process

PROCESS

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PROCESS!

PROCESS!

PROCESS!

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SOLAR DECATHLON WORKSHOP

VIDEO IDENTITY

STUDIO PROJECT

INDEX

GAME/INTERACTION

MANIFESTO PERSONAL

8 - 47

48 - 57

58 - 63

64 - 67

68 - 71

72 - 87

88 - 93

94 - 101

Introduction or what Ive learned this semester

It’snosurprisethatlastsemesterleftmequestioningmyplaceinthisprogramandthedecisionsIhadmadetobehere.IchoseprojectsandapproachesthatIhadlittleemotionalconnectionwithanditshowed.Iwasn’tfullycommittedtotheworkanditshowed.Iwasn’tgainingmuchgroundanditreallyshowed.

Fortunately,thissemesterhasbeenadrasticchangeforthebetterasIhavetriedtoapproachthingsdif-ferently.I’vetriedtomakethingsthatIcaredaboutandI’vetriedtocareaboutthethingsI’vemade.Ialsofeltthatseveralof theprojectsfromthissemes-terallowedmoreof apersonalconnectionaswellasafocusonandexperimentationwithform.Thishasbeencathartic.Myprocessworksbestatthispointif Idelveintoformearlyon.Mycurrentsituationandthetimeconstraintsthataccompanythismakeitdifficultformetoconceptualizeatlength.Ihopetochangecertainaspectsof thissituationsooninordertofocusondesignmoreandcontinuetobuildmyconceptualizationskills.

ThissemesterthoughhastoughtmethatIamintherightplace,Icanandshouldmakethingsthathavepersonalmeaningforme,andIwantthisenoughtodowhatittakes.I’veseenexamplesof designhelpingpeopleanddesignthatwasjustfunthisyear.AndthatiswhatIwanttodo.

//

LIGHT EXPLORATIONSa series of posters on light and it’s characteristics

//Poster / Light Ex-ploration #2 / This series of posters (which was accepted into the 63rd UT Student Competition) was intended as an explora-tion into several of the different characteristics of light and its interac-tion with the world. I hoped to convey a

#2 ///// TRANSPARENCY & COLOR 2/6/10

9

SOLAR DECATHLON //

# 3 ///// LAYER & DENSITY 2/6/10

Poster / Light Ex-ploration #3 / This poster was a look at layering and the density that can follow.

//

# 4 ///// PROXIMITY & DIFFUSION 2/6/10

Poster / Light Explo-ration #4 / Diffusion and the proximity of visual elements is explored here.

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SOLAR DECATHLON //

# 5 ///// COLOR & PATTERN 2/6/10

Poster / Light Ex-ploration #5 / This iteration is a take on color and pattern as well as the obvious symbolism.

//

#6 ///// REFRACTION & SPECTRUM 2/6/10

Poster / Light Explo-ration #6 / Refraction is the subject of this piece as I wanted to visualize the divergent path of light as it occurs.

13

SOLAR DECATHLON //

ICONSFor the icons I wanted to create a consistent, unified system that used repeti-tion of forms and propor-tions. Though I feel like the system is clear and readable, I also feel that it somewhat overpower-ing with it’s current stroke width. Two of the icons were used for the proposal board for the competition and the system of the abstract sun was used for them all.

SOLAR DECATHLON LIVING LIGHT PROPOSAL BOARD

//

5

House transported in one piece

Place jacks in correct locations

Wood deck frames set in place

Deck surfaces and planters installed

Plants, signage attached, roof extended

1

23

4

frameless gl azing system4 1/4" x 1 3/4 kallwall trifab 450 aluminum

frame with 1/4" single glazing

interior gl azing systemOperable 1" double glazing panel

in custom wood frame

interior gl azing system2" xed panels composed of 2 layers

of 1/2" perforatedplywood panels with1" layer of nanogel insulation between

interior gl azing system2" operable panels composed of 2 layers

of 1/2" perforated plywood panelswith 1" layer of nanogel insulation between

interior gl azing systemCustom wood frame with xed

1" double glazing

frameless gl azing system4 1/4" x 1 3/4 kallwall trifab 450 aluminum

frame with 1/4" single glazing

[north fac ade]

[south fac ade]

e

d

a

c b

f

outdoor public spaceWith integrated seating, storage and gril l

entry air lock

l aundry / coats

mechanic al

kitchen wall

kitchen is l andExtendable to seat 8

entertainment centerWith fold out desk

fold out murphy bed3 Wardrobe

ada accessible bathroom

exit air lock

exterior private spaceWith integrated seating and storage

native appal achian wetl andComposed of sedge and horsetail

inspiration—The material palette, double core organization and prominent overhang of the our proposal were inspired by the cantilevered barns of Appalachia

b

c

d

g

h

i

j

k

l

f

a

e

k

l

j

i

g

h

f

e d

c

b

a

�oor pl an 3/16" = 1'–0"

longitudinal section 3/16" = 1'–0"

north

living lightharvest the sun’s energyLike the leaves of a plant, the integrated roof-top array provides energy and shade for the home. The 9 k w array is comprised of 72 hollow acrylic half-cylinder tubes 18 feet in length with the �at of each tube angled at 30 degrees. Air drawn through the tubes cools the photovolta-ics and supplies tempered air as needed to an internal heat pump with thermal storage tank and desiccant based humidity control. A closed loop brine solution running within the tubes provides preheated water to a heat pump water heater. led strips imbed-ded in the acrylic provide night lighting. The entire system is assembled from readily available products and is designed to be equally at home on the roof of the Living Light home or as a retrot to existing structures.

