVERSATIONS WE GENERATED A SERIES OF DESIGN PRINCIPLES THAT WILL SHAPE THE DESIGN OF FORM SAN FRANCISCO, AS WELL AS FUTURE FORM LOCATIONS. These principles are the cornerstone of what Formâ&#x20AC;&#x2122;s facilities will be like- how the building will work for students, designers, faculty, and community members to expand knowledge, broker relationships, strengthen design appreciation, and spur innovation. These principles are not visual guidelines, but rather a set of tenants with which the design team(s) should employ moving forward with the design and construction of Form San Francisco. In addition, these principles will provide future teams with a lens through which to evaluate any design solution, both in San Francisco and in future locations.

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DESIGN PRINCIPLES / INTRODUCTION

In designing the new center, Form followed function.

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DESIGN PRINCIPLES / INTRODUCTION

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DESIGN PRINCIPLES / INTRODUCTION

07 Design Principles: 01 Space as a Catalyst for Collaboration

02 Spark Creativity

03 Transform the Ordinary

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DESIGN PRINCIPLES / INTRODUCTION

04 Flexible Spaces Support Program Variety

05 The Environment as Educator

06 Embed Private Spaces Within Public Areas

07 Create a Memorable Journey

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Space as a Catalyst for Collaboration

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DESIGN PRINCIPLES / 01

EMPHASIZING THE SOCIAL CENTER Form is a single community that contains a number of smaller, overlapping groups of designers, community members, and allied professionals. By designing central spaces that are dedicated to shared activities between each of these groups, Form maximizes interaction and encourages new relationships. Programming, physical space, and virtual space align to facilitate collaboration, mentoring, and personal and professional growth.

Strategies • Interactive Environments • Central Atrium • High Ratio of Public to Private Spaces • Permeable Relationships • Visual Transparency • Community Seating Versus Individual Furnishings • Centralize Functions • Storytelling Center

Floor 01

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Visitor Questions Integrated 3-M pads allow visitors to ask their own questions, receive feedback, and take the results with them upon leaving Form Question of the Month Each month Form poses a new question about current design events, encouraging the visitors to share their opinions on the adjacent note pads

Opinions Industy Trends Form Programming Design Advice Community Development New Products

Story Telling Nooks Plug in your ear buds to hear local designers share their favorite design experiences Upholstered Stools Brightly colored stools invite visitors to spend time at the Community Forum, and provide overflow seating for the main hall and gallery

Community Forum - Main Hall Side

Upcoming Connections Postings for study groups, competitions, and upcoming networking events.

Personal Ads Looking for a mentor, freelance designer, or collaborator? Leave your requests here, and link up with other local designers. Story Telling Nooks Plug in your ear buds to hear designers talk about their best & worst mentoring experiences Upholstered Stools Brightly colored stools invite visitors to spend time at the Community Forum, and provide overflow seating for the main hall and gallery

Community Forum - Gallery Side Community Forum: Located off the primary axis in the main hall, the Community Forum allows visitors to connect with designers, resources, events, and various opportunities throughout the city.

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Connections Mentors Collaborations Partnerships Freelance Designers Competitions Study Groups

DESIGN PRINCIPLES / 01

FORM Opinions

Opinions

Industy Trends Form Programming Design Advice Community Development New Products

FORM COnnections

Events

Continuing Educatio Workshops Charrettes Product Demonstrations Competitions Lectures Film Screenings Exhibitions Training Courses Tours

Floor 01

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The Cornerstone The three story wall in the Town Hall projects postings from the blog at www.formsf.org, allowing the virtual and built environments to coexist. The wall can also be used for multi-media art exhibits and film screenings.

Story Forms These flexible, tensile structures create intimate alcoves for visitors to watch interactive videos about Form and itâ&#x20AC;&#x2122;s partners.

The Town Hall Town Hall furnishings are to be flexible and modern; to be provided by local vendor representatives on a rotating basis.

Town Hall The Town Hall: The Town Hall is to be flexible and open, with multiple opportunities for visitors to interact with the physical environment, the virtual environment, and one another.

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Floor 01

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Cafe Communal Seating: Oversized cafeteria style seating and a welcoming bar foster chance interactions between lone diners. The sketch wall at the cafeâ&#x20AC;&#x2122;s rear features a continuously changing display of the sketches cafe visitors leave behind.

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Floor 01

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Spark Creativity

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ENCOURAGE EXPERIMENTATION Experimentation and play are vital parts of the design process. At Form, we encourage visitors to question, explore, transform, and combine ideas, methods, and objects. Hands-on areas located throughout the space allow visitors to test new technologies, learn new skills, and experiment with a wide variety of materials. The Free Form Studio and Performance Gallery are the epicenter of this principle. Located adjacent to the library, these spaces allow visitors to manipulate materials, creating unique forms that are displayed in the adjacent gallery.

Strategies • Highlight Activity • Showcase Designers • Encourage Play • Hands-On Interaction Areas • Unexpected Details • Frequent Change • Question Everything

Floor 01

Floor 02

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Odds & Ends Cool fasteners, objects, and materials organized into categories of metal, plastic, paper, foam, textile, etc. These are random bits that spark creativity but do not fit into one specific design category.

New Materials Display Tackable surface showcasing our favorite new items

Digital Catalog The digital catalog links visitors directly to the manufacturers web sites for all products housed in the library. Log on to connect with reps, order additional samples and download product specs

Cart Docks Located throughout the library, refer to principle 03 for detailed information

Odds & Ends Library The Odds & Ends Library: The Odds & Ends Library is home to objects and materials that spark creativity but do not fit into more specific categories within the libraries.

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Floor 02

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Free Form Studio Free Form Studio: Adjacent to the librar y, the Free Form Studio allows visitors to experiment with materials and library overstock.

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Free Form Studio

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Free Form Studio Entrance

Floor 02

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Performance Gallery The Performance Gallery The Performance Gallery is a raw concrete and space with mobile, partial height partitions. The gallery is reserved for monthly live-art events, in which local designers are invited to collaborate on exhibitions, with visitors able to view the entire creative process.

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Floor 02

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New Materials Display Tackable surface showcasing our favorite new items

Library Events Monthly postings for vendor events, book signing, and misc. library functions.

7JSUVBM -JCSBSZ

Library Information Library Information: The interactive library information center provides visitors with a broad view of past, present and future events, as well as orienting them with the library catalog and staff.

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7JSUVBM -JCSBSZ

7JSUVBM

DESIGN PRINCIPLES / 02

7JSUVBM -JCSBSZ

Floor 02

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Shop Wall Form Collections: The Form Shop features books & periodicals, design tools, and creativity inspiring artifacts from both international and local designers. A robust online store allows designers everywhere to access the store.

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DESIGN PRINCIPLES / 02

Floor 01

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Transform the Ordinary

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RETHINKING THE NORM Creative use of materials and a careful attention to user interaction allow Form to be a space that elevates thinking, spurs creativity, and has users asking ‘why didn’t I think of that?’. By modifying utilitarian objects, repurposing salvaged materials, and taking innovative approaches to programming, Form not only creates a unique and memorable experience but also encourages visitors to apply the same methodology to their own endeavors.

Strategies • Off The Shelf Building Materials • Salvaged Garage Doors • Reformat Library Carts & Shelving • MDF Gallery Podiums • Interaction Between Architecture & Website • Studio Tables as Art Work • Transformative Entry Portal • Doodle Friendly Surfaces

Floor 01

Floor 02

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Salvaged Garage Doors Salvaged over-sized garage doors allow the multi-purpose room to host private functions as well as to open providing overflow seating to the town hall. In addition to providing a creative atmosphere, the doors are a sustainable design solution.

Stair

Multi

Multipurpose Room Multipurpose Room: Located adjacent to the Town Hall, the multipurpose room can facilitate a variety of sizes and programs.

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ulti

DESIGN PRINCIPLES / 03

Purpose

Floor 01

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Retired Table Tops One the MDF and plywood table tops have been damaged or worn beyond repair, they are retired to the studio walls as decorative artifacts that communicate the design process.

Studios Studios: Salvaged lockers and unique studio tables create an environment that encourages creativity while being durable, flexible, and sustainable. The unique table legs allow the plywood tops to be retired as works of art on the wall when they tire from use.

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Salvaged Lockers Lockers from local schools and industrial facilities provide unique sustainable storage for supplies and personal belongings.

Floor 01

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Gallery Podiums Triangulations: Flexible MDF gallery podiums allow the space to be arranged to showcase a variety of artifacts. The triangular shape ads to place making by reinforcing the Form brand, while the MDF construction allows them to be refinished in a variety of graphic palettes.

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Floor 02

Floor 01

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Library Carts Mobile cars with removable translucent bins aid in browsing.

Cart Envy Library Carts: Collapsible library carts with removable, translucent baskets enhance the library experience. In addition to aiding browsing by holding cumbersome materials, the carts also make unshelved resources visible to other guests, enhancing their reach.

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New Materials Display Tackable surface showcasing our favorite new items

Cart Docks Docking stations are located throughout the library at catalog checkpoints.

Floor 02

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Sketch Wall Leave Your Mark: Framing the cafeâ&#x20AC;&#x2122;s communal seating area, the sketch wall features napkins left bearing the sketches of fellow visitors.

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Floor 01

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Flexible Spaces Support Program Variety

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ADAPTIVE SPACES Design is a fluid process. Design centers should be as malleable as the individuals and activities they support. Form has an open floorplate containing spaces that are able to accommodate more than one program or activity, allowing them to be utilized consistently. Demountable partitions, flexible furnishings, and user activated graphics support diverse programming and accommodate a wide range of occupancies. An abundance of tackable surfaces, mobile presentation tools, and strategically located support functions ensure that Form will be able to meet the changing needs of the local community. Permeable studios, multi-purpose rooms, and lounges located around a central space allow the center to seamlessly accommodate complex programming and comfortably support large groups of visitors.

Strategies • Open Floor Plan • Demountable Project & Reading Rooms • Absence of Private Offices • Adjacent Spaces That Open to Main Hall • Flexible Furnishings • White Room(s) For Mock Up & Brainstorming • Moveable Tackable Surfaces • Non Dedicated Multi-Purpose Rooms & Studios • Group Support Functions

Floor 01

Floor 02

Floor 03

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Town Hall & Supporting Spaces Main Hall & Supporting Spaces: Multi-purpose rooms and studios are strategically located around the Town Hall to allow the entire space to function both independently and in unison to support a large variety of programming and attendance.

