Transformation! - Color & Design

Photo Source: http://www.rsc.org/chemistryworld/News/2007/October/31100703.asp

Color is magical in the sense that it injects emotion and personality into whatever it comes into contact with.  Because of this quality, color transforms design.  The brain is arguably an extremely complex design of cells and neurons, wired together for quick communication between the brain and the rest of the human body.  For an outsider of scientific knowledge, viewing brain cells may be a confusing, it-went-over-my-head experience.  However, with the Brainbow technique, the same situation can become a visually stimulating experience.  Brainbow is a technique where a combination of genes from bioluminescent jellyfish or corals are inserted into the mouse genome.  When the genes and proteins make contact, four different colors are produced: red, yellow, cyan, and orange.  A range of hues always results because of the varying concentrations within the brain's protein cells.  

Through the use of color, the Brainbow technique is a creative way to look at the images of the hard sciences.  For the untrained eye, brain cells will most likely appear boring.  But quite interestingly, with color, a viewer can more easily understand the movement and active work of brain cells.  As Joseph Albers states, color is deceiving.  In this case, color deceives not by hue but by enlivening the brain cell images.  Although the colored images seem to show more movement, nothing in the content of the image has changed.  Because there are varying hues within the images above, the eye is constantly moving to detect the differences between the colors which differ greatly from the other surrounding colors.  Colors entice and attract the eye which is more stimulating than a colorless composition.  In the above image, the color also highlights the beauty and intricacies of the cells that would be harder to see in an all gray composition.

Many associations are formed through the recognition of color.  When viewing the bottom right corner of the image above, I see sugared gummy worms. When I view the middle image, I see a close up of an Impressionist painting.  These associations can aid in a design's receptiveness by an audience because they will be able to relate in addition to finding the design visually pleasing.  

Overall, when used correctly, color can transform a design greatly by mainly adding emphasis, movement, and life.  

Dangerous Design: High Heels

Throughout my lifetime of 21 years, I have heard many men and some women criticize high heels.  "Why wear them?" people ask.  "Heels make people's feet hurt and are only practical for aesthetic or severe heightening purposes."  People may not speak exactly this way, though these are the most common arguments given.  It is true, some heels seem insanely impractical to wear due to its dangerous design.  Some dangerous, yet beautiful heels are pictured below.  

Balance issues are easily detected when simply looking at the second and third shoes.  With the first pair pictured, there are more dangers to be observed.  The upturning of the shoe's front decreases the wearer's ability to balance since the toes will have no contact with the ground.  In addition, these curves which lead up to a point do not follow a foot's natural shape.  This causes the toes to be uncomfortably pushed together. 

The heel, a pleasing futuristic funnel shaped "spike" is the heel's most interesting characteristic.  The large base placed closest to the foot's heel seems to give the shoe more support than a stiletto.  However, the heel has almost no contact with the ground giving the wearer very little support or balance.  The placement of the heel also causes the foot to slide forward into the pointed and upturned end of the shoe.  This pressure decreases the amount of time that the shoe can be comfortably worn.  


Another dangerous component of the shoe is the hanging and already fraying fabric.  Others or even the wearer themselves can step on this fabric and trip.  Of course, all of these components are an unintentional consequence.  These shoes are obviously made by shoe lovers and artists who want to share this love with like-minded consumers.  High heels always pose the risk of twisted ankles, broken feet, sore feet, and the rapid decrease in a foot's functionality.  Despite all of these risks involved with wearing them, people of society love them because they make people feel taller and more attractive.


There is of course a common saying: "no pain, no beauty."  This is of course false but high heels are heavily involved in this saying.  Although the designs above appear dangerous, they are still beautiful designs.  Ideally though, in order to be successful, designs should strive to be more Utopian, safe and beautiful.  The danger factor may not only impede purchase but may also cause an expensive law suit, and nobody wants that!            


Photos from www.irregularchoice.com

Utopian Design - The California Academy of Sciences

As the world's largest public Platinum-rated building by LEED (The Leadership in Energy and Environmental Design), The California Academy of Sciences is definitively a Utopian design as it benefits society by being the world's greenest museum.  Every constructional element of the building is committed to energy efficiency, a reduced carbon footprint, and the preservation of the natural world.  In addition, the building is frequented by visitors from all over the world because of it's sustainable and aesthetically pleasing design which houses a uniquely fun learning environment. 