In developing the concept of Living Light, our team identied six overlapping strategies:

live compactThe Living Light home is intended as a retreat from the visual and physical clutter of the Information Age while integrating technology seamlessly into the design. Inspired by the cantilever barns of Southern Appalachia, the �oor plan organizes support spaces into two dense cubes of program framing the open living space in between. The greatest luxuries in the Living Light home are volume and light.

maximize transparency and viewInspired by the natural beauty of South-ern Appalachia, the Living Light team took as a challenge the creation of an energy e�cient living area connected spatially and visually to the landscape outside. This was achieved through the use of xed aerogel panels on the north, moveable thermal shades on the south, and multi-pane glazing throughout.

leave a small footprintIn addition to producing it own power, the house touches the land lightly and is designed to take advantage of sustainable materials and construction methods. The structural frame of the home is a tubular truss comprising the center section of a double-drop semi trailer. This allows for the majority of all construction to take place in a controlled interior environment and minimizes the need to expend energy re-erecting the structure on site. To minimize carbon footprint, local wood is used extensively as exterior and interior nish.

allow space to transform with functionTwo cores organize the daily rituals of life. The public core contains most kitchen appliances and is near the island. The millwork of the public core can be entirely closed to hide its function while the island extends to accommodate from 2 to 8 people. The opposite core contains the more private elements of bed and bath. The adjacent entertainment center acts as a footboard and denes the space of the bed when in use and folds out to become a desk when the Murphy bed is stored.

give people control of light, view, and ventilationThe north and south facades incorpo-rate inner and outer glass panes with motorized shades and horizontal blinds sandwiched in between. Operable panels allow outside air to be admitted when humidity is acceptable.

2

1

3

4

5

3

livinglight

usercontrolleddaylighting

transparency sunlightgivespower

functiondefineslightlevel

lightfootprintontheenvironment

compactliving

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SOLAR DECATHLON //

SOLAR DECATHLON //

PUBL

ICPR

IVAT

E sleeping

leisure/work

entertaining

inactive

dining

6AM 6AM6PM

active

at rest

LIVINGLIGHTPATTERNSOF USE

PV ARRAY COMBINER DC DISCONNECTD C/AC INVERTER INVERTER LOADCENTERDC

AC INVERTER OCPD

MAIN PANEL

METER

METERSMART GRID ( )

RESIDENT( )

AC DISCONNECT

FUTURE

GROUNDINGELECTRODE

Basic Wiring Connection for the Living Light Solar House:

For a basic wiring connection flow chart between the photovoltaic cells (solar panels), the load (house), and the utility grid is as follows:

Collaboration

(M.E. / E.E. / A.A.)

PV Cells

Inverter

(Monitoring)

Inverter

(DC‐AC conversion)

Load (House)

Internal

Monitoring System

Smart Meter

Utility Grid

Two inverters are likely to be used to interface the panels with the grid due to the Photovoltaic system ratings (9‐13kW). The inverter is used to convert the DC input power from the solar panels to AC output power to feed the house loads and send the extra energy to the utility grid. The internal monitoring system interfaces the appliances, indoor and outdoor environment with the host. The smart meter monitors the net input/output power (from the solar cells and utility grid) to the house for the power service providers and also for internal use.

//

These diagrams are the revisions I made for the mechanical and electrical engineering systems and one of them is a diagram to represent the use and activity cycle of the house.

DIAGRAMS19

fan

dryer

desiccant

compressor

ThermalStorage(water)

120Fsecondary

Solar Thermal Collectorsclosed loop

DomesticHot Water120F

Heat RecoveryVentilator

Heating

Heat Pump

PV PanelsTube Collectors

Cooling(DX Coil)

supply air(high velocity)

outside exhaust

wet inside exhaust(dryer, waste heat)

outside air

outside air bypass(winter/night)

//

Living light will be the death of me.IDENTITY WORK

//

Livi ng Light Will Be T he Death O f Me.

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SOLAR DECATHLON //

SOLAR DECATHLON //

ThisismyfinallogoforLivingLight.Thisiterationcapturesalight-heartedandfunsensibilitythatnoothersolardecathlonhouseislikelytoshare.PeopleshouldenjoytheirlivesandthroughthisLivingLightcanmeannotjustenvironmentalawareness,butalsoajoyouswayof life.Ifeelthatthisversionhasenabledmetogivesomeof mypersonalitytothemarkaswellasopenituptoanotherpossibilityformarketdemographics.

Themainpurposeof theSolarDecathlonistopushtheawarenessandinnovationof greenbuildingtechnologyfurther.Thisbrandidentitywouldrein-forcethisconceptbyopeningupthepossibilitesof increasingawarenessof eco-friendlylivingtokids.Kidsthatwillbecomethefutureownersof ourworldaswellasourhouses.

FINAL LOGO

SOLAR DECATHLON //

SOLAR DECATHLON //

This logo iteration is surface level and somewhat expected, but I feel that it works well with the concept of living light. This is an ambiguous representation of both a feather and a leaf combined with rays of light to create double Ls. This is effective but, somewhat cliche.

SOLAR DECATHLON //

//bp

AfterBritishPetroleummergedwithAmoco,theoilgiantcommissionedbrandingfirmLandor&AssociatesandadvertisingagencyOglivy&Mathertofashionacorporateidentitythatwouldconveytheimageof aforward-thinking,sociallyconsciouscompany.BPhadalreadybegunbuildingthatpersona:Afterall,formerCEOLordJohnBrownewasthefirstoilexecutivetoacknowledgethethreatof globalwarming.Theburstinggreen,yellow,andwhiteGreekmythology-inspired“Helios”symbolthatreplacedBP’sshieldismeanttoimplyashifttowardalternative,environmentally-friendlysourcesof energylikesolarandbiofuels,andrelentlessadvertisinghasmadethecompany’sinitialssynony-mouswith“beyondpetroleum.”Butaseriesof oilspillsandaccidentssuggestedthatBPwasn’twalkingthewalk,leadingsometoconsideritswildlysuccessfulmarkmoreamaskthanitstrueface.“If thestorydoesn’tholdup,themarkandthebrandstarttolosetheirluster,”saysBrendánMurphy,seniorpartneratLip-pinott,abrandmanagementfirm.