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Floor 01

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Mobile Partitions Partial height, mobile partitions can be reconfigured in a variety of matters.

Triangular Podiums Triangular podiums are mobile, flexible, and can refinished to suit the needs of each exhibition.

Gallery The Gallery: The galleryâ&#x20AC;&#x2122;s architectural shell should be open and raw, with moveable drywall partitions, and adjustable lighting.

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Floor 01

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Demountable Glazing Glazed demountable partitions provide the studios with maximum transparency and flexibility.

Flexible Signage Room signs with integrated chalk boards can be updated with daily program changes.

Studios Studios: The studios support Form programming, as well as that of outside vendors. Form members can rent studio time on an hourly basis.

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Floor 01

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Gamers Den Flexible seating and multiple consoles support game play as well as R&D, beta testing, and development of new games & technologies.

Multi-Media Librarian The Multi-Media library allows visitors to try new software, watch design tutorials, and enjoy new cds & dvds.

Multi Media / Gamers Den Gamers Den: The Gamers Den and Multi-Media librar y provide a place for visitors to decompress, as well allowing interactive designers to beta test new programs.

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PLAY

DESIGN PRINCIPLES / 04

Floor 02

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Project Rooms Demountable partitions with privacy panels provide visual and acoustical privacy while overall openness of the office space

Project Room

Flexible Signage Room signs with integrated white boards can be updated with daily program changes.

Pin-Up Spaces Located along the perimeter of the open office, pin-up spaces promote collaboration and communication among project teams

Team Spaces & Project Rooms Teaming Spaces: Pin-up spaces and flexible project rooms offer areas for small break-away works sessions and team collaboration.

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Project Rooms

DESIGN PRINCIPLES / 04

Floor 03

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Open Office The Open Office: A spacious, open floor plan with natural lighting and the Vitra Joyn desking system promote collaboration.

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Floor 02

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The Environment as Educator

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EVERYTHING IS A RESOURCE

Form is not only a composite of resources, but also a resource in and of itself. Every detail of Form centers should be carefully considered to maximize the transfer of information and inspiration to each and every visitor. In addition to staffing experienced designers and design librarians, the architecture, graphics, and virtual environments of Form work to continuously and seamlessly communicate to the visitor. This principle manifests itself in grand gestures such as the three story display wall and in small details like the display of every material, fixture, paint shade, and furnishing within the space.

Floor 01

Floor 02

Strategies • • • • • • •

Displayed Product Information For All Fixtures & Furnishings Extensive Materials, Publication, & Multi-Media Library Technology Center Experienced Design Librarians Iphone Aps & Blog Interaction Educational Environmental Graphics Design Organization History Area

Floor 03

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Exhibition Requests Visitors are invited to make requests for future designers, as well as vote on upcoming exhibits.

Digital Exhibit Space Visitors can browse the portfolios of featured designers and view past exhibitions on the digital gallery.

Exhibitions

Looking Ahead A display of proposed exhibitions allows visitors to vote on upcoming events and featured designers.

What would you like to see in future exhibits? 01 Jeremy Fish 02 Martha Cooper 03 Biomimicry 04 Maybeck: A Retrospective 05 Apple Design

Exhibition Wall Exhibition Wall: Located in the gallery corridor, the Exhibition Wall allows visitors to take part in the curatorial process, voting on upcoming exhibitions, requesting specific themes and topics, and viewing the portfolios of past and present exhibitors.

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Stair

DESIGN PRINCIPLES / 05

Floor 01

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Library Information Library Information: Librarians placed throughout the library help visitors navigate the space.

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Elevatore Cafe Restrooms

Studio One

Floor 01

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Light Boxes Semi-private light boxes allow visitors to view materials under a variety of light sources.

Textile Library

Light Boxes Light Boxes: Located adjacent to the textile library, light boxes allow visitors to work with materials under a variety of light sources. The semi-private light boxes can also be used for project photography.

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Material: Lacquer To Match Benjamin Moore Rumba Orange 2014-20 Construction: Design Workshops www.design-workshops.com

Product: Covey Model Six Stool Designer: Jeff Covey Manufacturer: Herman Miller www.hermanmiller.com

Tagging Everything Tagging Everything: Each material and furnishing in Form environments is tagged with the product information, manufacturer website, designer, and fabricator, making the entire space an accessible resource. Floor 02

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New Programs A computer bar allows visitors to try new design and modeling software through online tutorials and inhouse workshops.

Reprographics By providing plotters, laser printers, 3-d printers, and laser cutters for hourly rental, Form provides independent designers with resources previously reserved for large firms.

Technology Center Technology Center: The technology center houses printing services, program tutorials, and new products for use by Form visitors.

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Floor 03

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Embed Private Spaces Within Public Areas

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SUPPORT A VARIETY OF COMMUNICATION STYLES Blending private and public spaces creates increased connection and fluidity between activities while providing opportunities for focus, reprieve, and privacy. By providing a variety of private and semi-private alcoves off of large public spaces, Form accommodates the changing needs of individual visitors and small groups. Creating clusters of private spaces allows the overall floorplate to be open, maintaining the collaborative, transparent nature of the center while respecting the privacy and comfort of visitors.

Floor 01

Floor 02

Strategies • Semi-private Reading Rooms Adjacent to Lounge • Private Huddle Rooms • Clustering Restrooms & Stairs Off Atrium • Semi-private Project Rooms Within Open Office

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Huddle Rooms Huddle Rooms: Located adjacent to both the open offices and conference room, the huddle rooms are ideal for small informal meetings. Furnished with flexible seating, task lighting, and tackable panels, the huddle rooms are perfect for brainstorming and small team break outs.

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Floor 03

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Privacy Panels Demountable partitions and moveable panels allow users to control their level of privacy.

Flexible Signage Room signs with integrated white boards allow the rooms to be rented for us.

Tackable Panels Tackable panels buffer noise and aid in small group work.

Reading Rooms Reading Rooms: Located at the perimeter of the Librar y Lounge, semiprivate reading rooms offer visual privacy for small group study and informal collaboration.

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Reading Rooms

DESIGN PRINCIPLES / 06

Floor 02

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Open Office Glazing The glazed storefront provides the open office with natural light and allows it to be viewed throughout the building.

Tackable Panels Bulletins and announcements from Form partners are featured opposite the open office.

Partner History Vertical storage contains partner publications, history, and membership materials.

History Nook History Nook: Adjacent to the open office, the history nook houses information for each of Formâ&#x20AC;&#x2122;s partners, as well as including open workstations for visiting designers and partners.

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Partnerships AIA AIGA AISD IIDA IDSA IDxA

DESIGN PRINCIPLES / 06

Three 03

AIA GA SD DA SA xA

Think Tank History Center Visitor Workstations Huddle Rooms The White Room Technology Center Conference Room Multi Purpose Room Pantry / Cafe

Floor 01

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Project Room

Tackable Panels Tackable panels buffer noise and aid in small group work.

Project Rooms Project Rooms: Located along the open officeâ&#x20AC;&#x2122;s perimeter, project rooms offer visual and acoustical privacy to accommodate a variety of work styles.

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Project Rooms

DESIGN PRINCIPLES / 06

Floor 03

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Tackable Panels Tackable panels aid in work sessions and presentations.

Design Tools Cabinets stocked with design tools, drawing materials, and conversation starters aid designers.

White Board Walltalkers wallcovering provides a floor to ceiling work surface.

Drawing Pads Oversized perforated drawing pads can be used to keep a record of brainstorming sessions.

White Room White Room: The White Room is just that. A private room seating 8-12, the space is a blank canvas furnished with a variety of tools to support brain storming and creative team sessions. Tackable panels, and magnetic, writable walls allow every surface to be utilized in the design process.

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Floor 03

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Internal Pantry Internal Support Spaces: The internal pantry, cafe, and multi-purpose room are located adjacent to the open office.

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Floor 03

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Community Seating Communal tables, benches, and banquettes encourage chance meetings among lone diners.

Coffee Bar The Form bar serves coffee in the morning and after work cocktails.

Window Seats Banquette seating along the window wall connects the interior to the sidewalk cafe and accommodates small groups.

Private Booths Booth enclaves provide more private dining for informal meetings.

Cafe Variety in Seating: Intimate booths, communal seating, and small group tables give the cafe flexibility and aid in chance introductions.

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Floor 01

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Create a Memorable Journey

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FORMING AN EXPERIENCE By integrating the journey and the destination, we have ensured that each visitor to Form will have a unique and memorable experience. Because the circulations spaces are the most traversed spaces, we have expanded the circulation to be a destination within itself. An open central floorplate allows lounges, libraries, and the town hall to seamlessly merge with high traffic circulation. Areas of high activity, such as studios, the game den, and multipurpose rooms have full height glazing and are located along the circulation routes, fusing the path of travel with energy and inspiration. Colorful and dramatic elements from From’s visual standards further activate the spaces with cohesive place making and clear wayfinding.

Strategies • Unifying Architectural Elements • Interaction With Sidewalk & Adjacent Buildings • Bold Entry Portal • Locate Interaction Zones Along Primary Corridors • Maximize Sight lines & Visibility • Dynamic Wayfinding • Leaving Your Mark

Floor 01

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Entry Portal The Transition: The dramatic entry portal provides visitors with a memorable transition into Form. It termites in the open Town Hall.

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Floor 01

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Town Hall Town Hall: Story Forms, the Communit y Forum, and the Exhibitions Wall invite visitors to interact with Form from the moment they first enter.

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Floor 01

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Welcome Center Welcome Center: The Welcome Center contains membership information for each of Formâ&#x20AC;&#x2122;s partners, as well as events tickets, program registration, and general inquiries.

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Stairways Place making: Colorful triangulations help create a memorable journey throughout Form.

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Floor 03

Floor 02

Floor 01

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FURNITURE AND FINISHES THE FURNITURE AND FINISHES USED THROUGHOUT FORM ARE VIBRANT, SUSTAINABLE, AND FLEXIBLE. A unique mix of Mid-Century Modern classics, salvaged goods, and local designs are to be used throughout each Form environment. Selected for their sustainability, durability, and unique design story, each artifact not only supports Form functions, but also plays a role in communicating the design process to Form visitors. The following pages provide an overview of the furniture and finishes selected for Formâ&#x20AC;&#x2DC;s San Francisco location. These selections should act as a guide for the design direction of future Form locations. While substitutions are welcomed due to budget and programming, Form does not condone the use of any knockoffs or designs that do not support industry standard best practices.

