The Equestrian Order by YSDN Saddle

INSIDE / OUTSIDE GRAPHIC DESIGN EDUCATION

THE EQUESTRIAN ORDER

YSDN SADDLE ISSUE 07 / APR ‘15

AIGA DESIGN EDUCATORS CONFERENCE

CONTENTS OF THE EQUESTRIAN ORDER

3-5

6-11

Letter from the editor Hyojung Julia Seo Letters from Faculty & Spaces of Learning Organizing Committee Angela Norwood, Robert Gill, David Gelb Words from YSDN Students Angelina Tjhung, Jacob Colosi, Hannah Lee

12-13

Enter the student space

14-21

The Redesign Project Brian Kall + Camilla Dinardo Hunter Caron + Pat Descartin

22-39

Summary of YSDN Saddle Volume 1

40-41

Exit the student space

42-45

Welcome to the Rhizome Exhibition Catalogue

46-47

Appendix of Angelina Tjhung

48-49

Appendix of Jacob Colosi

50-51

Appendix of Hannah Lee

Sponsors and Thanks

Contact the YSDN Saddle

LET TER FROM THE EDITOR

Good day to all readers! What a pleasure it is to bring the YSDN Saddle in your hands to present a great glimpse of the student body and culture of the York/Sheridan Design Program (YSDN) in Toronto, Canada. The YSDN Saddle is a student initiative magazine project that began in the fall of 2014. It is the result of our genuine desire to discover the purpose and effects of documenting and curating the journey of design education as we participate and contribute to the program. For every monthly issue, we gather to design the concept and content intending to connect the YSDN student body. We relate to each other by discussing and sharing our experiences with the design practices we are taught to embrace, avoid, and overcome. By referring to terms we often hear in class and invent ourselves in the late night hours of the studio, we speak to each other in a unique and wit-filled language through every page. After a long stretch of receiving design briefs from our classes, the YSDN Saddle is our monthly get-away where we can express ourselves and think about the practice and education spaces we enter and exit in our studies. The only boundaries we have as we express our thoughts are of course, the edge of these pages. This seventh issue of the YSDN Saddle marks the end of our first successful volume. The opportunity for it to reach the hands of design educators from various fields of practice and study is nothing short of amazing with loud shouts of hoorays and a chain of high-fives. For as long as each issue is saddle-stitch bound, I hope to keep the integrity of the YSDN Saddle rooted in the true and energetic design student spirit. Have a tasteful journey as you flip through the pages of this special issue on the spaces of learning.

From your fellow YSDNer, Hyojung Julia Seo 4th year student at YSDN Editor, YSDN Saddle Magazine :)

SPACES OF LEARNING ORGANIZING COMMIT TEE

Dear YSDN Students, This edition of Saddle marks an exciting time for the Department of Design at York. We have invited design educators from around the world to our space to share ideas and engage in conversations about what it means to teach design in rapidly changing social, cultural and political contexts. This conference has been two years in the making. The theme, Spaces of Learning, reflects our experiences in the classroom, talking, thinking, learning design — with you. You inspire us with your passion for making meaningful work and your dedication to finding your voice. We see the ways you grapple with reconciling what you know from experience with what you wish to contribute to the world through design. You navigate complex physical and conceptual terrain to be here and for a brief time we get to share this space. As educators, we tend to believe we know your potential. We revel each time you exceed our expectations. To the editors of Saddle, thank you for your contribution to the Conference in the form of this special issue. It is a fitting mediator between the communities represented this weekend — our students and our colleagues — in our Spaces of Learning. Angela Norwood Associate Professor Chair, Department of Design Spaces of Learning Organizing Committee