pantone 355

pantone 368

pantone 109

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SOLAR DECATHLON //

HeliosistheyoungGreekgodof thesun.Heisthesonof HyperionandTheia.BytheOceanidPersehebecamethefatherof Aeëtes,Circe,andPa-siphae.HisotherchildrenarePhaethusa(“radiant”)andLampetia(“shining”)andPhaeton.Eachmorningatdawnherisesfromtheoceanintheeastandridesinhischariot,pulledbyfourhorses-Pyrois,Eos,AethonandPhlegon--throughthesky,todescendatnightinthewest.HeliosonceallowedPhaetontoguidehischariotacrossthesky.Theunskilledyouthcouldnotcontrolthehorsesandfelltowardshisdeath.Thereverenceof thesunasagodcamefromtheeasttoGreece.Helioswasworshippedinvariousplacesof thePeloponnesos,butespeciallyonRhodes,whereeachyeargymnas-ticgameswereheldinhishonor.RhodoswasalsowheretheColossusof Rhodes(thesixththesevenwondersof theancientworld)wasbuiltinhishonor.Thishugestatue,measuring32meters(100ft),wasbuiltin280BCEbyCharèsof Lindos.Intheearth-quakeof 224-223BCEthestatuebrokeoff attheknees.Onotherplaceswherehewasworshipped,therewereherdsdedicatedtohim,suchasontheis-landof Thrinacia(occasionallyequatedwithSicily).Herethecompanionsof Odysseushelpedthem-selveswiththesacredanimals.Peoplesacrificedoxen,rams,goats,andwhitehorsestoHelios.Hewasrepresentedasayouthwithahalo,standinginachariot,occasionallywithabillowingrobe.Ametopefromthetempleof AthenaintheHelle-nisticIliumrepresentshimthus.Heisalsoshownonmorerecentreliefs,concerningtheworshipof Mithra,suchasintheMithraeumundertheSt.PriscaatRome.Hissacredanimalswerethecockandtheeagle.Heliosseesandknowsall,andwascalleduponbywitnesses.

//

Helios, the sun god also loans his namesake to a solar phenomenon referred to as a heliosphere. This prevalence of the term Helios strengthens its bond to energy (specifically solar) and I found this to be an appropriate place to begin our exploration of brand and the many possible avenues for distilling the essence of the Solar Decathlon Project.

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SOLAR DECATHLON //

LIVING LIGHT

//

LIVING LIGHT

LIVING LIGHT

LIVING LIGHT

LIVING LIGHT

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SOLAR DECATHLON //

//

Forthisstageof explorationIchosetousetheHe-liosmarkfromBeyondPetroleum’slogoasastartingpointvisually.ThetermHeliosisactuallyreferencetotheyoungGreekgodHelios.Helioswasthegodof thesunandwasoftenportrayedwithahaloorcrown.

Marks1-5areareferencetothecrownof heliosaswellasasunrise,abloom,andtheenergeticraysof thesun.Ichoseprimarilycoolcolorsandshadesof bluetorepresentthefactthatsolarpanelsprimarilyuseultravioletlight.Ichosetomaintainthestrokedlinesof theforms1-4torepresentthearchitecturalandengineeringprecisionneededforthedesign.Iusedacondensedversionof Universforthetypefaceduetoitssturdy,reliablefeelandcompact,efficientuseof space.Bothof thesecharacteristicsservetheprojectsintentionswell.

Formarks6and7Ichosetomoveinavastlydiffer-entdirectionbyusingawoodtexture(presumablyonethatwouldbestronglyusedinthehome)withawhitecirclerepresentingthesunanditslightwiththenameHeliosplacedintheeasternmostsideof themarktoreferencethesunrisingintheeast.Forthenextiterationof thisideaIreplacedthewhiteanoverlayblendoptionthatreferencesusinglighttocreateachange.Themarkitself wouldappeartobefadedfromgreaterexposurethanthesurroundingareas.

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SOLAR DECATHLON //

These iterations were playing with the concepts of the word interacting with a space proportional to the house as it is designed. I also looked at the idea of using light and its effect on wood as a way of creating every instance of the mark. Each application would be made of or with materials used in the home.

SOLAR DECATHLON //

The Rice University ZeRow HouseConcept Behind the House

TheZerowhouselookstoHouston’sThirdWardCommunityforit’sinspiration.It’sdesignedtoaddresstheissuesof spaceandcostassociatedwiththesecommunitieswhileusingcurrentandinnova-tivetechnologiestocreateanenergyindependenthome.Thehomeismeanttobeanaffordable,vi-ableoptionforenvironmentallyresponsiblelivinginatraditionallylowtomiddleincomearea.

How it Applies to the Name

ThetermZeRowisareferencetotherowhousesthataretraditionallyhigh-densityurbanhousingunitsfoundintheSouthaswellasintheCaribbean.Thesesmall,low-pricedhomesusuallyhaveroomsthatleaddirectlyfromonetothenextinastraightlineandaretypicallylinedupinrowswithintheirneighborhood.Obviously,thenameisalsoarefer-encetothezeroenergythatwillberequiredfromautilitygrid.

How it Applies to the Logo

TheZeRowhouselogoisverycleanandelegantinitssimplicity,whichworkswellwiththeirconceptof asimple,low-frillsrowhouse.TheZeandtheRowcomponentsareseparatedbycolor.Thebluechosenhasaninvitingconnotationof opennesswhichisakeycomponentof thehousesarchitecture,function-ality,anditsintendedaffordability.Ialsowonderif there’sanyintentiontomakingthisassociatedwiththesecommunities. Regardless,thisseparationalsocreatestwoentitiesthatarearrangedinarow,muchlikethehomesof rowhousecommunities.