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FURNITURE & FINISHES / INTRO

Mid-Century classics, salvaged goods, & local designs mix to create dynamic environments. Page 184

FURNITURE & FINISHES / INTRO

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FURNITURE & FINISHES / LIBRARY

LIBRARY The library lounge is furnished with classic vibrant pieces that warm up the libraryâ&#x20AC;&#x2122;s industrial shell. Side chairs, lounge chairs, and sofas in a variety of whimsical fabrics are paired with bold masculine tables and airy pendants. All library lounge furnishings must be flexible and durable. Library reading rooms should be assembled from a demountable partition system with sheer privacy panels and tackable wall panels. Flor recycled carpet tiles are to be used as needed throughout the library and lounge.

Pendant Fixture: Moooi Random Light in White

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FURNITURE & FINISHES / LIBRARY

Storage: James Hamley Wells Media-1 storage system

Coffee Table: Cornered Table by Dylan Gold

Arm Chair: Daddys Chair by De Vorm

Rocking Chair: Eames Molded Plastic Rocker

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FURNITURE & FINISHES / CAFE

CAFE Form’s cafe is to be furnished with bold, modern, flexible furniture with an unexpected twists. Benches and banquettes provide casual communal seating while armchairs and booths are an inviting place to read a book over a cup of coffee. Strong geometric textiles and the large sketch wall add energy to the otherwise monochromatic space. Indoor/ outdoor stackable cafe chairs maximize the cafe’s flexibility.

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FURNITURE & FINISHES / CAFE

Textiles: Maharam No. 432180004

Bench: Moooi Avi Shaker Bench in Black

Bar Storage: Cacti Wine Racks by Habitat UK

Cafe Table: Kartell Spoon Table

Bookshelf: Standing White by Dylan Gold

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FURNITURE & FINISHES / CAFE

Wallcovering: Schumacher No. 2705530

Pendant Fixture: Modern Pendant by Carvaggio

Textile: Marimekko Kivet No. 01 Big

Bench: Moooi Smoke Chair

Textile: Marimekko Bottna No. 161 Big

Stacking Chair: Vitra Vegetal Chair

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FURNITURE & FINISHES / CAFE

CAFE

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FURNITURE & FINISHES / MULTIPURPOSE

MULTIPURPOSE ROOMS Multipurpose room furnishings are selected for their flexibility, mobility, and functionality. Collapsible table and lightweight stacking chairs allow the room to be reconfigured in a wide variety of ways. Products from Herman Miller’s Teneo storage furniture line help fuel team creativity and encourage active participation. The cradle-to-cradle products, along with the recycled Flor carpet tiles, result in a space who’s sustainability matches it’s functionality. Tackable panels, writable wall covering, and magnetic chalk board paint are used throughout multi-purpose rooms and other meeting spaces to facilitate presentations and participation.

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FURNITURE & FINISHES / MULTIPURPOSE

Stackable Chairs: Spark Chair by Knoll

Textile: Maharam No. 283330002

Presentation Cart: Teneo Easel by Herman Miller

Textile: Maharam No. 457301001

Textile: Maharam No. 461190006

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FURNITURE & FINISHES / MULTIPURPOSE

MULTIPURPOSE ROOMS

Suspended Fixtures: Atremide Kaoll lighting

Carpet Tiles: FLOR Fedora

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Folding Table: Scherentisch No.500 Table by Thut Mobel

FURNITURE & FINISHES / MULTIPURPOSE

Mobile Storage: Herman Miller Teneo System

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FURNITURE & FINISHES / STUDIOS

STUDIOS Studio spaces are raw, malleable, and industrial. Materials and furnishings should be selected for their durability and functionality. Salvaged lockers add character and are a sustainable storage solution for supplies and personal belongings. Emeco aluminum chairs and drafting stools are lightweight, flexible, and comfortable, in addition to containing over 80% recycled content. The Clamp Table by young designer Ryan Sorell is a universal table leg that uses a clamp mechanism to attach to any flat surface in order to produce a tabletop. Sanded plywood and mdf planks can be used as table tops until they have been worn out, at which point they are removed from the legs and used to adorn the studio walls. Chilewich floor matts and Maharam high performance textiles are to be used throughout the studio spaces as needed.

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FURNITURE & FINISHES / STUDIOS

Flooring: Sealed concrete

Table Legs: Ryan Sorrell Clamp Legs

Pendant Lights: Worklamp by Stockholm Studio

Task Lighting: Diesel Cage Fixture

Wall Finish: Magnetic Chalk Board Paint

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FURNITURE & FINISHES / STUDIOS

Textiles: Maharam No. 464990001, Maharam No. 460730836, SW Basket in Coral by Chilewich, Bamboo in Chalk by Chilewich

Lockers: Salvaged From Local Facilities

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Drafting Stools: Emeco Icon Counter Stool

Work Cart: Counter Table by Quovis

FURNITURE & FINISHES / STUDIOS

STUDIOS

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FURNITURE & FINISHES / OPEN OFFICE

OPEN OFFICE The open office is bright, airy, and inviting. The primary furnishings for the open office are from Vitra’s Joyn collection, whose design is based on a single plane. As noted by Joyn’s design team, ‘With its mobile and modular structure, Joyn adapts spontaneously to changing demands and technologies. It initiates new, productive forms of work based on communication and cooperation.’ In addition to the workstations, classic Knoll pieces are grouped throughout the office, accommodating casual meetings and group break-away. Maharam and Marimekko textiles add energy and color to the space, while task lamps by local designer Pablo Pardo bring whimsy to the work surface.

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(1,1) -1- 90614.15_eames_plywood_group_07.indd 26.04.2007 14:30:55 Uhr

Plywood Group Eames Collection FURNITURE & FINISHES / OPEN OFFICE

Pendant Fixture: Modern Pendant by Cavarggio

Side Table: Saarinen Tulip Side Table in White Marble

Side Chair: Eames Ply wood Group

Overhead Lighting: ST8 Bare by Delray Lighting

Wallcovering: Maharam No. 397710004

Textile: Schumacher No. 174301

Carpet Tiles: Modern Mix by FLOR

Task Chair: Herman Miller Aeron Chair

Task Light: Link by Pablo Pardon Page 201

FURNITURE & FINISHES / OPEN OFFICE

OPEN OFFICE

Stackable Chairs: Saari Chair by Arper

Workstations: Joyn Desking System by Vitra

Page 202

Personal Storage: Sapporo by Stua

FURNITURE & FINISHES / OPEN OFFICE

Workstations: Joyn Desking System by Vitra

Page 203

FURNITURE & FINISHES / HUDDLE ROOMS

HUDDLE ROOMS Part conference room, part lounge, huddle rooms are casual, comfortable places for informal meetings, conference calls, and work requiring acoustical and/ or visual privacy. Each huddle room has tackable panels, user controlled lighting, and movable furniture, allowing users to mold the rooms to fit their immediate needs. When huddle rooms are clustered in the space, they should have a variety of furniture configurations, some with upholstered lounge chairs and sofas, others with stackable chairs and work tables. Due to their compact size, materials in the huddle rooms are to be more subdued than those used throughout the space, with a muted warm palette making the small spaces warm and inviting.

Sofa: C683 2.5-Seater Sofa by Kho Liang

Tex t i l e s : M ah aram N o. 4 65250 0 02, M ah aram N o. 283330 0 02, Maharam No. 465070308, Maharam No. 460730836, Maharam No. 465080106, & Maharam No. 460730562 Carpet: Gandia Blasco Flat Orange Rug

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FURNITURE & FINISHES / HUDDLE ROOMS

Pendant Fixture: One Pendant by Holmegaard

Stackable Chairs: Saari Chair by Arper

Side Chair: Houdini Chair by E15

Work Table: J Desk by James Hamley Wells

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FURNITURE & FINISHES / LOUNGES

LOUNGES Lounge furniture is flexible and comfortable, adding warmth and energy to the raw building shell. Partnerships should be formed with local furniture representatives and showrooms, allowing their pieces to be featured in the lounges on a rotating basis. This partnership not only keeps Form interesting, but also fosters interaction between furniture designers and representatives and the designers and professionals visiting Form. Furnishings should be grouped in both public and intimate arrangements, with seating in a variety of shapes and sizes to comfortable fit all guests. Bold colors, warm neutrals, and natural woods create an inviting and fresh palette.

Lounge Chair: Neo Armchair by DWR

Tables: Shattered Collection by Brent Comber

Child Seating: Eames Elephant

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FURNITURE & FINISHES / LOUNGES

Sofa: Neo Two-Seater by DWR

Textiles: Maharam No. 283360600, Schumacher Knit No. 3

Side Chair: Vitra Panton Chairs

Carpet Tiles: FLOR No. P005502500-P00175

Lounge Chair: Shell Chair by Hans Wegner

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FURNITURE & FINISHES / CONFERENCE ROOM

CONFERENCE ROOM As the most formal space in Form, the conference room balances high end pieces with fresh, unexpected finishes. Eames Aluminum Group Chairs are to be finished in custom leather or wool to match the Form color palette. Poul Henningsenâ&#x20AC;&#x2122;s iconic Artichoke pendant in white or brushed stainless steel anchor the room around the rough slab conference table. A Florence Knoll Credenza provides multi-media storage; lacquer credenzas with similar lines may be used as an updated storage alternate.

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FURNITURE & FINISHES / CONFERENCE ROOM

Pendant Fixture: Artichoke Lamp by Poul Henningsen

Textiles: Maharam No. 283360600, Schumacher Knit No. 3

Side Chairs: Eames Aluminum Group

Credenza: Florence Knoll Credenza from Knoll

Conference Table: No. 091401 by IDX

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chapter

Page 210

BRAND EXPRESSIONS THE FORM BRAND HAS A STRONG VISUAL PRESENCE THAT IS ARTICULATED ACROSS PHYSICAL ENVIRONMENTS, VIRTUAL APPLICATIONS, AND PRINT MATERIALS. The ultimate goal of Form’s kit-of parts brand expressions is to create a holistic voice that is uniquely reflective of Form and it’s mission. These color palettes, marks, photography, and illustrations have been generated to provide consistency and clarity to the development of future Form environments, applications, and publications.