SPACES OF LEARNING ORGANIZING COMMIT TEE

dear saddle i am grateful that, in conversation with students in ysdn3105f14 and ysdn3106f15, i have learned a lot about design this teachingyear. i have been asked to write something for this inside/outside design saddle thing and to do that i would like to propose that we think through some deconstructive questions about the following design keywords: 'the' client: is the client â&#x20AC;&#x201C; real and imagined -- the insider against whom we can only, all of us, be rendered outsiders? might design education be a path for exploring and ***king with the entangled relationship between student/client/user and teacher/provider/ designer? is all knowledge commodifiable? what lies beyond this commodified relationship? how might the design student aspire to be a teacher? critique: what gets 'fixed' when the aim of critique is to identify and eliminate problems, failures, errors and impurities? is there a perfect designer-brand? is all design content brand content? exhibition: what are the colonial relations of power embedded the exhibition as a visual technology of power/knowledge? how might we, collaboratively, challenge those forms of curating that set out to preserve these relations of power/knowledge? how might we begin to imagine spaces that pose a challenge to consensus rather than succumb to it? portfolio: if i am multiple, what is the imperative of the single portfolio? there are public portfolios, indeed, but might there also be private ones? what might i learn inside the private space of my own private portfolio? why, as derrida tells us, is there no such thing as non-narcissism but only more or less generous narcissisms? who is the Other of my own private portfolio? studio: what is â&#x20AC;&#x2DC;post-studio practiceâ&#x20AC;&#x2122;? why, as a designer, should i be interested in art work that challenges the hegemony (the inside-ness) of the studio? what is a city? why is walking so good for brain-function and neuro-plasticity? for more try reading: tony bennett, claire bishop, nicholas bourriaud, carl di salvo, adrian forty, guy julier, markus miessen, chantal mouffe, avital ronell ... thanks ysdn ... robert gill PhD Department of Design York University

I see this edition of Saddle in conjunction with AIGA/DEC conference as an opportunity to share a few of my experiences and observations working within our spaces of learning. When I started teaching in the Department of Design, the Joint Program was a newborn. It was an exciting time as graphic design was converging with new technologies, enabling designers to move into previously unexplored spaces. As a fresh teacher in that earlier learning space, I spent a big chunk of my efforts translating the language of these new instruments into an understandable and relevant design curriculum. Today, the learning spaces are increasingly complex and require a different kind of teaching and learning. Technologies and interfaces are embedded in almost all aspects of contemporary life. Learning is expressed by a fluency to traverse across multiple platforms and modes of working. I observe students as accepting and motivated to learn by many of these changes. As such, I recognize my role often shifts between the individual teacher to a parallel learner in our spaces of teaching and learning. It continues to be a rewarding. Thank you. David Gelb Assistant Professor Director, Graduate Program in Design Spaces of Learning Organizing Committee

"I know, As students at a design institution, we can be sure that we've all paid money to get more or less the same thing—learn new skills, get a degree, get out. But in between those waypoints, there are certain decisions that we'llmake in order to create our own personal pathways that will ultimately dictate what kind of people we'll find ourselves to become in the end. In this way, our education becomes an interface to navigate through. I don’t think there’s an objective right or wrong way to orient ourselves, but personally I’ve started to question what I’m being told in my post-secondary education in order to approach projects with a new perspective. I’m hoping that this isn’t simply an adolescent-feulled outcry against the established order,

but simply a reminder to question what I'm being told. Reading Kenya Hara’s ideas on exformation brought much imagery of empty spaces in busy and public school grounds, or the house you spent your childhood in, so familiarat ground level, butso strange when surveyed from above on Google maps, among hundreds of other similar homes of different families and different people. The process of exformation doesn’t necessarily stop at looking at objects in a new light. The point is that I should look at these objects in a new light in order to activate a realization that there are so many things I do not know. And through this new lens of thinking, I’m able to form new questions that I would never have been able to before.

ANGELINA TJHUNG

So how can the practice of exformation be applied to design education? If we look at the different situations that is created within institutions, we can find, for example, the interface that exists between faculty and student body, design for the screen and print design, or freshman and senior. Every relationship infers a certain interaction between the two, but it also infers that there exists two different and isolated binaries that have their own beliefs and ideas. What this has created, however, is what Hara refers to as the “I know, I know,” coming from how people use this phrase in conversation to affirm how much knowledge they possess. This act of “information catch” that Hara describes is perhaps, “where the problem

of stagnating creativity in communication lurks.“ He sources a lack of friction in conversational exchange between communication in general today. How can these interfaces thrive if both parties are interrupting each other with, “I acknowledge your opinion, but you know what's even cooler...?” as if we base our own self worth around the amount of information we can spew out. Whether you're a prof or student, print or interaction designer, one thing we all share in common is that we don't know much about anything, and there are an infinite amount of thoughts and ideas (see Appendix on page 46) desperate to share what they have to say, floating around in the spaces we inhabit. So we might as well start listening.