One of the most obvious sustainable elements of the Academy is the Living Roof pictured below.  The Living Roof is described as a tapestry of native plant species.  This sloping tapestry doubles as an air conditioning system keeping the museum's interior 10 degrees cooler than a standard black tar and asphalt roof.  With the soil insulating roof constantly transforming carbon dioxide into oxygen and preserving approximately 3.6 million gallons of rainwater a year, the roof reduces negative climate change.  The slopes direct air into the plaza on hot days while the skylights automatically open to vent out hot air.  

Details on the living roof are just the beginning of how the Academy of Sciences has masterfully promoted sustainable practices by being the leading example. For instance, the walls are insulated with batted denim rather than the usual fiberglass or foam.  The building, made mostly of glass provides natural lighting and reduces electricity usage.  The museum's floors contain a radiant heating system where tubes carry hot water that warms the floor.  The heat's close proximity to the people reduces energy by 10% annually.


Lastly, not only is the Academy the greenest museum in the world, but it is also one of the most beautiful.  The aesthetics of it is a major factor in its Utopian design because the museum adds to the attractiveness of the surrounding Golden Gate Park.  From certain vantage points, the Living Roof blends in seamlessly with the surrounding foliage.  In addition, the planetarium and glass rainforest "orbs" add interest to the overall appearance of the museum as they sit, round, within the glass building.  Because of these numerous elements, visiting this museum is a Utopian experience.        


For more information, visit http://www.calacademy.org/academy/building/sustainable_design/

Allusion in Design: Volkswagon BlueMotion Ads

ad agency: DDB germany, berlin, december 2008

When comic book artist Brian Fies visited my Design 001 class two weeks ago, he talked of the use of allusion and how he often places subtle references to old comic books in his own work.  It is a way to create a loyal lifetime fan for if they understand it, they feel clever because they've figured out something, and this creates a bond between reader and author.  And, if the reader doesn't pick up on the allusion, no harm done.  

The VW advertisement above heavily relies on allusion for the audience to pick up on.  The ad mainly alludes to Dali's The Persistance of Memory (pictured below) which is extremely well known and is easily detected upon first glance.  Other inspiration appears to come from his other work, The Hand (1930).  At least this much of the allusion can be figured out quickly.  But what about the rest?  The caption "absurdly low consumption" can confuse viewers.  However, after some thought, the implied connection becomes clearer.  I'll admit that it frustrated me initially because I am a huge admirer of Dali, yet I could not figure out the connection right away.  

Salvador Dali, The Persistence of Memory (1931)

Salvador Dali, The Hand (1930)

VW is capitalizing on the surreal quality of the painting and comparing its surreal quality to the absurdity of how little gas one will have to consume if they bought the VW BlueMotion.  Though surreal and absurd are not necessarily synonyms, the connection still works.

Using a more complex image rather than a minimalist ad (like the WWF one discussed in a previous post) can be tricky.  Consumers may see it as clutter and will disregard it.  However, because the basic allusion to the painting is so clear, our attention is easily captured.  And because Dali's painting is so well known, people feel as if they are close to understanding the ad.  If they don't understand it, perhaps it's peaked their interest enough for them to look up BlueMotion to find clues to the connection.  If they don't understand it, perhaps they'll stare at it longer to understand.  More attention on ads is always good for the companies!  Lastly, just like Brian Fies said, if they do understand the connection, VW has gained an appreciative fan and perhaps a probable customer.  Another clever treat for viewers, who aren't loyal Shell users is the dry shell below the gas level indicator.  These small allusive details can really increase the effectiveness of an ad's design.