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BRAND EXPRESSIONS / OVERVIEW

The Form mark is bold, flexible, and dynamic.

Page 212

BRAND EXPRESSIONS / OVERVIEW

FORMING A MARK Form’s logotype and mark are bold, dynamic, and straight forward. Based on Paul Renner’s Futura, the logotype can be used alone or in conjunction with triangulations. The triangulations, which are formed by the juxtaposition of three triangles, are representative of the diverse relationships and collaborations supported by Form. Reminiscent of both origami and tangram exercises, the triangulations encourage abstract thinking and exploration among designers and viewers. X

In addition to the logotype, each Form location will have a unique mark to be used for events sponsored by the local Form center and it’s partners. The Cornerstone, detailed below, was designed for the inaugural San Francisco location.

16 X

1 pt Stroke

25 X

2X 2X

10 X

5X 18X X

16 X

2X 5X

1 pt Stroke

25 X

2X 2X

16 X

10 X

18X Form L o g ot y pe: The Form logot yp e is b ased on Futura Bold. It has been redrawn in a custom lockup, and should always appear in either white or black.

The Cornerstone: The Cornerstone is specific to Form’s San Francisco location. It is representative of the dynamic, interactive built environment, 5X and shall be used in materials and publications relating to

16 X

2X Page 213

BRAND EXPRESSIONS / OVERVIEW

1 pt Stroke

2X 2X

X min

2X 2X

Mark + Triangulations: The logotype can be combined with a triangulation in order to create custom marks for specific events and publications. Triangulations should always be created from three triangles, and adhere to the stroke and clear space specifications above.

Page 214

BRAND EXPRESSIONS / OVERVIEW

Triangulations: Triangulations are graphic elements that are to be used in print materials, interior environments, and virtual environments. Triangulations should always include at least 3 triangles.

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BRAND EXPRESSIONS / OVERVIEW

FORM 01

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BRAND EXPRESSIONS / OVERVIEW

FORMING CONSISTENCY Although the Form identity is based around an open and flexible kit-of-parts, the following applications are to be avoided to ensure brand continuity and clarity. Each of the guidelines applies to both the logotype, location specific logos, and when the logotype used with triangulations. The guidelines will evolve in conjunction with Formâ&#x20AC;&#x2122;s growth, to ensure continuity is retained while allowing for brand growth and local distinction.

What to Avoid 01 Do not outline the logo. 02 Do not type out the logo. The vector file should always be used. 03 Do not use multi-colored triangulations with the logotype 04 Do not place the logo atop of a pattern or busy background 05 Do not place the logo atop of a photo cut out 06 Do not use the logo in white on a light background. 07 Do not place the logo atop of a photo 08 Do not use the logo in black on a dark background. 09 Do not violate clear space and composition guidelines. 10 Do not overlap the logotype and a triangulation 11 Do not stretch the logotype. 12 Do not use the logo in colors other than black or white. 13 Do not modify the lock-up of the logotype. 14 Do not fill the logo with pattern, texture, or photograph.

FO RM 11

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BRAND EXPRESSIONS / OVERVIEW

Formâ&#x20AC;&#x2122;s palette is an adaptation of primary and secondary colors.

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BRAND EXPRESSIONS / OVERVIEW

COLOR PALETTES Colors shown on this page reflect the paint color palettes that have been approved for use in print, environmental, and virtual applications. The colors are bold, modern shades of the primary and secondary colors. Brand elements used throughout the program compliment these approved palettes. The smaller swatches illustrate the approximate tint relationship of each color for toneon-tone applications referred to in this guideline. The numbering key in the bottom left corner should be used in finish keys for standard architectural drawing sets.

CMYK: 74,13,100,5 Paint: P-7

CMYK: 32,0,8,0 Paint: P-4

CMYK: 20,0,8,0 Paint: P-5

CMYK: 32,0,8,25 Paint: P-6

CMYK: 0,67,85,0 Paint: P-16

CMYK: 0,60,75,0 Paint: P-17

CMYK: 74,13,100,0 Paint: P-8

CMYK: 78,85,10,60 Paint: P-10

CMYK: 74,13,100,15 Paint: P-9

CMYK: 0,12,100,12 Paint: P-19

CMYK: 0,80,100,25 Paint: P-18

CMYK: 0,10,75,5 Paint: P-20

CMYK: 78,85,10,35 Paint: P-11

CMYK: 0,100,100,5 Paint: P-13

CMYK: 78,85,10,80 Paint: P-12

CMYK: 0,85,85,5 Paint: P-14

CMYK: 0,100,100,30 Paint: P-15

CMYK: 0,0,0,80 Paint: P-22

CMYK: 0,12,100,20 Paint: P-21

CMYK: 55,45,50,10 Paint: P-23

CMYK: 0,0,0,100 Paint: P-24

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BRAND EXPRESSIONS / OVERVIEW

Futuraâ&#x20AC;&#x2122;s simplicity, forwardness & Bauhausian roots make it the ideal typeface for Form.

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BRAND EXPRESSIONS / OVERVIEW

TYPOGRAPHY Futura was chosen as the typeface of Form because it’s forwardness and individuality reflect the voce of Form. In addition, it’s Bahausian roots align with Form’s efforts to further design through unified education across a range of disciplines. Additional typefaces are not to be used in any Form publications or environments. In web applications where Futura is not available, Helvetica or Arial may be substituted for secondary type.

Futura is a geometric sans-serif typeface designed between 1924 and 1926 by Paul Renner. It is based on geometric shapes that became representative visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer type foundry, Futura was commercially released in 1927. Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. In designing Futura, Renner avoided the decorative, eliminating non-essential elements.

Light

Medium

Heavy

Book

Demi Bold

Bold

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BRAND EXPRESSIONS / OVERVIEW

All photography is to be black & white to provide continuity across a wide range of subjects & styles. Page 222

BRAND EXPRESSIONS / OVERVIEW

PHOTOGRAPHY Form promotes the use of photography from both professional and amateur local photographers. In order to retain consistency across a wide variety of subjects, photography styles, and installations, all photography is to be black & white. Suggested subjects for use in Form publications are listed at right.

Suggested Subjects • Abstract Patterns • Active Design • Design Artifacts • Local Flavor • Form Participants

Page 223

BRAND EXPRESSIONS / OVERVIEW

Our kit-of-parts encourages the creation of dynamic designs. +

Page 224

BRAND EXPRESSIONS / OVERVIEW

ILLUSTRATION Form illustrations are based on the formula at left. The formula provides Form employees and contract designers with an open format for the creation of new art work. By combining colored triangulations with black and white photography cutouts and intricate vector illustrations and graphs, there is an endless opportunity to generate designs that are dynamic, unique, and remain consistent to the Form brand. These illustrations can be used across a variety of platforms, in both two and three-dimensional formats.

N H

Triangulations

Photography

Graphs & Vectors

Triangulations of three or more triangles are to be used in the illustrations. Triangulations can feature up to three different colors from the approved palette.

Photographic extractions are figures, objects, or architectural elements that have been â&#x20AC;&#x2DC;cut-outâ&#x20AC;&#x2122; from black and white photos. It is at the designers discretion to add a 1pt stroke outline in white to the photographic elements, or to use a controlled, subdued drop shadow.

Graphs and vector line drawings add dimension and interest to the illustrations, and help reinforce subject matter. Graphs and illustrations should have line weights no thinner than .05pts, and no thicker than 1pt thick.

Page 225

BRAND EXPRESSIONS / OVERVIEW

ILLUSTRATION EXAMPLES

Page 226

BRAND EXPRESSIONS / OVERVIEW

Page 227

BRAND EXPRESSIONS / OVERVIEW

Tesselations of the triangulations create colorful graphic elements.

Page 228

BRAND EXPRESSIONS / OVERVIEW

PATTERNS & TEXTURES Graphic patterns can be created by forming tesselations out of triangulations. By repeating the triangulations to create a dense graphic texture, a graphic element is produced that can be used to add visual interest in both two and three-dimensional applications. Patterns can be used alone or as a screen over black and white photographic elements. Typography may be integrated into the white space of the patterns, however the Form logo should not be used atop the patterns. Photographic textures add depth and energy to illustrations. Textures of papers, natural materials, and architectural elements can be used as a backdrop for simple illustrations and bold typography.

Page 229

BRAND EXPRESSIONS / OVERVIEW

Visual standards unify the Form identity across print, digital, & environmental applications.

Page 230

BRAND EXPRESSIONS / OVERVIEW

S e a rc h

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Tems Of Use

Print Manifestations

Digital Applications

Environmental Expressions

Print manifestations of the Form brand include: stationar y, posters, postcards, stickers, white pages, pocket guides, event publications and Form@ Magazine, among others.

At itâ&#x20AC;&#x2122;s conception, Form exists digitally as a website, blog, and several smart phone applications. Additionally, Form is represented on Facebook, Twitter, and LinkedIn. As new technologies are developed and further digital opportunities arise, designers should remain consistent to theses standards.

Environmental expressions are three-dimensional applications of Form. Visual standards are used for place making, way finding, and to enrich the visitor experience.

Page 231

BRAND EXPRESSIONS / PRINT

Print materials educate, inspire, and promote the growth of Formâ&#x20AC;&#x2122;s mission.

Page 232

BRAND EXPRESSIONS / PRINT

PRINT MATERIALS Print manifestations of the Form brand include: stationary, posters, postcards, stickers, white pages, pocket guides, event publications and Form@ Magazine, among others. The following pages should be used as a guide for the creation of future print manifestations.

Educational programs and professional development across the field of design are becoming more specialized which in retrospect is hurting the industry. FORM embraces design as a methodology, a thought process, and a communication device; embracing the technical and conceptual teachings of all disciplines as a means to a more open and integrated design future. a b c d

e f g h

Page 233

BRAND EXPRESSIONS / PRINT

Stationar y System: The stationar y system is both bold and minimal, featuring triangulations on the cover stationar y and envelopes that can be combined in a variet y of ways.

Page 234

BRAND EXPRESSIONS / PRINT

BUSINESS SYSTEM Our business system is minimal, bold, and flexible. The business stationary features random cropping of black triangulations on both the letters and envelopes, adding a sense of movement to their otherwise white landscape. The business cards feature random black triangulations against a background color from the approved palette. Triangulations are printed at random on large press sheets and trimmed down to ensure each card is unique. By mixing and matching letterhead, envelopes, stickers, and business cards, the business system is dynamic and fresh.