Theuseof asansserif fontmaintainsthesimplicityandthelighterweightchosenforHousereiteratestheopen,invitingfeel.WhileIfeelthatthelogoisquiteeffective,Iwouldhavelikedtohaveseenastrongerinfluencefromthetypicalstructureof theserowhousecommunities,oreventheThirdWardcommunityspecifically,perhapsusingthestructureof thesecommunitiesasameanstoabstractamark.ThoughtIunderstandtheneedforsimplicitygiventheirconcept,Ithinkamoreapparentacknowl-edgementtotheneighborhoodsof originwouldstrengthentheemotionalconnectionwiththehome.

How it Applies to the Brand

Thebrandsufferssomewhatfrominconsistentuseof thelogoandasomewhatunclearstorywhenthecolorisremoved.Ifeellikeamarkwouldhavebeenbeneficialwiththisasitwouldhaveallowedmoreflexibilitywiththelogotypewhilestillmaintainingacoherentstory.

Promise

Thishousepromisestofunctionasazeroenergyhomewithinthecontextof arowhousecommu-nity.Thisisfairlyobviousandtransparentwhenthelogoisusedwithconsistency.Ifeelthatthereisthepossibilityforasomewhatunclearstory,however,thatcouldhavesomeslightnegativeconnotationswiththeemphasisonRow.Thepromiseof thebrandshouldbefocusedonthepositiveaspectof anenergyindependenthomeandacommunitythatembracesitasanew,progressivewayof living.

//

Position

Byaimingtofitaspecificcommunity,theyhavegiventhemselvesadefinedcontexttoworkwithinandhavesucceededindesigningtothis.Everyaspectof thisprojectseemstohavebenefitedfromthisclearsenseof visionandpurposeforthehomeanditscommunity.

Brand Equity

Istillfeelthattheabsenceof amarkleavesthebrandopenandslightlyvulnerableoutsideof itstar-getaudienceandintendedcontext.Theaccessibilityof amarkcouldhelplandtheintentionof thehomeaswellasmakingthehomeandthecommunityseemmoreinviting.

Personality

Theclanstraightforwardtypographylendsaseri-oustonetothebrandthatisasuccessfulechoof thearchitecture.Of thefivewinningpersonalities,Ifeelthatsincerityisastrongfitgiventhesenseof communitythatthehomeismeanttoexistinandfosterbutthebrandseemstofallsomewhatof thatmark.Insteaditveersintoamixof sophisticationandcompetence.Ifeelthatthebrandingprovidedastrong,andmissed,opportunitytolightenthetoneandemphasizetheinviting,communalaspectof theproject.

Website

Thesiteisfairlycleanandwellorganized.Itslayoutisunclutteredandeffective,andthereareafew

interestingdesignelementsthroughout.Onespecificpointof interestformewasthevisualindicatorsforthedifferenttechnologiesfoundwithinthehouse.Thevisualindicatorsarebluedotswithawhitecen-terandtheyvaryinsizedependingontheimpor-tanceof thetechnologytheyrepresent.

Whenthecursorrollsovertheseindicatorsaninfor-mationboxappearsthatgivesyouthetagornameof theitem.Ananimationprovidesabrief sum-maryof thetechnologyhighlightedif itisamajoritemwithinthehome.Therolloveranimationsinthemenubararesmoothandeffective.ThemainissueIhadwastherewereseveralrolloverdescrip-tionsthatlingeredunintentionally.

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SOLAR DECATHLON //

This is a site map for The Zerow House by Rice University.

Our Team ZEROW Cost s

zero energy

house

Row House re-Imagined

RethinkingOrganiza -tio n

Light Cor e

Wet Cor e

Material Selectio n

Photovolta -ics

Solar HotWater

Green Wall

Shade Structur e

Team

ZEROW

Rice Build -ing Work-shop

Student

Leads

Current

Student s

Past Stu -dent s

FacultyAdvisor s

Team Orga-nizatio n

Construction Site @ Ric e

//

Project Row House Sponsor s Medi a Blog Contact s HomeProject RowHouse

Row HouseCDC

Rice Build -ing Involve -ment

Gold

Silver

Green

In-Kin d

Sponsorshi pInformatio n

Prin t

Television

Onlin e

Radi o

Exhibits &Tour s

Social

Medi a

facebook twitte r youtube picasa

Photographs

Videos

[email protected]

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SOLAR DECATHLON //

LIVING LIGHT

LIVING LIGHT

LIVING LIGHT

LIVING LIGHT

//

LIVING LIGHT

LIVING LIGHT

LIVING LIGHT

LIVING LIGHT

Theideaof thebrandexistingonlinewasaveryinterestingconcept.Thissparkedaninterestintheadvantagesof anonlineenvironmentandtome,theprimaryof whichisthesenseof community.Thisapproachopensuptotheideaof creatinganonlinecommunityforthosewhoownthehome.Investinginourecologicalandenvironmentalfutureshouldbeasourceof prideforthosewhochoosetoliveinaLivingLighthouse.

Theconceptwouldallowthesehomeownerstoup-loadpicturesof theirhometoawebsitethatwouldthenrandomlyselectandplugtheseimagesintothegridbasedmark.

47

//

MONSTROPOLOUSwhatever that means

//

Inspiring people across the country to pick up a good book.

49

WORKSHOP //

ZoraNealeHurstonwasborninEatonville,Floridain1891.Atthetimeshewasborn,Eatonvillehadonlyexistedforfiveyears.Muchlikethedescrip-tioninHurston’sTheirEyesWereWatchingGod,Eatonvillewasthefirstincorporatedall-blackcom-munityinAmerica.ItwasfoundedbyamannamedJoeClarke,whowaseventuallyelectedmayor.ThisisverysimilartoJoeStarks,acharacterinTheirEyesWereWatchingGod.Therearemanyothercharacteristicsof EatonvillethatHurstonincludedaspartof thesettinginthisbook.JustlikeJoeStarks’storeporch,peoplewouldsitoutsideof JoeClarke’sstoreporchandtellstoriesandhaveconversationsabouttheneighbors.SimilartothepeartreeunderwhichJaniehasherdreams,theoutsideof Hurston’shousewassurroundedbybeautifulflowersandfruittrees.