I know."

JACOB COLOSI

Design as Design as political space. Political space as the liminal territories with which we engage. The real space that is influenced by more than stylistic concerns. Design as political space can become a methodology to realize the power dynamics of the encounters we create exist in. A methodology that recognizes the futility of the end user and design as the arrangement of meaning, not the control. The type of questioning here emphasizes a critical perspective on methodology. Why am I here? What is the impact of what am I doing? How does this experience reinforce or challenge power structures? What is the point of being in an institution if it’s not considered the real world? Why is design only knowable through “professional experience?” Why is “concept” mistaken for style? What is a portfolio? What purpose does it serve? Is it a record or a diary? Or is it a playground? Is it still curated? Or is it a cosmogram of everything I’ve done in the pursuit of design? What tools can we develop to understand the relationships in this liminal space? Do I see myself represented in the spaces around me?

Political Space

We are learning – all of us. We are learning in space where phrases like “paradigm shift,” and “reshaping” have become the common vernacular. Words like “minimalism” are being replaced with “service” and “system.” But what does it mean? In what space does this language have meaning? A generation of undergrads marches off to jobs where the traditional definitions of “Graphic Design” reigns supreme. While some radicals might rush off to their high tech offices and save the world through touch screens, most of us will find ourselves wondering when we got business degrees. We are on the mobius, traversing both sides, moving inside the academic advances in methodology as well as the lagging (most likely due to some committee) expectations of the outside “real world.” We are forced to deal with the reality of that relationship. The reality of the endless loop. However, we have a choice: to continuously loop in place or to kick ourselves and roll forward.

A Hyphenated Existence?: Design as Diverse Cultural and Social Space

중간적인 존재

HANNAH LEE

"I speak the language in between my mother tongue and the foreign one.” (see Appendix 1 on page 50.)

A lot of weight is held on self-identification through ethnicity. "I'm Korean," I say. "I moved here when I was eight." Because my story revolves around my identity as both a Korean and a Canadian person. But the truth is that I'm having a bit of trouble identifying as either (see Appendix 2). I can barely speak the Korean language, it takes me too long to read and write. My dad only knows a part of me that is constantly struggling to translate my words. I'm in some kind of cultural limbo, living a double life as a hyphen that likes "weird ethnic food” and Starbucks. I’ve been framed as an in-between (see pg. 50). I took Comm Des 2 this term, where I had to brand a festival where two languages were treated as equal in terms of visual hierarchy etc. (see Appendix 3) and I realized it was the first time in my undergraduate education where I was considering terms like culture and ethnicity and race when designing. The Other was part of the discussion, there was negotiation, and a dialogue very different from one I’d experienced so far—a larger design process, outside of the bubble of YSDN. I regret I haven’t tried harder to discover where I stand in terms of my first home, the motherland. But before I leave school, I’d like to engage more with the topic of interculturality + hybridity; to use design to uncover what it means to be hyphenated, because that’s what I know. (See Appendix 4.)

THE REDESIGN PROJECT

What do we bring with us when given the task to redesign? How do our thinking processes compare and contrast with those around us? In this activity, we see student design work that have been redesigned by their friends. Given the freedom to explore different media in the redesign, we explore the interpretation and reinterpretation of the design brief.

BRIAN K ALLâ&#x20AC;&#x2122;S ORIGINAL WORK

Project Name: An Attempt at a Classy Zombie Book Cover Course: Typography 2 Duration: 2 or 3 weeks Goal: The goal of this project was to redesign a reasonably well-known book. This included setting body text for a few inside pages as well as designing the cover. I think World War Z is a great zombie book and its style and the maturity of its themes surprised me when I first read it. I wanted to reflect this maturity while keeping a hint of the genre present. Influence: A little bit of Tschichold/Penguin Books â&#x20AC;&#x201C; the title and author are (almost) enough.