Primary Formats

Optional Formats

• Business Cards

• Standard Offset Printed Postcards (4” x 6”)

• Letterhead

• Special Event Letter pressed Postcards (5” x 7”)

• Envelopes

• Posters (No Size Restrictions) • Buttons (.5, 1”, & 1.25” Round) • Stickers ( 1” & 2” Square or Round) • Custom Moleskin Notebooks

Elizabeth Vereker Design Director 513-255-3075 evereker@formsf.com www.formsf.com 2 Stockton Street San Francisco California, 94108

Business Cards: The business cards feature random black triangulations against a background color from the approved palette. Triangulations are printed at random on large press sheets and trimmed down to ensure each card is unique.

Page 235

BRAND EXPRESSIONS / PRINT

.FO WWW

Page 236

.FO WWW

Stickers: Stickers can be used to denote membership and attendance to events, as well as to seal note cards and flyers.

G G G

G G

G G G

G G

BRAND EXPRESSIONS / PRINT

Tote Bags: Oversized organic cotton tote-bags are a functional, sustainable way to generate brand recognition. Form fans can purchased pre-made bags or design their own at Formâ&#x20AC;&#x2122;s online store.

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BRAND EXPRESSIONS / PRINT

Form is based on the principals of radical collaboration, transparency, and bias towards action. By means of the built design center, the central web presence, and an aggressive calendar of programs, Form will rejuvenate the San Francisco design communit y, making the transition from a communit y of obser vations to a communit y of interactions. Form is dedicated to fulfilling each of the following objectives as it strives to promote a more active design community.

e f g h

ENGINEERING

URBAN DESIGN

INTERIOR DESIGN INTERACTIVE DESIGN

LANDSCAPE DESIGN

FASHION DESIGN

FINE ART

Page 238

INDUSTRIAL DESIGN

3D GRAPHIC DESIGN

Postcards: The designs above are intended for informing the public of Form and itâ&#x20AC;&#x2122;s mission. They are to be produced both digitally and in limited letterpress quantities to celebrate Formâ&#x20AC;&#x2122;s opening.

ARCHITECTURE

BRAND EXPRESSIONS / PRINT

Form aims to encourage the enthusiasm that designers have for experimentation rather than deter it. Form aims to encourage the enthusiasm that designers have for ex p e riment a tion ra t her t han d et e r it. Form aims t o encoura g e t he ent husiasm t ha t d e signe rs ha ve f o r experimentation rather than deter it.

Form embodies a visionar y approach to design, we are not limited by discipline or title, but instead strive to broker relationships & promote projects that reach across all genres of design.

Page 239

BRAND EXPRESSIONS / PRINT

Page 240

BRAND EXPRESSIONS / PRINT

LARGE FORMAT ADS Large format ads include both long term installations and short term advertisements. Ads may combine illustration and text, triangulations and text, or be purely typographical. The photos shown here illustrate the design direction for both complex posters and utilitarian window wrapping.

Suggested Formats • Bus Shelter Posters • Subway Vinyls • Street Banners • Paste-Up Posters • Urban Triangulations

Page 241

BRAND EXPRESSIONS / PRINT

Page 242

BRAND EXPRESSIONS / PRINT

FORM GUIDEBOOKS Form publishes a growing line of guidebooks for both designers and the general public. The affordable, pocket sized guides cover an array of topics related to design best practices, collegiate and continued education, and what to expect when working with designers. Guidebooks can be purchased both online and at the Form shop. They are also available for download from the website. Content for the guidebooks comes from a range of Form members as well as from our partner organizations.

Page 243

BRAND EXPRESSIONS / PRINT

By The Numbers: In e ach issue of Form@, By the Numb ers takes a statistical look at the design profession.

Page 244

BRAND EXPRESSIONS / PRINT

FORM@ MAGAZINE Form@ Magazine is a bimonthly publication focused on design education, inspiration, and collaboration. Each issue features local and national designers who are forming unique partnerships and developing innovative designs. While the first issue is dedicated to the founding of Form, subsequent issues will each feature quantitate and qualitative looks at what’s happening locally and nationally across the design profession. Submissions of articles, photographs, illustrations, and info graphics can be made online at www.formsf/form@.org.

Details • Printed Bimonthly • Each issue is designed by a different contributor

Page 245

BRAND EXPRESSIONS / PRINT

Page 246

BRAND EXPRESSIONS / PRINT

Page 247

BRAND EXPRESSIONS / DIGITAL

Form online allows users to collaborate digitally and physically.

Page 248

BRAND EXPRESSIONS / DIGITAL

FORM ONLINE At it’s conception, Form exists digitally as a website, blog, and several smart phone applications. Additionally, Form is represented on Facebook, Twitter, and LinkedIn. As new technologies are developed and further digital opportunities arise, designers should remain consistent to theses standards. Form’s online environments were created to simulate the physical Form. The web site’s clean design, clear navigation, and emphasis on user interaction are the same principals influencing the print and architectural applications. Further unifying the online and physical environments are areas throughout the website that allow users to post opinions, designs, and ideas that are projected in the Main Hall of Form.

Website: The Form website has been formatted to optimally work across a variet y of screen sizes and digital media.

Formats • Website & Blog (With RSS Feed) • Smart Phone Ap • Facebook Page • Twitter Account

D -Link & Event Aps: D -Link & Form Events are t wo applications that allow designers to better navigate the complex design communit y.

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BRAND EXPRESSIONS / DIGITAL

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The Home Page: Form’s Home Pave was designed with function, clarity, and navigation in mind.

Page 250

Tems Of Use

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September Events SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY Form Open House

CCA Fall Semester Begins

Initiatives

Design Jam

AAU Fall Semester Begins AIA Event: Sketching In SF

Pin-Up Space Design Link

Form SF Opening

AIGA DTalks Lecture

Collaboration

SFMOMA Exhibit Opening

Local Resources

Petcha Kutcha

City College Registration Ends Show & Tell: Textiles

Form Publications

Objectified at The Roxy Film Night: Godfrey Reggio

ASLA Lecture

IIDA Lecture: Green Textiles

TED Lunch Hour

AAU Lecture Series

CCA Lecture Series

18 Mentor Match

Center For The Book Workshop Studio Sundays

11 Pina Zangaro Warehouse Sale

AIA Lecture: Blob Architecture

Studio Spotlight: Fuse Project

Discourse: Arc For Humanity

Design Overtime

Conversations

Space Gallery Exhibit Opening

IxDA Networking Event Jackson Square Design Walk

Breaking Down Design: Coit

Events

IIDA Hospitality Forum

AIGA Open Board Meeting

Inspiration

Blog Sphere

8 AIGA Studio Tour: Hot

Our Partners

Weekly Playlist

William Stout Book Signing

TED Lunch Hour

Design Overtime

Job Board

Exhibits

4 Community Charrette

Alameda Flea Market

Mentor Match

Virtual Library

Studio Sundays

Upcoming Events By Category By Series Past Events Space Rental

Events Calendar: Formâ&#x20AC;&#x2122;s user updated events calendar links to ever y design related event in the cit y. With a single glance, users can access Form events, Partner events, and various design related activities.

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BRAND EXPRESSIONS / DIGITAL

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Bookshelf Tat nullan henisl ut aliquisse verillu ptatue vulla adipit volorperos nonumsandio delit, sisl inim iusto eummod

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Workshops

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Inspiration Virtual Library Exhibits Weekly Playlist Blog Sphere Conversations

Events Upcoming Events By Category By Series Past Events Space Rental

Inspiration Portal: Hit a wall in the creative process? Our Inspiration Page has white pages, a virtual librar y, and other creative stools to aide in the design process. Education Portal: Form’s education portal connects users to local and national design schools, as well as workshops, reference materials, and study groups.

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Tems Of Use

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S e a rc h

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Bookshelf Case Studies Initiatives

Collaboration Pin-Up Space Design Link Mentor Match Job Board Local Resources Our Partners

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Events Upcoming Events By Category By Series Past Events Space Rental

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Form Collaboration Share sketches, form study groups, find a mentor, and collaborate with local designers through the Collaboration page.

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Education Workshops Design Schools

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Collaboration Pin-Up Space Design Link Mentor Match Job Board Local Resources Our Partners Form Publications

Inspiration Virtual Library Exhibits Weekly Playlist Blog Sphere Conversations

Events Upcoming Events By Category By Series

Current Issue

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Issues

Form@ Online: The Form@ page allows visitors to read past and present Issues of Form@, contribute to future issues, and obtain additional information about featured designers and products.

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The Town Hall Search For:

Home

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Click on the illustration below to see this week’s Forum topics. Use the notepad at the right to post your own opinions, or search our databse for past discussions.

Pin-Up Space

Collaboration

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Job Board

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Industy Trends Form Programming Design Advice Community Development New Products

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Collaboration

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The Town Hall: The Town Hall allows Form visitors and website users to share their opinions on changing subjects.

Community Forum: Record your design experiences, listen to the stories of others, collaborate with local designers, etc.

D-Link: The full-size version of our D -Link Ap allows you to connect with designers and resources throughout the Bay Area.

Partners: This page serves as a portal to the web sites of our partners.

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BRAND EXPRESSIONS / ENVIRONMENTAL

Our way finding elements create unique Form environments & enhance the user experience.

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FORM ENVIRONMENTS Form environments are dynamic, malleable spaces that not only inspire visitors, but also encourage interaction and act as an educator. Branding elements are crucial to the success of the physical environment; the following pages highlight key components of the built space. These elements will initially be applied to Form San Francisco. Their success will be reviewed post occupancy, at which point these standards will be re-evaluated.

Initial Sites

Coming Soon

• San Francisco

• Mobile Form • Chicago • New York • Atlanta • Miami • Seattle • Washington, DC

7JSUVBM -JCSBSZ

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Opinions Industy Trends Form Programming Design Advice Community Development New Products

Community Forum

Exhibitions

What would you like to see in future exhibits?

01 Jeremy Fish 02 Martha Cooper 03 Biomimicry 04 Maybeck: A Retrospective 05 Apple Design

Exhibitions Wall Inspiration Portal: It, quam am dolor sendre cor iriuscin ex eum diat. Iqui blaorem velit in hent ad min er at lumsan ulpute dolor

Education Portal: It, quam am dolor sendre cor iriuscin ex eum diat. Iqui blaorem velit in hent ad min er at lumsan ulpute dolor

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Messaging Walls are used throughout the space to foster interaction. These community centers allow visitors to share experiences, ideas, and design services with one another, as well as with Form. Custom note cards with pencil pegs create a communication display that is unique, flexible, sustainable, and cost efficient.