WhenHurstonwas13,hermotherbecameillanddied.HurstonhadtoleaveEatonvilleandmovetoJacksonvillewhereshestartedschool.Itwasherethatshewasfirstexposedtowhitepeopleandracism.ThiswasakeypointinHurston’slife,for,likeJaniediscoveringshewasblack,Hurstonhadtograpplewithheridentityasablackperson.Herimaginationandintelligencewentwildasshegotolderandexcelledinschool.SheeventuallymovedbacktoEatonville,butafightwithhernewstep-mothercausedhertoleave;shemovedinwithher

brother,inanotherpartof Florida.Hurstonjoinedatravelinglight-operashowandworkedasaward-robegirlforMissM,anactressintheshow.SheleftthetroupeinBaltimoreandstartedhighschoolatMorganAcademy,wheresheexcelledatscienceandmath.Here,shewroteherfirststory,wonaspeechcontest,andearnedherdiplomainJune1918.ShethenwentontoHowardUniversityinWashington,D.C.,whereshemetandfellinlovewithHerbertSheen.

HerberteventuallymovedtoNewYork,andthentoChicagoformedicalschool.Theywrotelettersforovereightyearsbeforereunitingtomarry.Themarriageonlylastedafewmonths,asHurstonwasmoreinterestedinherwritingandresearch.

In1925,HurstonmovedtoNewYorkCity.SheleftHowardUniversitywithoutgraduatingduetoill-nessandfinancialdifficulty.OnceinNewYork,shebecamepartof theGreatMigration,amovementof southernblackstothenorth,andspecificallyHarlem.ThiswasthebackdropfortheHarlemRe-naissance,aperiodfrom1919-1930,thatproducedanoutpouringof ideasthroughart,literature,andmusicfromblacks.HurstoneventuallyearnedascholarshiptoBarnardCollege,thewomen’sdivi-sionof ColumbiaUniversity.InDecember1927,HurstonbecamethefirstAfrican-Americanwoman

Their Eyes Were Watching God

by Zora Neale Hurston

//

tograduatefromBarnard.Whilethere,Hurston’swritingcareerblossomed.ShedevelopedaninterestinAfrican-Americanfolklore.Thiswasthestartof manycreativeworkstocome.

Someof herbooksinclude:MulesandMen,TheirEyesWereWatchingGod,Moses,Manof theMountain,andherautobiographyDustTracksonaRoad.

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WORKSHOP //

WHICH ONE AREYOU?

a. b. c.

THE BIG READ THAT HAPPENED REALLY FASTThisprojectwasveryrewardingdespitethesmallwindowof timeforit’sexecution.AsacollaborativeeffortIfeelthatitwasoneof myfavoriteprojects.Therewasenoughvarietytoutilizethetalentsof everyoneinourgroupandstillremainsomewhatcohesive.itwasalsoagreatopportunitytoworkwiththeletterpressanddosomeillustrationwork.

Wecreatedacampaignbasedontheletterpressaestheticsincethebooktakesplaceinanerathatusedmovabletypeforprinting.Sincethegoalof theBigReadprogramistoencouragethosewhodon’ttypicallyreadliteraturetodoso,wedecidedtofocusonthemaledemographicage18-35withasetof beercoastersthatengagestheviewerbyask-ingthem“Whichoneareyou?”asawayof seeingwhichmalecharacterfromthebooktheyrelatewithmost.

FormethiswasincrediblysatisfyingasIoftenstrugglefindingwaystoincorporatehanddrawnillustrationintomyworkwithoutitseemingforced.Thisprojectprovidedanavenueforthisthatwasnotonlyfun,butalsoappropriateforourconcept.AllinallIthoroughlyenjoyedthisprojectandIfounditespeciallyniceworkingwithwhatwasrealworldconstraints,implications,andpresentation.

//

+

=monstropolus+

=monstropolus

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WORKSHOP //

WORKSHOP //

LITERATURE CAN HELP PEOPLE HELP OTHERS

TheBigReadprojectwasappropriatelytimedasthecrisisinHaitiprovidedastrongcontextforthehorrificaccountsof thehurricaneinthelastactof thebook.Theideathatreadingliteraturecanhelppeoplerelatetoothersof differentbackgrounds,nationalities,andethnicitiesisastrongrealizationformeasIfitsquarelyintothedemographicthattypicallydoesnotdelveintostorieslikethese.

Realizingourowninabilitytorelatetothecircum-stancesof othersattimescanbeadifficultthing.Ourcompassionoftenknowsonlytheboundsthatweplaceonit.Theseboundscanbebornof thosethingsthatmakeupouridentitiesbeforeweevenknowwhoweare.Boundariesthatcanblindustothosethingsallpeopleshareandexperience.Boundariesthatcanblindustotheverythingsthatmakeusallhuman.

Thisrealizationhasbeenalingeringconstantwithmelatelyasseveralof ourprojectshaverelatedtostereotypesandthecurrentcallstoactionforthesituationinHaitihavereachedsaturation.Oneof whichthatstruckmewasatelevisionadfortheIRC.TheInternationalRescueCommit-teeaidsvictimsof civiloppressioninmanylandswithoutreferencetoreligiousorpoliticalfaith.

TheAmericanbranchof theNPO,TheInterna-tionalRelief Association,wasstartedin1933atthebehestof AlbertEinsteinandin1942theorganiza-tionbecameknownastheIRC.

//

The strong, functional, and almost universally readable mark of the IRC logo has helped to land the impact that good design can have. This symbol instantaneously inspired, ener-gized, and refocused my idea of what design can be.

These telling and powerful images from the IRC website show the pain, heartbreak, and devastation that the IRC combats around the world.