Image #1 from: http://www.designboom.com/weblog/cat/13/view/4715/art-ads-and-vw.html

Image #2 from: http://en.wikipedia.org/wiki/The_Persistence_of_Memory

Image #3 from: http://www.flickriver.com/photos/mark6mauno/2125882689/

Ergonomic Design: Othmar Muehlebach's "Animo"

"Animo", a word with several translations including "to encourage", "thought", "inclination", and "spirited" is the name given to the sewing machine design featured above.  Most of these words' meanings, whether intentionally applied or not by Swedish designer Othmar Muehlebach, match what the design achieves ergonomically.  By analyzing the design elements of the Animo, it will be shown that its design fulfills the five areas of ergonomic research: safety, comfort, ease of use, performance, and aesthetics.


First and foremost is safety.  Without question, the needle is the most dangerous part of a sewing machine as it can pierce the skin.  As the needle is attached to a motor, beneath the needle would be the worst place for a finger to get stuck.  This would be a probable occurrence with older sewing machines which had no presser foot.  The featured presser foot above is rounded and looks like a pair of large pantaloons protecting the user from the needle.  The "pantaloons" presser foot is thicker than most presser foots which typically appear like this:

This thickness provides a good barrier for sewers' fingers to bump into which warns them that their fingers may be getting too close to the needle.  It also serves as a good guide for sewing straight.  Because fingers can comfortably rest up against the sides of the foot, there will be less estimation needed of the distance between the needle and the fingers.  The rounded quality of the presser foot is continued throughout the design creating a comfortable work station for the user.

Comfort, the second area of design research is extremely important for activities like sewing where the hands and arms are constantly being used.  Many sewers hunch over the machines to get a good look at what's happening under the needle and to also get a good grasp on the fabric.  Because the right side of the walnut wood surface utilizes a diagonal, users can comfortable rest their right arm in a more natural position when holding and feeding their fabric through the machine.  Normally, sewer's arms are parallel to one another which can create a tenser and less ergonomic position.  The rounded qualities of the walnut surface and overall machine are also comfortable to rest one's arm on.  In addition, there are no sharp edges to impede the flow of the fabric through the machine.   These summarized elements: the diagonal and rounded edges greatly increases productivity and the overall usefulness of the machine.

It is important to note that the five areas of design research overlap and intersect as the discussed safety and comfort of the machine already contributes greatly to the third area: ease of use.  When the machine is safe, people feel more comfortable and at ease using it.  When the machine is comfortable, it becomes easier to operate.  An element that has not been discussed yet is the large touch screen where sewers can easily see and pick their options for stitches, knotting, stitch length, etc.  As seen on the back of the machine, the cord is easily stored in the back of the machine taking up no extra storage space.  The thread, which sits on top of the machine offers quick accessibility for changing colors.  In my home machine, the thread sits inside the machine in a horizontal fashion.  Changing out the thread hurts the wrists as you have to cock your wrist to fit into the compartment to pull the thread out.  These small changes make a huge difference in the performance of the product.  

Performance is the fourth area of design research.  Aside from the elements already covered, the convenience of the detachable extension table which also double as a compartment increases the machine's productivity because it can hold several replacement thread, foots, needles, etc.  The easy accessibility discussed earlier is another large portion of its performance.  The walnut wood surface, as stated by the designer represents high value and sustainability.  This implies that the machine is made of high quality and environmentally friendly materials.

The fifth area of design research is aesthetics.  Aesthetics is subjective, however to many Muehlebach's design is pleasing to the eyes.  Most ergonomic designs are bulbous and not aesthetically pleasing because it is a designer's challenge to meld ergonomics and aesthetics together.  Muehlebach does this flawlessly.  Mixing the silver with the walnut wood creates a nice contrast.  The minimal use of color creates a simple appearance which reflects the ease at which sewers can use the product.  The large screen eliminates several buttons which could make the appearance a bit messier.  The storage facilities create a streamlined look.  The diagonal of the wood surface is also more welcoming than the average machine.

Othmar Muehlebach's design "Amino" is a showcase and execution of thoughtfulness as the contemporary is skillfully mixed with the ergonomic.  In addition, the design encourages other designers to think similarly and to create in a way that is considerate of the human body while also being pleasing on the eyes.  Almost in a checklist manner were the five areas of design research covered and each box has indeed been checked.