Materials • Vinyl Lettering • Custom Note cards • Painted MDF • Pencils • Misc. Print Materials

FORM Opinions

Stair

MESSAGING WALL

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Free Form Studio

BRAND EXPRESSIONS / ENVIRONMENTAL

Vinyl Triangulations Applied to Partition

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TRIANGULATIONS: WALL APPLICATIONS Colorful, oversized triangulations are dramatic ways to increase brand identity and create unique spaces. In applications where triangles bleed across corners or from the vertical partition to the finished drywall ceiling, paint is to be used. In all other applications, custom semi-transparent vinyls are to be used. Triangulations can be applied in black, white, or in any combination of colors form the approved palette.

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Materials • Custom Vinyls • Zero VOC Paints

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Painted Triangulations

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Elevatore Cafe Restrooms

Studio One

Random Application Inspiration Portal: Random bands of triangulations are to be used when minimal visual privacy is required. Bands should begin 18” from finished floor and are must have a minimum of 18” clear to the finished ceiling.

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TRIANGULATIONS: GLAZING APPLICATIONS Semi transparent film is used to add a layer of visual privacy to rooms with floor to ceiling glazing. Glazing is to be in a horizontal band of triangles, with both solid and random applications.

Materials • Custom 3M Glazing Film

Partnerships AIA AIGA AISD IIDA IDSA IDxA

Think Tank History Center Visitor Workstations Huddle Rooms The White Room Technology Center Conference Room Multi Purpose Room Pantry / Cafe

Solid Application Solid Application: Solid bands of triangulations are to be used when visual privacy is required. Bands should begin 18” from finished floor and are must have a minimum of 18” clear to the finished ceiling.

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Vinyl Typography Applied to Partition

PLAY

Paint Typography Applied to Partition

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TYPOGRAPHY: WALL APPLICATIONS Floor to ceiling typography is used in public spaces to aid in way finding and infuse the space with playful energy. In applications where typography bleeds across corners or from the vertical partition to the finished drywall ceiling, paint is to be used. In all other applications, custom semi-transparent vinyls are to be used. Triangulations can be applied in black, white, or in any combination of colors form the approved palette.

Materials • Custom Vinyls • VOC Free Paints-

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Creativity is allowing yourself to make mistakes. Design is knowing which ones to keep.

Quote Applied to Glazing Quote Application: Quote applications can be used on the glazing of huddle rooms, conference rooms, open offices, and other workspaces. Futura Demi bold with a 3.5â&#x20AC;? X height is to be applied with a base height of 4â&#x20AC;&#x2122; above finished floor

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TYPOGRAPHY: GLAZING APPLICATIONS Typography is applied in the form of both quotes and random patterns. Quotes are to be applied with a base height of 42” above finished floor and have an x-height of 3”. Both Futura Bod and Futura Light may be used. Random typography is to be applied with a base height of 36” above finished floor. Typography may be in a variety of weights and sizes, however oblique and extended are not to be used.

Materials • Custom 3M Glazing Vinyls

Random Typography Applied to Glazing Random Application: Random typography can be used on the glazing of studios, multi-purpose rooms, and other casual public spaces. All sizes and weights of Futura may be used. Note- oblique and extended fonts are not to be used.

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Three 03 Think Tank History Center Visitor Workstations Huddle Rooms The White Room Technology Center Conference Room Multi Purpose Room Pantry / Cafe

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Two 02

Three 03

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FreeForm Studio Library Reading Lounge Help Desk Performance Gallery

Materials Library Odds & Ends Lightboxes Textile Library

Multi-Purpose Studios Town Hall Gallery Story Forms Library

Studio Two Cafe Restrooms Store

Think Tank History Center Visitor Workstations Huddle Rooms The White Room Technology Center Conference Room Multi Purpose Room Pantry / Cafe

FreeForm Studio Library Reading Lounge Help Desk Performance Gallery

Three 03 Think Tank History Center Visitor Workstations Huddle Rooms The White Room Technology Center Conference Room Multi Purpose Room Pantry / Cafe

Materials Library Odds & Ends Lightboxes Textile Library

Vinyl Applied to Partition

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On e 01

Multi-Purpose Studios Town Hall Gallery Story Forms Library

Two 02

FreeForm Studio Library Reading Lounge Help Desk Performance Gallery

Materials Library Odds & Ends Lightboxes

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WAY FINDING: PRIMARY APPLICATIONS Primary way finding is applied at the entrance to the elevator lobby of each floor. All lettering is to be Futura Bold, and is to be accompanied by braile at the code required height. Way finding can be applied in either white or black to achieve maximum clarity and visibility. -

Partnerships AIA AIGA AISD IIDA IDSA IDxA

Materials â&#x20AC;˘ Custom Vinyls

Three 03 Think Tank History Center Visitor Workstations Huddle Rooms The White Room Technology Center Conference Room Multi Purpose Room Pantry / Cafe

Third Floor Way finding

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Project Rooms

Vinyl Applied to Partition

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WAY FINDING: SECONDARY APPLICATIONS Secondary way finding is to be applied to partitions and columns adjacent to all public spaces. Custom Vinyl Typography is to be applied 6” from the top of the finished floor. Typography is to be Futura Bold with a 6” x-height.

Arrivals

Materials • Custom Vinyl

Departures Periodicals

Materials

Books

Periodicals

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Borrowing Station

Books

Vinyl Applied to Partition

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Wall Mounted Chalkboard

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Suspended Marker Board

Wall Mounted Marker Board

BRAND EXPRESSIONS / ENVIRONMENTAL

WAY FINDING: ROOM SIGNAGE Form room signage supports the space’s flexible floor plan and changing programming. Each public space has either an integrated white board or chalk board with corresponding pen holder. Way finding signage includes the room name and number in both Futura Bold and braille. When applied directly to the wall, room signage is to match the adjacent paint color. When integrated with demountable partitions and other mobile partitions, signage is to be in a contrasting hue.

Locations • Reading Rooms • Team or Project Rooms • Conference Rooms • Multi-Purpose Rooms • Studios • Libraries • Technology Center

Reading Rooms

• Galleries

Suspended Marker Board - Integrated With Demountable Partitions Integrated Signage: Suspended signage with integrate marker boards are a modular component of our demountable partitions at project rooms and reading rooms.

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appendix

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APPENDIX BUSINESS PROPOSAL 01 Executive Summary 02 Foundation Narrative 03 Needs Assessment 04 Goals & Objectives 05 Methodology 06 Evaluation 07 Financing 08 Qualifications 09 Designerâ&#x20AC;&#x2122;s Statement

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EXECUTIVE SUMMARY Form is an exciting and visionary initiative serving the San Francisco design community. Through the development of a cutting-edge design center, form will encourage collaboration, increase continued education, and elevate the publicâ&#x20AC;&#x2122;s understanding of the design professions. Form will work to support existing professional design organizations while launching new programming that will become the precedent for future design centers. The built component of form will house open offices for each of the professional organizations, as well as studio spaces, workshops, multipurpose rooms, galleries, lounges, cafes, and an extensive materials and resource library. The programming hosted by the design center will serve as a catalyst for forging connections between the design disciplines, technology, business, education, and the allied professions. In addition to organized events and workshops, the center will have an open doors policy, allowing designers and the public to utilize the space for their own events and gatherings. Formâ&#x20AC;&#x2122;s presence will be supplemented by a quarterly print journal and a robust web presence. These communications will serve as the portal to all design happenings in the San Francisco bay area, producing a design community that is both active and connected.

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â&#x20AC;&#x153;We are unchanged professionals in a changing professional climate, clutching at old idols while failing to create new offerings, falling to reinvent and reinvigorate the practice when needed, failing to inculcate a professional culture that is accessible and fair.â&#x20AC;&#x153; Clement Mok

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FOUNDATION NARRATIVE The increasing complexity of the world for which we design has resulted in the need for more integrated design systems. While the demands placed on designers both at the personal level and the industr y level are changing, the professional environment has remained stagnant. Professional design organizations, while providing a valuable resource, have added to the fragmentation of the design community and the inadequate diffusion of information. Form aims to rectify the shortcomings of the current design community by establishing both physical and virtual environments that bridge the gaps between design disciplines, while also forging new relationships with professionals and students in the San Francisco bay area.

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NEEDS ASSESSMENT San Francisco is home to one of the largest and most diverse design industries in the world. Its proximity to the technological innovations of the Silicon Valley as well as its close ties to the Asian market have attracted thousands of design students and practitioners, many whom have made the city their permanent home. In order to understand how Form will support this diverse population, we must first look at how the design community currently functions, as well as identifying the target user groups within the larger design community. The design community of San Francisco has a rich history of talent and innovation. A colorful mix of world renown firms and quirky startups, the industry is supported by local branches of national professional design organizations such as the American Institute of Architects (AIA), International Interior Design Association (IIDA), The Professional Association for Design (AIGA), American Society of Interior Designers (ASID), The Industrial Designers Society of America (IDSA), and The Interactive Design Association (IxDA) among others. In addition to these organizations, the city is home to four universities offering graduate and undergraduate design programs, and playing host to an assortment of lecturers and visiting design fellows.

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While these organizations have, over the years, proven invaluable to professional development and career advancement, they have failed to adapt to changes taking place in the profession, and thus are failing to optimally meet the needs of the local design community. It is Formâ&#x20AC;&#x2122;s goal, that through the establishment of a new type of interdisciplinary design center, the needs of the diverse design community will not only be met, but exceeded. By supporting the agendas of existing design organizations while simultaneously developing new programming, FORM will encourage interaction among design disciplines, champion a more active design community, raise the publicâ&#x20AC;&#x2122;s awareness of and appreciation for design, and create a clearer and more accessible network of design resources.