57

//

ANALOG APPLICATIONS OF LOGOS/MARKSand how arbitrary elements evolved alongside Z

//These BBC television station endboards were found as I did some research for the vid-eo project. I had downloaded a trial of After Effects and languished away with many hours of tutorials with thoughts of slick filterization dancing like sugar plumbs in my head. I quickly sickened of this digital domain as it was in no way representa-tive of me or what I wanted to portray with my video. I then chose to do everything in camera and hope for the best. Working this way, without Z , makes it too much work to use arbitrary elements.

59

VIDEO IDENTITY //

FOOTSTEPS poetic self-portrait

VIDEO IDENTITY //

Self Portrait/Working Class

ForthisIapproacheditfromtheworkingclassstereotypethatIfeelmanyoftenviewmewith.Theseim-agesareitemsthatrepresentmypastjobsandthetimeandeffortIputintothosemostlyfruitlesslabors.

DON’T BE ASHAMED OF WHERE YOU COME FROM

//

Self Portrait/Unknown Things

Ispentmyearlyyouthlostinafieldof fantasyandmakebelieve.For

thisimageIwantedtoportraysomeof

themanythingsthatIwantedtobewhenI

“growup.”Iwantedtocontrasttherealityof lifewiththehopeand

optimismof youth.

WHERE YOU AREDON’T SETTLE FOR

63

STUDIO PROJECT //

ENVIRONMENTAL ideasynthesis

This video won an award in the 63rd annual UT Student Art Competition.

STUDIO PROJECT //

Theideabehindthisprojectwastoprovide

someonewithatourof ourworkspace.Formethis

wasdifficultasIoftenworkathomeaswellasthe

studioandanywhereelsethatisconvieniant.Tome

thiestudioconceptextendsbeyondwherewecreate

andreachesintotheenvironmentwhereweoften

findourinspiration.Natureisalargepartof this

formeandIfeelthatitcanbeavaluablesourceto

drawfrom.

Thisledmetoananimationprojectthatwould

showthisconnection.Thishasbeenoneof the

mostsuccessfulpiecesI’vecreatedandIfeelthatits

tone,concept,andplayfulexecutionallreflect

mypersonality.Formeprocessisa

continualgrowthandthough

thisideascanmorph,

replicate,and

evolve.

//

This project produced large amounts of random shapes and compositions that were very interesting to me. Most of these

came from simple paper scraps as I was working.

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DIGITAL COLLAGEmade with an analog method

INDEX //

//

Thisprojectwasaboutcreatingamethodol-ogyforthecreationof imagery.Ichosetousemylightbox(thatpopsupinalmosteveryprojectIdo)astooltofacilitatethecreationof imagesthatappearedtohavebeencreateddigitally,butwereinfactdoneusinganalogmethodsinacollagelikefashion.AlthoughI’mnotsurejusthowsuccessfulthedigitalappearancewas,Iamverypleasedwiththeimageryandthesystemof itscreation.

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GAME/INTERACTION //

Reward-Predictive Cues Enhance Excitatory Synaptic Strength onto Midbrain Dopamine Neurons

GarretD.Stuber,1MarianneKlanker,2BramdeRidder,1M.ScottBowers,1RuudN.Joosten,2Mat-thijsG.Feenstra,2AntonelloBonci1,3*Usingsensoryinformationforthepredictionof fu-tureeventsisessentialforsurvival.Midbraindopa-mineneuronsareactivatedbyenvironmentalcuesthatpredictrewards,butthecellularmechanismsthatunderliethisphenomenonremainelusive.Weusedinvivovoltammetryandinvitropatch-clampelectrophysiologytoshowthatbothdopaminereleasetorewardpredictivecuesandenhancedsyn-apticstrengthontodopamineneuronsdevelopoverthecourseof cue-rewardlearning.Increasedsynap-ticstrengthwasnotobservedafterstablebehavioralresponding.Thus,enhancedsynapticstrengthontodopamineneuronsmayacttofacilitatethetransfor-mationof neutralenvironmentalstimulitosalientreward-predictivecues.

Brain’s reward circuitry may be cause for procras-tination.

Usinganewmoleculargenetictechnique,scientistshaveturnedprocrastinatingprimatesintoworkahol-icsbytemporarilysuppressingageneinabraincir-cuitinvolvedinrewardlearning.Withoutthegene,themonkeyslosttheirsenseof balancebetweenrewardandtheworkrequiredtogetit,sayresearch-ersattheNIH’sNationalInstituteof MentalHealth(NIMH).“Thegenemakesareceptorforakeybrainmessen-gerngerchemical,dopamine,”

explainedBarryRichmond,M.D.,NIMHLabora-toryof Neuropsychology

.“Thegeneknockdowntriggeredaremarkabletransformationinthesimianworkethic.Likemanyof us,monkeysnormallyslackoff initiallyinworkingtowardadistantgoal.Theyworkmoreefficiently-makefewererrors--astheygetclosertobeingrewarded.Butwithoutthedopaminerecep-tor,theyconsistentlystayedon-taskandmadefewerrors,becausetheycouldnolongerlearntousevisualcuestopredicthowtheirworkwasgoingtogetthemareward.”

Richmond,ZhengLiu,Ph.D.,EdwardGinns,M.D.,andcolleagues,reportedontheirfindingsintheProceedingsof theNationalAcademyof Sciences,lastyear.

Richmond’steamtrainedmonkeystoreleasealeverwhenaspotonacomputerscreenturnedfromredtogreen.Theanimalsknewtheyhadperformedthetaskcorrectlywhenthespotturnedblue.Avisualcue--agraybaronthescreen-gotbrighterastheyprogressedthroughasuccessionof trialsrequiredtogetajuicetreat.Thoughneverpunished,themon-keyscouldn’tgraduatetothenextleveluntiltheyhadsuccessfullycompletedthecurrenttrial.