Photos from: http://produktgestaltung.ch/WordPress/?page_id=6

Word & Image: Book Covers of Buddha by Osamu Tezuka

Book covers are a great example of how word and image work together to create interest for the viewer through mystery.  This mystery intends to pull people in to want to pick up the book, flip through its pages, and, hopefully purchase it.  Above is the cover of Volume One of Osamu Tezuka's Manga series Buddha.  In a previous post I discussed how word and image can work extremely well together when there is an apparent connection.  However, in the right setting, the combination of word and images when there is no apparent relationship can also be effective.  Word and image should work together for advertisements.  Book covers are advertisements, but the non-apparent relationship between word and image works in these circumstances because of the mystery factor.  In fact, book cover designers can us the expectation created from words to shock and interest the viewer.

The above image was picked because when the title Buddha is seen, people often expect to see the traditional image (seen below) or something along spiritual lines.  Instead of an image of the Buddha, we see an emaciated man holding up a rabbit to the sky.  Behind him is a beautiful background of sparkling and glistening stars.  This juxtaposition of glamor against non-glamor already creates an interesting image.  The juxtaposition of the entire image against the title creates more intrigue.

Of course connections can be made between this man and the story of the Buddha, but the point is it that this image is fairly unexpected.  Because word and image do not completely match up in a clear way, it makes readers want to find out how they connect.  To do so, they must read the book! Mission accomplished by the book cover.

First image from: http://www.amazon.com/Buddha-1-Kapilavastu-Osamu Tezuka/dp/193223456X/ref=pd_bxgy_b_img_a
Second image from: porchlight.ca

Smart Commercial Design: Predator & Prey Exhibits

At the Milwaukee County Zoo

Although there is ample discussion of whether predator-prey exhibits are healthy for zoo animals, for commercial purposes, these exhibits are smartly designed.  These exhibits make the animals more lively as the predators can smell and see the prey close-by.  For many zoos, having lively animals is something that can not always be produced.  To protect the prey from the predators, an empty moat, invisible to zoo visitors, sits between the two species.  One sits in foreground and one in the background exhibit areas.  In addition, these exhibits represent a more realistic view of the animals' habitats as these exhibits are larger and show different species of the same continent living in close proximity.

For visitors, these exhibits are exciting.  Visitors of zoos and museums like to be taken away from the everyday world when they enter museums and zoos.  It is a much less expensive safari and a way to see things that are out of the ordinary for many.  Visits become all the more better when exhibits help you feel as if you are in another country and watching these animals' predatory behaviors.  People can forget that they are in a zoo.

At the Milwaukee County Zoo

What also makes these exhibits exciting is that the moat separating the two species can not be seen.  Unknowing visitors can be scared that the Amur tiger may become so enticed by the smell of the Bactrian camel that it will take a running leap into the foreground exhibit for some hunting.  Even just from the images above I am scared for the Mule Deer.  The Brown Bear seems to be looking directly at it as its next meal.  Ah, to experience "the wild"!

Photos from: http://www.zoochat.com/22/review-milwaukee-county-zoo-152750/

Word & Image: Worldwide Foundation Print Ad

Whenever word and image are cleverly married, the use of a metaphor is often employed.  Above is a minimalist print ad from the Worldwide Foundation.  Can you guess fairly quickly what their main message is? Most likely.  Advertisers and marketers often strive to create ads that are clever, yet not too clever to stump potential viewers.  In order to do this, they find images that are universally recognized and apply it to whatever product or message they are attempting to send.  The use of metaphor acts as a puzzle for viewers and the text serves as another clue to the association between the image and the company or organization the ad is for.

Tic tac toe is a game of choice, strategy, and thinking ahead.  It is a game people usually play in their past time, not competitively.  The WWF takes advantage of this casualness and puts a more serious spin on the passively played game.  X's and O's are substituted with sharks and bowls of shark fin's soup.  After staring at the image for a few seconds, one understands that this particular game is not necessarily fun, but extremely important.  As our eyes naturally move downwards we see the text "It's your turn."  This lets us decide what's more important, a delicacy soup, or the well-being of a beautiful fish.   

Why is this ad effective?  Let's put it this way.  If the print ad stated "10 million blue sharks are killed annually for shark's fin soup", it would take longer to comprehend.  Though it would present a horrifying statistic, it is hard for people to put this in perspective, especially if the viewer believes there are an abundance of sharks still in existence.  The image summarizes so much conversation and facts that it saves viewers from statistics or facts that would clutter the ad.  