APPENDIX / BUSINESS PROPOSAL

Community Problem 01: Disconnected Organizations

Community Problem 02: A Passive Design Community

The enrichment of the San Francisco design communit y is currently supported by a variet y of discipline specific professional organizations. While each of these organizations aims to provide educational and networking opportunities, they operate in relative seclusion of one another. Although each organization provides valuable resources to it’s members, there exists four fundamental inadequacies within this model. These inadequacies, or areas for improvement, are as follows:

Although there are hundreds of design related events held in San Francisco every year, they are largely passive in nature and fail to adequately engage their participants. This inactivity exists on two levels: the format of the event and the participants involved. As identified in the attached Quantitative Report on the San Francisco Design Community (Appendix 1), as well as the AIGA Membership Survey (Appendix 2), a community based on talking rather than doing has resulted in the following situations:

The needs of the growing number of designers with cross disciplinary work are not being met. Design as a profession is rapidly evolving, with new technologies and communications platforms arising almost daily. Many designers are heading away from specialization and working on more complex projects that blur the lines between disciplines and formats. Although designers are increasingly working in multiple disciplines, the professional organizations have failed to mimic this transformation, and the professional needs of these designers are not being met by outdated forums.

There is a disconnect between design and the allied professions. Not only have the existing deign organizations failed to interact together, but they have also failed to forge a collaborative relationship with the allied professions. This gap in communication is stalling the progress of both business & design, and has resulted in an overall under appreciation of the value design can bring to any organization.

Professional organizations are stagnant in their evolution. Nearly all the professional design organizations exist on a national level. While national presence and a rich history has helped establish credibility and attract members, the politics involved with such organizational structures has made it hard for these groups to progress in a flexible and timely manner. Despite their strong presence, these organizations lack a proper home. Due to their non-profit structure and minimal budgets, most design organizations do not have a strong physical presence in the San Francisco community. Even those organizations which do have a permanent space, like the shared space of the AIGA & AIA, are limited by small footprints and do not have the space needed to meet the needs of their members or realize their full potential. The rapid growth of social media is adding to the fragmentation of groups and information. Social media is adding to the fragmentation do to the high proliferation of common interest groups on web sites - site findings from thesis development book including how many different groups there are on Facebook. Also show how one org in one city could have 20 different sub groups, student groups and email chains and networking groups. This will segue into ‘noise’ which will be discussed in depth a bit later.

Working relationships between designers and the supporting industries need to be strengthened. Currently, the SF design community does not have a framework in which they can interact with and collaborate with supporting industries ( paper companies, binderies, manufacturers, and other vendors). Although many large firms have resource libraries and invite vendors to come in to explain latest offerings, this does not exist on the community level, making it hard for independent designers and smaller firms to stay abreast of the latest industry innovations and processes. Programming does not support active participation. As shown in the attached Quantitative Report on the San Francisco Design Community, the majority of design events are passive in nature. The reliance on one-way communications models has resulted in a stagnant community that is now voicing it’s desires for more interactive and educational opportunities. A reform in programming will have to take place in order to move away from these passive participation models and towards more active events that are conducive to the type of organic networking that generates self sustaining bonds. We are a community that designs in isolation. Only one event held in the last quarter involved active designing. In order to share best practices, promote open exchange of ideas, and heighten the publics understanding of the design process, we must start actively participating in charrettes, competitions, and live design.

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Community Problem 03: Lack of Public Understanding

Community Problem 04: A Passive Design Community

Despite the high concentration of designers and design firms in San Francisco, the general public lacks a clear understanding of role design plays in the world around them. In order for design to reach it’s maximum potential as both a profession and a thought process, we must be more transparent and approachable. The public’s relative separation from the design community is largely a result of the following three conditions:

While all of the community problems are interdependent on one another, the need for clear communication is most clearly a result of each of the three previous needs addressed. Because of the lack of both a physical home and the prevalence of organizations operating in seclusion of one another, it has become increasingly harder for designers to stay abreast to what is taking place in the community around them. This need can be summarized as the following:

There is not an easy way for the general public to interact with the design community. Both the fragmentation of the professional organizations and the lack of a physical home or hub have made it difficult for the general public to engage with the design community. Although most design events are open to the general public, they are poorly publicized and often perceived as pretentious, making it difficult for interested parties to feel welcome. This separation is damaging to both designers and the community at large, as both groups are failing to realize the benefit their experiences and opinions bring to one another.

Designers must reach out to a large number of sources in order to find out what events are taking place on any given day. The dissipation of information that previously existed because of the structure of design organizations has been worsened by the unorganized adaptation of social media. In any given month designers must visit upwards of fifteen web sites in order to find out what design related events are taking place in the San Francisco area. If we look at the architecture profession for an example, there are over 500 architecture related common interest groups on Facebook. In addition to these groups, there are over 400 more groups affiliated with the American Institute or Architects, the professional organization for architects in the United States. In addition to these 900 Facebook groups there are also student groups, independent blogs, venue web sites, and event specific web sites, all which can make finding out what’s taking place in the city around you a daunting process.

The San Francisco design community has failed to assert a clear voice that speaks to both designers and non-designers alike. While other countries have embraced umbrella design organizations and government run design initiatives, the design community in the United States lacks a unifying entity. This lack of a clear voice has produced a lack of transparency, a conflict in messaging and tone, and a misunderstanding of the importance of design thinking. These problems are even more evident on the local level than they are on the national level, preventing the development of a holistic design community. The general perception of design is outdated and does not reflect recent professional advancements. In recent years the discipline of design has evolved from one that is aesthetic based to one that is rooted in the process of design as a means to problem solving and innovation. Advancements made by entities such as the Stanford Dschool and Architecture for Humanity have been overshadowed by the publics understanding of design as a purely aesthetic afterthought. In order for design to continue to progress into the next century, the public’s understanding of, support for, and interaction with the design industry must change.

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The lack of a centralized gathering place prohibits the display of community events and news. Just as web resources are dispersed amongst various groups and networks, so are the live design resources in San Francisco. These resources not only include the offices of professional organizations, but also educational institutions, galleries, fabricators, design competitions, etc. The lack of an organizing network or centralized resource center prohibits designers from utilizing these resources to their maximum potential and stalls progress.

APPENDIX / BUSINESS PROPOSAL

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GOALS & OBJECTIVES San Francisco is a community of world class designers; I believe it’s time San Francisco became a world class design community. Establishing FORM, an interdisciplinary design initiative with a strong urban presence, will strengthen the San Francisco design community by advocating new programs and supporting existing organizations. FORM’S unif ying presence will help elevate the public perception of design, facilitate interaction between design and the allied professions, connect designers with local resources and vendors, and promote innovation via open collaboration. The principals upon with FORM is founded will improve the San Francisco design community by focusing on increasing collaboration among professional organizations, promoting an active design community, increasing the public’s understanding of design, and increasing accessibility and clarity across the design community. The following pages outline how each of these goals will be met.

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Objective 01: Increase Collaboration

Objective 02: Promote an Active Design Community

The establishment of Form as an interdisciplinary design foundation will increase communication among existing design organizations, increase community participation, and help ensure the needs of all designers, present and future are adequately met. Actions for meeting specific needs are as follows:

Form is a foundation based on the principals of radical collaboration, transparency, and bias towards action. By means of the built design center, the central web presence, and an aggressive calendar of programs, form will rejuvenate the San Francisco design community, making the transition from a community of observations to a community of interactions. Form is dedicated to fulfilling each of the following objectives as it strives to promote a more active design community.

Create an interdisciplinary organization that meets the needs of designers who practice in more than one design genre. Because Form brings together architecture, interior design, graphic design, industrial design, fashion design, and design thinking, each design practitioner will receive the professional support they need. In addition to supporting designers who work in a hybrid of fields, the integration of the professional organizations will also help open doors to new methods of design. Establish an organization whose independence allows it to evolve organically, free of the politics of larger national organizations. By creating an organization that supports national efforts but is not regulated by their history or structure, Form will better support local needs. While the history and politics behind existing professional organizations like the AIA has given them credibility and helped attract members, a more organic structure will allow Form to continuously adapt their programming and communications to align with the changing needs of the local community. Build an open and interactive design center that will serve as the hub of design activity in San Francisco. In addition to providing communal offices for each of the national design organizations (AIGA, AIA, IIDA, ASID, IDSA, etc.) Form will house a resource library, meeting spaces, studios, galleries, and lounge spaces. Produce an online portal that connects the diverse design community. As mentioned, designers and design organizations have generated a large number of subgroups and pages on social networking sites. Though these groups can aid in the advertisement of events, their hasty generation has added to the noise and confusion in communications. By utilizing software such as WeCommune which promotes seamless sharing of resources, contacts, etc. In addition, Form will serve as a portal directing users to the web sites of design firms, universities, vendors, competitions, etc.

Programming and initiatives will strengthen the bonds between business, technology, and design. One of Form’s founding principals is to foster relationships between practitioners of design, business, and technology. It is through the development of these relationships that human centered design innovation takes shape. In order to encourage these linear relationships, Form will partner with business stakeholders as well as introduce programming that brings these entities together under one roof.

Develop a resource library that facilitates communication between designers and the supporting industries. The development of a shared resource library will benefit the entire design community; designers, educators, and the supporting industries. This resource library will act as a community ‘hub’ or ‘pantry’ allowing companies to reach a more diverse market with each meeting, and helping independent and less established designers (who do not have all the luxuries of a large firm) stay abreast of industry updates, production technologies, and product launches. Promote events that focus on active learning, mentorship, and linear relationships. Because both designing and learning are active processes, design community events should be structured to promote two-way conversation and active participation. Form will produce it’s own series of design events and programs while also hosting and encouraging more active events by the various professional design organizations. House open studio spaces that can be used for workshops, charrettes, and other design events. The lack of adequate space due to funding prevents most professional organizations from hosting workshops and active design events. Form’s design center will include numerous spaces that organizations and individuals can reserve for any number of events. These spaces include open studios, conference rooms, workstations, lounges, galleries, and multipurpose rooms.

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Objective 03: Increase Public Understanding

Objective 04: Increase Accessibility & Clarity

In addition to serving designers and design students, form will also serve the community at large by acting as a mediator between designers and non-designers alike. Through the development of print communications and web communications, as well as the establishment of a physical resource center, form invites the community to become active participants in the design process. Each step below will increase public awareness, thereby elevating the public’s perception of the design profession.

The need for increased accessibility and clarity of communication underlies each of the problems that are currently weakening the design community. By both unifying existing design organizations and creating new communications platforms, form will increase accessibility and effectiveness throughout the design community. These objectives will be met via the physical design center and the web presence, as described below.