Asinapreviousstudyusingthesametask,themonkeysmadeprogressivelyfewererrorswitheachtrialastherewardapproached,withthefewestoc-curringduringtherewardedtrial.Previousstudieshadalsotracedthemonkeys’abilitytoassociatethevisualcueswiththerewardtotherhinalcortex,whichisrichindopamine.TherewasalsoreasontosuspectthatthedopamineD2receptorinthisarea

//hadalsotracedthemonkeys’abilitytoassociatethevisualcueswiththerewardtotherhinalcortex,whichisrichindopamine.TherewasalsoreasontosuspectthatthedopamineD2receptorinthisareamightbecriticalforrewardlearning.Tofindout,theresearchersneededawaytotemporarilyknockitoutof action.

MoleculargeneticistGinns,whorecentlymovedfromNIMHtotheUniversityof Massachusetts,adaptedanapproachoriginallyusedinmice.Hefashionedanagentthat,wheninjecteddirectlyintotherhinalcortexof fourtrainedmonkeys,spawnedakindof decoymoleculewhichtrickedcellsthereintoturning-off D2expressionforseveralweeks.Thisdepletedtheareaof D2receptors,impairingthemonkeys’rewardlearning.Forafewmonths,themonkeyswereunabletoassociatethevisualcueswiththework-load--tolearnhowmanytrialsneededtobecompletedtogetthereward.

“Themonkeysbecameextremeworkaholics,asevidencedbyasustainedlowrateof errorsinperformingtheexperimentaltask,irrespectiveof howdistanttherewardmightbe,”saidRichmond.“Thiswasconspicuouslyout-of-characterfortheseanimals.Likepeople,theytendtoprocrastinatewhentheyknowtheywillhavetodomoreworkbeforegettingareward.”

Tomakesurethatitwas,indeed,thelackof D2receptorsthatwascausingtheobservedeffect,theresearchersplayedasimilarrecombinantdecoytricktargetedatthegenethatcodesforreceptorsforanotherneurotransmitterabundantintherhinalcortex:NMDA

ThreemonkeyslackingtheNMDAreceptorintherhinalcortexshowednoimpairmentinrewardlearning,confirmingthattheD2receptoriscriticalforlearningthatcuesarerelatedtorewardprediction.TheresearchersalsoconfirmedthattheDNAtreatmentsactuallyaffectedthetargetedreceptorsbymeasuringreceptorbindingfollowingtheinterventionintwoothermonkeys’brains.

“Thisnewtechniquepermitsresearchersto,inef-fectmeasuretheeffectsof along-term,yetrevers-ible,lesionof asinglemolecularmechanism,”saidRichmond.“Thiscouldleadtoimportantdiscover-iesthatimpactpublichealth.Inthiscase,it’sworthnotingthattheabilitytoassociateworkwithrewardisdisturbedinmentaldisorders,includingschizo-phrenia,mooddisordersandobsessive-compulsivedisorder,soourfindingof thepivotalroleplayedbythisgeneandcircuitmaybeof clinicalinterest,”suggestedRichmond.

“Forexample,peoplewhoaredepressedoftenfeelnothingisworththework.PeoplewithOCDworkincessantly;evenwhentheygetrewardedtheyfeeltheymustrepeatthetask.Inmania,peoplewillworkfeverishlyforrewardsthataren’tworththetroubletomostof us.”

InformationforthisarticlewasprovidedbytheNationalInstituteof MentalHealth.

WHAT??

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GAME/INTERACTIONpersonal and digital

//

HELLO.

PCThisresearchregardingtherewardcueresponseinpeoplewasthestartingpointformeinthisproj-ect.Iwantedtolookatwhyweplaygamesfromapsychologicalperspective.Whenthinkingaboutthis,Istartedlookingatmyownmotivationsforgamesof allkinds.Thisleadmetoconsiderthegameof socialinteraction.Consideringthegenerationaldifferencebetweenmyclassmatesandmyself,IfeltthatthiswasavalidconsiderationforagamethatwouldholdpersonalmeaningformegiventhisI.

chosetobasethegameontheideaof stereotypesduetoourdiscussionsandreadingsin352atthetime.Iwantedtoconsiderthisideaof breakingdownstereotypeswithliteratureasitpromotesunderstanding,andapproachitfromtheideaof communicationbreakingdownstereotypes.

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GAME/INTERACTION //

IMPORTANT SAFETY INFORMATIONREAD THE FOLLOWING WARNINGS BEFORE YOU OR YOUR CHILD PLAY VIDEO GAMES

WARNING - Seizures

Some people (about 1 in 4000) may have seizures or blackouts triggered by light flashes or patterns, such as while watching TV or playing video games, even if they have never had a seizure in the past. Anyone who has had a seizure, loss of awareness, or other symptom linked to an epileptic condition should consult a doctor before playing a video game. To reduce the likelihood of a seizure when playing video games: Sit or stand as far from the screen as possible. Play video games on the smallest available television screen. Do not play if you are tired.

WARNING - Repetitive Motion Injuries

Playing video games can make your muscles, joints, skin or eyes hurt after a few hours.

//

TABLE OF CONTENTS

THE STORY

CONTROLS

CHARACTERS

ITEMS

TRAPS

CREDITS

2.

4.

5.

7.

9.

10.

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GAME/INTERACTION //

THE STORY

Our story begins as the player takes control of Herman, the diinosaur. As Herman, the player will begin his day at Stereotype University, aka Stereotype U. As Herman explores the campus, he will come in contact with many of the stereotypical college students that many movies and bad TV shows are filled with.

Many of these students will shower Herman with gifts, but BEWARE! Some of these gifts might be hazardous to your health. Others might actually gain you favor with some of the other students, but cause the level bosses, or Professors, to be more dangerous and aggressive.

Hermans voyage through higher education will be filled with many of these obstacles and the decisions Herman makes will have consequences.

For instance, drinking (or eating the cans as they float towards you) beer will allow you temporary amnesty from certain students, but will make the boss/professor confrontations more difficult.