REDESIGN BY CAMILLA DINARDO

Project Name: Apocalypse Armour Goal: My goal when re-designing the cover of World War Z by Max Brooks was to take an alternative approach to the eery and spooky atmosphere that is seen in current designs of the cover. Whenever I think of apocalyptic stories, I head straight for the survival tactics. I wonder what would be my top weapon of choice and how I would protect myself from zombies (if it were to ever happen). To reflect this, I decided to make a cover that look liked like it was suited up for battle. The "Z" is a symbolic portrayal of strength and the human need for survival. Influence: I am used to grabbing books that do not reveal much at all, which is why I designed this with the intention of intriguing potential readers with its boldness. I have read a few Zombie books and I always feel that there is more to them then there spook factor, which is why I wanted to touch upon the theme of survivialism in a human's experience during the apocalypse. 15

CAMILLA DINARDOâ&#x20AC;&#x2122;S ORIGINAL WORK

Project Name: Psycho Course: Typography 3 Duration: Two-three weeks Goal: The main goal of this project was to create typography from found objects. Instead of using something I could physically hold, I decided to use light to create my own letterforms. This involved a set-up of several lamps and mirrors to create the desired shapes I wanted. I took many photographs and then pieced them together to in Photoshop. I decided that in order to create the strongest contrast between the light and airy forms and the world itself, I would use the word psycho. Influence: I am personally interested in building multiple narratives in one piece of design, so that any viewer can pick up on another part of the story I would like to tell. This part of myself, as a designer, really drove "Psycho" into the direction that it went in. I also love to create really detailed and unexpected images that become interesting and hard to decipher.

REDESIGN BY BRIAN K ALL

Project Name: Psaddle Redesign Goal: For me, the word "psycho" immediately brings up the Hitchcock classic and then, of course, the famous shower scene. The direction for this design is shamlessy taken from there. Influence: Psee above. Also, the way Paul Sych breaks up words.

HUNTER CARON'S ORIGINAL DESIGN

Project Name: Scribbles & Vectors: The Final Frontier Course: Design & Image Duration: 4-ish weeks Goal: This is one of three panels that are supposed to show frustration on one side and satisfaction on the other through images. Influence: The inspiration for this was the whole square peg in a round hole idea as a source of frustration. The style inspiration was based on my horrible mess of sketches that I had before coming up with the final idea. Fun project but I think the execution could have been better in retrospect.

REDESIGN BY PAT DESCARTIN

Project Name: "Seeking Stability" Goal: For the redesign of this opposition project, I wanted to stray away from using computer generated objects and instead focus more on displaying real human emotions through photography. The first photo is meant to reflect the emotions we feel when we are stressed out, feeling alone, and frustrated with ourselves. To contrast, the bottom photo reflects a sense of sanity and stability when we are feeling loved by another individual. It is important to explore using different media in design, not only to show variety, but to discover who you are as a designer. Influence: I use a lot of my own photography for various projects and so I felt it was necessary to use that strength in this redesign. I was really influenced by my own personal experiences and wanted to turn those emotions into a visual composition. By using real people, I was able to create a piece that would be easy for anyone to realte to.

PAT DESCARTIN'S ORIGINAL WORK

Project Name: Milkrate Records Course: YSDN1006 Duration: 2 Weeks Goal: To create a fully functional webdesign concept that addresses a specific target audience, through the process of planning, wireframes, and visual planning. Influence: My webdesign was inspired by my own interests, in patricular my love for music. It follows an easy layout and quick navigation links. I wanted to keep it minimal, and chose to use bold colours so that the content would stand out.