The image tells us that we need to be careful what we choose.  Just as in tic tac toe, it is easy to pick boxes without much thought because losing a small game is not a huge deal.  We pick boxes and don't always think ahead.  This ad tells us that our choice matters more.  It tells us that we can easily help the cause and boycott shark's fin soup just as easily as we can ask a waiter to fetch it at a restaurant.  The image puts our choice into perspective and the ramifications of choosing the soup.  The text "it's your turn" places more responsibility on us and lets us know that we do have a choice and can help.  Finally we see the WWF logo and fully understand the cause and link it to the WWF.  This association will occur in our brain in a matter of seconds, much faster than if we had to read more text.

As seen here, word and image can be so effective when they exhibit a symbiotic relationship where they feed off of and clarify one another.  

        

image from http://www.penn-olson.com/2009/11/30/14-brilliant-minimalist-ads/

Heightened: The Cabinet of Dr. Caligari (1920) - form & content

(Hello readers! Beware that spoilers for the film The Cabinet of Dr. Caligari reside in this entry!)

Based off the form of first few minutes of the 1920 silent film classic The Cabinet of Dr. Caligari, audiences get a good sense of the film's upcoming content.  The Cabinet of Dr. Caligari is a story narrated by a man named Francis who describes a strange flashback of a Dr. Caligari and his somnambulist Cesare who prophecies Francis' imminent death.  Throughout the film, we are led to believe that Caligari is insane and training Cesare to commit several town murders. But, in a twist ending, we find that Francis' flashback is really a fantasy as he is an asylum patient with his doctor named Caligari.  In my opinion, the best word to describe the film's aesthetic is 'heightened' in the sense of physically making something higher and in intensifying something.  The set design, title cards, and character make-up embody and compose the heightened quality of the film.

The title card font is jagged and uneven where strokes progress from thick to skinny or vise versa.  The text is also not centered, but placed closer to the top, higher than where text is usually placed.  This font and placement connotes certain audio characteristics and indicates to the audience that the dialogue sounds a certain way: creepy, suspicious, uncertain, shaky, etc.          

The set design is also jagged and warped creating a severely slanted perspective.  This perspective plays on the psychologically troubled characters and their strange, fantastical views of the world.  For example, in the picture below, the markings on the wall shape the set unevenly and strongly pull the viewer into the back of the room.  In addition, the window is not a perfect square.

Character make-up is another way form interacts with content. Jane's make up, shown below, lengthens her eyebrows and shortens her lips, which emphasizes the tallest area of the lips.  Similarly, for Cesare's make up also shown below, the lengthening of his eyes through the use of black eye liner again creates a long, dripping quality.  All of the elements described above create shapes that mirror the warped and strange content of the film.  This successful interaction of form and content helps to create one of the most classic and revolutionary horror films in cinematic history.

Photos from

#1: np.edu.sg

#2: www.afilmcanon.com

#3 & 4: www.homecinema.thedigitalfix.co.uk

Mass-Production: Au Infobars by Naoto Fukasawa

Photo from xenmobile.com

Cellular phones are frequently re-designed mass produced products.  And in recent years, after the release of the iPhone by Apple, many companies have been copying its design: a slim, sleek rectangular object with a large touch screen.  Innovative design is now rarely seen in the American phone industry because of the iPhone's immense popularity.  However, industrial designer Naoto Fukasawa strayed away from this common design and created the Au Infobars pictured above.  In many ways I find these phones to be superior in design to the iPhone.

Good design is simple.  Infobars, like iPhones capitalize on simplistic design, though a phone need not be a mysterious black box to be simple.  Fukasawa's phones have a beautiful line to them with minimal color scheme.  The color blocking on some of the keypads is seemingly random yet is also a controlled chaos that is simultaneously calming.  The shape is rectangular, but the edges are softened like a pillow so that the phone is extremely comfortable to hold and feel in the user's hands. 