Its only through a careful balance of these interactions that Herman can successfully complete his degree and make it through...

STEREOTYPE U!

//

WHAT UP?

HELLO.

RAWRR!

RAWRR!

HELLO.

WHAT UP?

RAWRR!

RAWRR!WHAT UP?

RAWRR!

WHAT UP?

HELLO.

WHAT UP?

RAWRR!

WHAT UP?

HELLO.

The purpose of this game is to entertain as well as to advocate communication as a means to break down stereotypes.

For this project we are looking to explore the idea of interaction in a game environment while commenting on social stereotypes and their implications. As I quickly approach my 30th birthday, I realize that I sometimes view myself as a creative dinosaur. No, not a T-Rex with a beret and paint brush, but rather someone who is often insecure in their ability to wrestle inspiration and innovation away from the clutches of reality. Do I view myself like this because it’s true? Because others view me this way? This inspired the idea of a game that

shows that the best way to break down stereotypes is through communication.

This idea of positive interaction and communication also makes it approriate for the several modes of distribution.

• As a Facebook application.

• As a free download

• As a jewel-cased hand out aimed at college campuses.

• As a free mobile ap for students.

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GAME/INTERACTION //

LEVEL 1-1

CONTROLS ARROW KEYS = MOVE

SPACE BAR = JUMP

LEFT CLICK = EAT

RIGHT CLICK = TALK/USE ITEM

lives inventory level

//

HERMAN

SICK HERMAN

JOEY GREEK

SUZY SORORITY

PROFESSORS. MARTYPANTZ

CHARACTERS

BAREFOOTKENNY

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GAME/INTERACTION //

ITEMS

SCHOOL SPIRIT SHIRTThese shirts give the player 10 seconds of immunity from all Joey Greek distractions. However, they intensify the distractions of Suzy Sorority.

BRO HATThese hats allow the player 10 seconds of invisibility during which time no other students will interact with the player unless provoked.

STUDY BOOKSThese intensify the distractions of other students, but make the make the boss battles with Professors much easier.

//

TRAPS

SUDSY GOODNESSBeer will make you immune to certain students, but it will make you sick at the start of the next level as well as make boss battles more difficult.

SMOKESSmoking is bad for you. These cigarettes are REALLY bad for you. They will make you immune to certain students, but will cause boss battles to be more difficult.

HOMEWORKThis immobilizes you on contact and it lasts twice as long if you are sick, or have consumed beer, or smoked any cigarettes during the last level.

AFFECTIONThis immobilizes you on contact and it will make you sick at the beginning of the next level the second time you are contacted.

HOMEWORKThis immobilizes you on contact and it lasts twice as long if you are sick, or have consumed beer, or smoked any cigarettes during the last level.

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GAME/INTERACTION //

CREDITS

TIM POE

//

GOODBYE.

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GAME/INTERACTION //

WHAT UP?HELLO.

RAWRR!

RAWRR!

HELLO.

WHAT UP?

RAWRR!

RAWRR!WHAT UP?

RAWRR!

WHAT UP?

HELLO.

WHAT UP?

RAWRR!

WHAT UP?

HELLO.

THIS GAME WONT CHANGE THE

WORLD

...but it might save a dinosaur.

//

MAKE SOMETHINGor else....

//

Thisprojectwasacollaborativeeffortaimedatovercomingprocrastination.Welookedatestablish-ingrulesandtimeframesforconcepualizationaswellasrulesforrandomcontentgeneration.Ichosetocommentonthework/playaspectsandhowwedefinethesethings.Intheend,westruggledwiththeverythingwesetouttooercome.

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MANIFESTO //

//

!

WORK

/ //////////// IF IT’S NOT FUN THEN IT’S...

AND IF IT’S WORK, WELL THAT BUILDS CHARACTER TOO. ///////////////////////////////

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MANIFESTO //

These items were stickers cre-ated for the Manifesto project so that everyone could label the things in there lives that they consider work or play appropriately.

//

!! !

!

!!

!

!

!!

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RANDOM ACTS OF FORMand the death of control

//

RANDOM Pronunciation: \ˈran-dˈmFunction: noun: a haphazard course— at random : without definite aim, direction, rule, or method.

Thisideaof imagescreatedasaresultof systemsof randomorunintintionalprocessissomethingthatIenjoyandfeelisavaluabletoolforconstructingform.OftenIfindmyself paralyzedbyaneedforcontrolandthismethodof experimentationhelpstoaleviatethat.Theactof makingiscentraltomyprocessandespeciallyasmytypicallackof timeencroachesonmyfocus.Ioftenstrugglewithconceptualizationanddecidetosimplydiveinandtakeontheformalaspectsof theproblemandsolution.AndwhileIrealizethesearenotglitchedpieces,Ifeelthatthereisasimilaritytotheircreation.

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PERSONAL WORK //

cosmological

//

This was created out sheer cosmic fortune, which often seems to be the prefered sys-tem of order in the unverse.Well, if you’re lucky.

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PERSONAL WORK //Thefinalpainfulparadoxliesinharmingwhatwesave,aswetrytosaveit.Preservationisitself asourceof hazard.Wedroppedthepreciouschinawhileweweredustingit.Wetrippedandsplittheoldpaintingframe.Wetriedtofixthatoldbookwithtapeandrubbercement.

Entropy requires no maintenance.

Entropyhasitsownpoetry:it’sallaboutdelamina-tion,disintegration,deterioriation,degeneration,decomposition,anddodderingdecline.

quote from creativeapplications.net/digitaldecay

PERSONAL WORK //

Thisisanotheriterationof mycosmologicallybeautifulaccidentandextractionsof shapesfromit.FormethiswasaworkinnegativespaceandIalsolikedthedimensionalitythatisimpliedwiththerela-tionshipsof severalof theshapes.Thisprocessof creatinghaphazardly

withthehopeof won-derful

glitchesiscathartic,worthwhile,andproducessurprisinglyinterestingresults

process

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