REDESIGN BY HUNTER CARON

Music Player

Main Explore Module

Social Interaction Area

Project Name: Toronto - More Than a Record (2015) Goal: To provide a brighter and more intuitive website experience, along with a more memorable brand image. The intention is to give the viewer what they want as quickly and efficiently as possible, while also giving them the ability to view and participate in social media interactions. Influence: The project has a large range of inspirations. The most obvious inspiration here would have to be Material Design, which may be quite obvious. Other inspirations would have to be Madeon's Adventure as well as Porter Robinson's Worlds. Overall I'd say my biggest inspiration was the perspective change that happens when you listen to music, as well as the Zen state that certain songs can initiate. Some casual data collection showed that people had live events and record selection high on their priority list when visiting the site, which guided the layout to this outcome. Also, drop shadows.

Summary of YSDN Saddle Volume 1. October 2014 - April 2015

YSDN SADDLE VOL . 01 SUMMARY

Have a glimpse through the first volume of the YSDN Saddle. With each front cover is a feature that represented the issueâ&#x20AC;&#x2122;s theme.

Several themes were covered in this volume: Issue 1

Process Work 30% Attitudes toward process

Issue 2

Poly Zip Influences within final deliverables

Issue 3

New Year's Resolution: 30dpi Diversity of aesthetic styles

Issue 4

Space Jam Influences from physical design space

Issue 5

One Fource Driving force to pursue design

Issue 6

Strike Aftermath Impact from the 2015 CUPE 3903 strike at York University

Issue 7

The Equestrian Order YSDN student culture + YSDN Saddle volume 1 summary

PROCESS WORK 30%

YSDN SADDLE ISSUE 01 / NOV ’14

WELCOME TO THE

EHT OT EMOCLEW

PROCESS BEHIND THE BIRTH OF YSDN SADDLE

Paper size: 8.5â&#x20AC;?x11â&#x20AC;? Margins Top & bottom margin: 3p0 Inside margin: 2p0 Outside margin: 4p0 Full bleed images: none

One delicious burrito was consumed in the process of the magazine development.

Grid 6 column grid Gutter: 0p8 Baseline grid: 0p8 Typeface Univers font-family. Designed by Adrian Frutiger, Alexei Chekulayev 1957-1997

In the proposal for this magazine project, this glorious image of a rider on a paper saddle was used to describe the magazine's concept. Wouldn't it be great to make one that big?

Evolution of the horse. 29

POLY ZIP

YSDN SADDLE ISSUE 02 / DEC ‘14

JACOB COLOSI / THIRD YEAR

To the jury: Contest and conference as hegemony What is the process that shapes our ideas about what goes inside that clear over-sized sandwich bag and what gets trimmed out? If there is a level of acceptability that our work must achieve before entering that bubble of display, what systems have created these levels? I would argue that there are hegemonic practices we subscribe to that shape our ideals of aesthetics, as well as effectively shape our ideals of design theory and our personal philosophies. In this sense I would like to reflect on two practices that hold power to form our ideas of what is and isn’t worthy of the PolyZip. The practice of the design competition has established itself as a form of qualifying design for display, as well as creating a pseudo-quantification of just how good that design is. If a piece claims one of these awards it becomes a benchmark or standard of what “good” design is. The subjective qualities the esteemed jury is looking for is somehow translated into undeniable proof of the right this object has to a pedestal. Does it use that trendy qr code? Does it fold into a cute hat after I’m done with it? Wow, blue, is so edgy! The actual piece is removed from any context about what restrictions, investments and emotions we’re

pressured aesthetics, experiencing an anxiety that our work will never be included in the PolyZipped awards list of Adobe (7 points) or the rgd (5 points). However, I would like to make one thing clear: I am not saying that those of you who have won those awards have created bad work. In fact, I am in awe of the talented young professionals ysdn produces. What I am saying though, and only because I learned this after many late night breakdowns, is this: your work does not need to adhere to any outside factors that do not directly influence the context you are creating within. There is another container of design that has the ability to shape what is PolyZipped and what is not: the design conference. The design conference is a place (or blog, or magazine, or All–Singing– All–Dancing Vegas show) where design in its less conventional forms can enter the bubble of display—however without proper reflection to their purpose, this practice of discussion can easily turn into a design competition for ideas. What are the recent trends in workspace arrangement? Can my creative process be revolutionized through 3 easy steps? While presentations like this can definitely forge new thought processes about