The creation of an open doors design center with compelling design exhibits will generate public interest in design. Design centers are traditionally ‘open to the trade only’, and consist primarily of furniture showrooms that cater to the interior design profession. Form will be the first design center of it’s kind, focusing on design education, inspiration, and processes and opening it’s doors to the general public. The establishment of an interdisciplinary design organization will generate a clear voice that conveys the import role design plays in the San Francisco community. Form will make up for the lack of a an over arching us design council by organizing existing publications into a clear, compelling voice. Through print publications, events, and the web presence, form will streamline communications between businesses, individuals, and designers. Develop programming that increases the transparency of the design industry and de mystifies the design process. As previously noted, form is a foundation based on the principals of radical collaboration, transparency, and bias towards action. By housing interactive design exhibits and inviting community members to take part in focus groups, charrettes, and other events, form will help change the public perception of design.

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Develop a central web presence that organizes groups, stream-lines event calendars, and eliminates clutter. Similar to it’s built presence, form’s online presence will serve as a one-stop portal to the San Francisco design community. Establish a community focused design center that better serves the needs of designers. Giving the design community a ‘home’ will increase participation in events, help new members feel more comfortable about participating, and help dispel the perception of pretentiousness that surrounds the design community.

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METHODOLOGY The thesis I am proposing via the creation of Form is not simply a project on design; it is a project on collaboration. Because I inhabit the design community on three different levels, as student, professional and onlooker, I will have the ability to look at this subject from not only the design perspective, but also from the userâ&#x20AC;&#x2122;s perspective. This is not to say I will be completing this thesis on my own. But rather my process for executing this thesis will be very much like the type of processes and collaborative efforts the final deliverable will promote. By utilizing my professional and social contacts, my thesis process will involve a global series of interviews, visioning sessions, case studies, and a quest for best practices that crosses the disciplines of graphic design, architecture, interior design, fashion design, education, and business. The aforementioned interviews will be supplemented with my own observations and case studies cataloging effectiveness in community building and idea sharing. I will be studying both virtual and live environments to seek out best practices as well as to highlight opportunities for improvement. Upon completion of the research and development stage of my thesis process, I will move into a more hands on design phase. It is my plan to hold charrettes with my colleagues and peers, in order to better understand the needs and opinions of a wider array of designers. In addition to live charrettes, I will log my findings, as well as posing questions on a blog, allowing for virtual collaboration as well. As mentioned, my process for executing my thesis represent the range of activities I hope to promote: collaboration, continued education, diverse design dialogue, and the sharing of ideas. I believe that including my target audience, professional designers, in each step of the design and development process will result in deliverables that are not only aesthetically pleasing, but also functional and articulate.

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EVALUATION Because Form is, at inception, a design thesis, it’s success will be measured by the execution of and public discourse over the final deliverables and creative processes. The evaluation process will be organic during the design research and development phases, climaxing in a formal presentation and open discussion at the project’s completion. The founding principals of Form, as well as the theories guiding it’s creation, will be evaluated by the public’s reaction to, and excitement over them. Form will be presented as a concept to board members of various professional organizations, as well as to a large sampling of local designers, educators, students, and members of the allied professions. The opinions expressed by these individuals will be expressed in the final design of Form, as it is meant to reflect the needs and desires of the local community. In addition to using community feedback to evaluate the theories behind Form, it will also be used to guide the design of the physical and virtual spaces. Charrettes will be held with local designers at both the beginning and midpoint of the architectural design process, ensuring that the space meets the needs of each of the target user groups. These user groups will also be invited to conduct usability studies and design reviews of Form’s web presence. Should Form move past the thesis stage to the point of financing and more advanced proposals, further evaluation will be conducted to ensure it’s viability. A formal design review will be conducted, looking not only at the design of Form but also it’s potential effectiveness as a unifying resource to the entire San Francisco design community. In addition to this review, a business and financing consultation will also be performed, ensuring the feasibility of the proposal.

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FINANCING Form is a private not for profit, with financial support provided by public and private sponsors who share Formâ&#x20AC;&#x2122;s mission of building a stronger design community. Additional funding will be provided by federal grants, educational tax credits, loans, and contributions from private design and cultural foundations. Because the design industry is an integral part of the San Francisco Bay area, Form should have a viable capability to raise adequate funding. Moreover, stakeholders relationships with be formed with business and technology leaders whose efforts will benefit from the networking and innovations taking place at Form. Form also expects to receive some of its funding from public entities. For example, in San Francisco arts organizations large and small are supported in part by Grants for the Arts, the publicity and advertising portion of the Cityâ&#x20AC;&#x2122;s Hotel Tax Fund. Some recent grant recipients of the Grants for the Arts are: California College of the Arts $64,000 Cartoon Art Museum $35,000 Exploratorium $425,000 Creativity Explored $33,000 San Francisco CameraWork $50,000 While Form currently exists only in the academic realm as a graduate thesis, the financing above will be pursued should the project move forward. In the meantime, funding is sought for the print and production of the final thesis installation. This installation has an estimated cost of $3,200. Financial support in the form of both in-kind donations and monetary gifts are being sought from vendors and designers representative of the community Form seeks to enrich.

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QUALIFICATIONS Education and community are two themes which have run deep throughout my life. Raised in a one stoplight town in rural Ohio, I developed a strong sense of community that has formed the core of the person I am today. My parents are passionate educators and avid readers; my formative years were spent sprawled in the corridors of libraries and daydreaming in vast cornfields. My undergraduate years were spent at Miami University, where I began as a communications major with a focus in writing. Inspired by the activity I saw taking place in the school of design, I moved into the study of interior architecture, where I developed a rich passion for the ability of space to enrich the lives of itâ&#x20AC;&#x2122;s inhabitants. I focused on educational design, with a capstone thesis on student centers that blurred the lines between education, retail, and community. Upon graduation I moved to Washington D.C., where I joined the design firm of PageSoutherlandPage. I then went on to join the world-wide interdisciplinary firm Gensler. It was as Gensler that I first observed the dynamic potential of merging graphic design and architecture. Projects which fused the intimacy of the written language with scale and context of space were most successful environments I have seen to date. It was this fusion of disciplines, along with my respect for the design strategists and their ability to formulate award winning proposals out of seeds of ideas that lead me pursue a graduate degree in graphic design. Upon completion of my graduate studies I hope to pursue a career in design strategy that builds on my aptitude for interior architecture as well as my formal graphic design skills. It is my hope that I will be fortunate enough to work in multidisciplinary teams that allow me to continually broaden my field of vision, rather than specializing in a particular genre of design, or with a specific genre of client.

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QUALIFICATIONS WORK EXPERIENCE Academy of Art University_San Francisco, CA ( 2007- ) Graduate Tutor: Instructed a support workshop for the graduate graphic design department, tutored graduate students in Typographic Systems, Visual Communications Lab, and AutoCAD. Gensler_San Francisco, CA ( 2006-2009 ) Job Captain: Responsibilities include design development, space planning, presentation materials, production of construction documents, client presentations, FF&E selection, graphic signage & way finding, and construction administration. Gensler_Washington, DC ( 2005-2006 ) Job Captain: Responsibilities include design development, space planning, presentation materials, production of construction documents, client presentations, FF&E selection, graphic signage & way finding, and construction administration. PageSoutherlandPage_Washington, DC ( 2004-2005 ) Interiors Designer: Served as an onsite contractor to a large government services client. Responsibilities included maintaining a real estate portfolio of hundreds of millions of square feet, space planning, creation of construction documents, and weekly client presentations. DESIGN EDUCATION MFA Graphic Design_Academy of Art University (2010) Intensive four year masters program with a focus on print media. Activities included serving as department representative for the graduate schoolâ&#x20AC;&#x2122;s student board & leading design workshops. BFA Interior Architecture_Miami University (2004) FIDR accredited program with a focus on commercial interiors and branded environments. COMMUNITY INVOLVEMENT AIGA_The Professional Association of Design (2006-Present) Student Liaison and board member for the San Francisco chapter. IIDA_The International Interior Design Association (2004-2006) Education Chair and board member for the Washington Metro chapter. AIA_The American Institute of Architects (2000-2004)

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DESIGNERâ&#x20AC;&#x2122;S STATEMENT Education and community are two themes which have run deep throughout my life. Raised in a one stoplight town in rural Ohio, I developed a strong sense of community that has formed the core of the person I am today. My parents are passionate educators and avid readers; my formative years were spent sprawled in the corridors of libraries and daydreaming in vast cornfields. My undergraduate years were spent at Miami University, where I began as a communications major with a focus in journalism. Inspired by the activity I saw taking place in the school of design, I moved into the study of interior architecture, where I developed a rich passion for the ability of space to enrich the lives of itâ&#x20AC;&#x2122;s inhabitants. I focused on educational design, with a capstone thesis on student centers that blurred the lines between education, retail, and community. Upon graduation I moved to Washington D.C., where I joined the design firm of PageSoutherlandPage. I then went on to join the world-wide interdisciplinary firm Gensler. It was as Gensler that I first observed the dynamic potential of merging graphic design and architecture. Projects which fused the intimacy of the written language with scale and context of space were most successful environments I have seen to date. It was this fusion of disciplines, along with my respect for the design strategists and their ability to formulate award winning proposals out of seeds of ideas that lead me pursue a graduate degree in graphic design. Upon completion of my graduate studies I hope to pursue a career in design strategy that builds on my aptitude for interior architecture as well as my formal graphic design skills. It is my hope that I will be fortunate enough to work in multidisciplinary teams that allow me to continually broaden my field of vision, rather than specializing in a particular genre of design, or with a specific genre of client.

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The reward of a successful collaboration is a thing that cannot be produced by either of the parties working alone. Form is a thesis about those such collaborations.

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FORM NOTES Thank You I would like to thank my thesis directors: David Peters, Brad Rhodes, & George Slavik for your guidance, enthusiasm, and support. Special thanks to the dozens of local and national designers who helped me bring my vision to fruition; without your insights and encouragement this thesis would not have been possible. Production Details This thesis was designed on a MacBook Pro using Adobe CS3 and Google SketchUp6 software. Digital printing was provided by Andresen San Francisco using HP inks on Finch papers. Binding was provided by The Key Printing and Binding in Oakland, California. Bookcloth is Arrestox B, with foil stamping. For More Information Form is a Masters Thesis completed by Elizabeth Vereker at the Academy of Art Universityâ&#x20AC;&#x2122;s Graduate School of Graphic Design. For more information, please email vereker@gmail.com or visit www.elizabethvereker.com. Thank you for your attention.

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