involved. As well, this beauty pageant approach completely dissolves any criticism about what the design is actually doing. Sure that little moustache is popular, and is crafted beautifully out of feathers—or maybe that’s macaroni—but is it really saying anything. The design competition has become a form of style-maker, through it’s proclaimed ability to establish the best. Forms become pre-packaged and formulaic. Through this fetishizing of the design award, we turn design thinking into a quantifiable skill—the more awards you have, the better designer you are. We begin to create forms that suffer from

design philosophies, they can be fetishized just as much as the objects of design competitions. In essence, we become so obsessed with thinking about how we think, we forget to think. Once again, I’m not saying that going to conferences is stupid, but rather, never stop developing your own philosophies (including learning about others work) about how you establish good work. What you put in that PolyZip should be the culmination of your own, context appropriate, development of form and ideas. The PolyZip does not define you ~ you define it. 31

NEW YEAR’S RESOLUTION: 30 DPI

YSDN SADDLE ISSUE 03 / JAN ’15

AESTHETIC RESOLUTION

30 dpi of Melanie Wong.

30 dpi of Nathan Grimberg.

Shirley Space

By Shirley Liang, 3rd year 35

ONE FOURCE

YSDN SADDLE ISSUE 05 / MAR ‘15

ANGELINA TJHUNG - THIRD YEAR

Kids on the slope

This past reading week, I went home for a little while to get some rest and catch up on some work. On the last night, it dawned on me that I would probably never sleep in my room again. My parents told me that they were going to sell the house. For me, memory is embedded strongest in the places that we’ve been. To think that I’ll never be able to get back is scary and sad. I’ll miss the exact shade of blue that covers my walls, and the view of the sky from my window as I lay on my bed—just this expanse of blue bordered by an overhanging rooftop. If you think about it, it’s just our five senses that builds up the vast archive that is our memory. And yet, why does it seem to hold such emotional power, as if the sum of our experience is worth more than its parts? I don’t really know the answer, but the ambivalent feeling of both longing and celebration at the same time creates an interesting lens to look through, for some reason. I’m lucky that design gives me the opportunity to explore this feeling without explicitly having to explain it. But the best part is that in creating work that explores suburban

nostalgia, I’m able to share and recreate the experience with the people around me. That, in the end, is the only real way I can feel I’ve achieved anything. My work doesn’t really hold any value unless a discussion is opened between my audience and myself through the shared experience of communication. Even if nostalgia is just one of many ways to create meaningful experiences, it has the added benefit of being a very personal one. This might not be universal advice, but hear me out: when you’re stuck on a project, perhaps try and focus inwards instead and make something that holds personal value. You may figure out something you really enjoy doing in the process. Personally, I’ve learned more about myself in these short years, especially now that I’ve moved away from where I grew up. Even so, I find myself thinking back to the place where the only thing you can hear at night by the open window is the cars passing by every hour or so. Sun-bleached frames of trees lining the streets, electric lines hanging, the lens panning towards the sky to show a roof and a lone illuminated window.

CARTER PRYOR ANGELINA TJHUNG NATHAN GRIMBERG JOANNE VONGPHACHAN AARON THADATHIL AMY CHIU CRISTIAN MIRANDA LUQUE JACOB COLOSI HANNAH LEE

HYOJUNG JULIA SEO

CRISTIAN MIRANDA LUQUE STRIKEEEEE!! yea it sucks, it sucks so bad to have no classes and get to sleep in everyday, sucks I have more time to work on stuff, and who wants to be home all the time and spend time with thier parents, amirie? On the plus side when I do try to work on stuff and commute to york I have to walk an extra 20 minutes so I got that going for me, which is nice. In all seriousness I have to confess that the strike didnâ&#x20AC;&#x2122;t scare me or phase me at all really, or at least for the first week or so. I was surprised how calm this protest was, back in Chile they usually burn at least one car when protesting, but moving on. What really amazed me and what I continue to love about this program is the awesome sense of community that we have. Both in our own respective years and in our crazy YSDN family, we were updating and helping each other in this time of confusion. Nothing brings people together like collective disappointment! You go guys!

STRIKE AFTERMATH

YSDN SADDLE ISSUE 06 / MAR ‘15

EXHIBITION CATALOGUE

welcome to the rhizome In what ways are we present in the spaces we live in? How do we see ourselves represented and reflected in the images that surround us? How do we shape these images to reflect our experience and inquire into the nature of that experience? How can we design and curate our space to serve as a platform for cultural study, political inquiry and dynamic interfacing? Come up to the fourth floor at TEL and enjoy our archive of the design student experience. The nature of each concept comes from ourselves, the student body, and our shared time and space together. Feel free to use these following spreads as an exhibition catalogue, of sorts, as you follow along from cabinet to cabinet. However, itâ&#x20AC;&#x2122;s important to remember that the cabinets mean, in the end, whatever you want them to mean.

"frames" vinyl on glass $782340874082374 The frames installation explores the open design process and experiences created by looking at the relationships between illogically arranged images. The images are drawn from contemporary and modern art â&#x20AC;&#x201C; classical inspiration for the designer. However they are contrasted against cultural images, clippings from popular media, fashion, science, etc. These images are then framed. Rather than framing the images, as conventional would dictate, the frames draw emphasis to the spaces in-between these images. What new discoveries can be made by looking at these spaces? What type of methodology can we develop from these illogical connections? â&#x20AC;&#x201C; All scholarship comes from finding gaps â&#x20AC;&#x201C;

"tether" paper on branches $302473409823 Traditional japanese fortunes (O-mikuji) are distributed at shrines and collected in exchange for an offering of usually 5 yen. If someone ends up with a bad fortune, they would tie it up on a tree branch or grate in hopes that the bad fortunes would be anchored to the tree instead of the bearer. The idea that words can literally be tethered to a place is appropriated in these cabinets in hopes of creating an anonymous and open forum of student thoughts and experiences. Write up anything you'ld like and hang it on the tree branch. In return, be sure to take a message off the brance in order to keep the train of throught moving.

EXHIBITION CATALOGUE

"30%" paper on paper $23849234235 You probably have a lot of process work stored somewhere in a pile together. Once you're finished a project, it will be put in a box with the rest of the coil binded books and shuffled into a storage room with all the other boxes. All the work that's seen in these cabinets was salvaged from those process work graveyards and stuffed in here.

"exquisite corpse" graphite on paper $1923801284015 Time for a !!FUN ACTIVITY! You're probably familiar with the doodle game where you fold a piece of paper into three sections and create a 3-part collaboration between your peers. Continue the doodle as each composition is completed and revealed, just like they used to do in the old days at those hip surrealist parties!

"for sale" dollar store sign on ikea rug $28739237492034

ad space for sale "student excretions" mixed media $1327862832323123 A pretty straightforward summation of the design student experience. You'll probably already feel familiar with one or more of these objects, except bathed in a clinical light for all to see.

APPENDIX OF ANGELINA TJHUNG

APPENDIX OF JACOB COLOSI

Appendix 1

Moebius Strip ii, Escher

Appendix 2 That one Information Design class where the only critique anyone had was:

"I like your colour scheme."

Appendix 3

Stop looking at these sucessful white men and get back to your social media.

APPENDIX OF HANNAH LEE

Appendix 1 Source is probably an angsty tumblr account.

Appendix 2

http://cargocollective.com/strangerying/

Appendix 3

Appendix 4 "How can we engage with our students’ encounters with visual, popular and other forms of cultural experience in order to cultivate a deeper sense of curiosity, interest and engagement in the larger design process? What does the discourse of ‘culture’ mean to our students and how can we critically engage with and unpack those meanings? "What is the role of voice and story in the process of interculturality and hybridity? How might the experience of being ‘hyphenated’ add to the exploration of story for design students and teachers alike? How do we engage with these stories?"