Good design is also functional.  Based on these images, one can see that the buttons are easy to understand, and that the basic necessities of a phone are present.  The phone is 11mm thick making it a good size to fit into a pocket.  The buttons are large and easy to press which is often an issue for users of touch screens.  The length of the phone lets the user hold it in a relaxed manner.

Good design also has a unified quality.  The overall look of the phones pictured above as a collection is harmonious in color.  In addition, the shapes of the buttons are rounded and not harshly edged, just like the overall body of the phone.

OBJECTIFIED by Gary Huswit - Form & Content

Part of what makes Gary Huswit's documentary Objectified so interesting and successful in communicating its message is the way film's form interacts with its content.  Objectified shines a light on the creative processes of several industrial designers and the relationship between humans and the manufactured objects these designers create.  Within the first few minutes, the film clearly shows the audience that this is what it will be about.

The film opens with a couple of people going through their morning routine.  However, viewers only see the people's hands.  The camera mainly focuses on the everyday objects being used that humans often take for granted such as toothbrushes, faucet heads, plates, pans, utensils, and much more.  In doing this, Huswit places emphasis on the objects' usefulness, our dependence on them, and the success of each object's design.  People's morning routines are so habitual that we almost become automatized robots when we perform them.  The objects created for these routines are so well designed that they are easily used.  It takes no thought for us to grab a toothbrush or a pan and properly use it.  This is part of the goal of these designers.  As one designer states, his goal is to re-invent and improve objects without the users even noticing by creating objects that flow into one's daily experience flawlessly.

Also stated in the film is that we place a lot of meaning into inanimate objects.  Objects take on sentimental meaning by being the plastic fork one used on their first date or the magnet that your family loves.  By taking on meaning, objects develop a personality.  This message is the film's content.  The form or the way the title of the film is first shown gives each object personality as the "f" is a faucet head, the "j" is a toothbrush, and the "e" is a tape dispenser.

As discussed in the two examples above, the film's form, or the way Objectified was designed, emphasized and illustrated the film's content well. By not overtly illustrating the interaction of form and content, Huswit intelligently and clearly communicates his messages and ideas. 

photo from: www.objectifiedfilm.com

"Who Would Say that Pleasure is not Useful?" -Charles Eames

In the popular 1972 film Design Q&A, Madame Amic asks designer Charles Eames "Is [design] able to cooperate in the creation of works reserved solely for pleasure?" to which he answers the title of this blog entry.  Fashion design, while appreciated by many is also found to be a frivolous activity by others.  But fashion design is an art form created as a vehicle of expression and for pleasure on multiple levels of clothing design.

The feeling of textiles on the skin is a sensual, pleasurable one and to see how they move in various constructed forms down the runway is a pleasurable sight for many.  It is also an artistic showcase.  Charles Eames' implication is correct.  Pleasure is useful because it activates positive feelings and catalyzes some of the best artistic thoughts and inspirations.  

Here are some photos of the late Alexander McQueen's runway designs:

Sources:

http://fashionbride.wordpress.com/2009/03/19/red-perfection-alexander-mcqueen/

http://www.viecouture.com/alexander-mcqueen-spring-2007/

http://www.zimbio.com/pictures/JMn-yD-XHsT/Alexander+McQueen+Paris+Fashion+Week+Ready

The best fashion designers make people want to wear their clothes because donning their creations would make the wearer happy and feel an immense amount of pleasure.  McQueen's designs not only produce this by the use of textiles or through unique construction, but also with the design's inventiveness.  Fashionistas love to wear clothes that make them stand out.  This gives them pleasure.  Wearing these types of clothes is desirable for several men and women.  This inspires or prompts manufacturers to make similar clothes to fulfill this pleasure for consumers.        

Throughout the Design Q&A film, Eames talks of the relationship between design and purpose. One of the purposes of design can certainly be to create pleasure for the wearer, viewer, "experiencer", etc.  In addition, working within the constraints that is involved in every design process can be intellectually pleasurable for a designer.  This can challenge the designer to come up with the best and most creative designs. 

The designs photographed above are luscious, luxurious, and, the word of the moment: pleasureful.  Even in a still photograph, one can tell these clothes move brilliantly.  To make something look so effortless, yet inventively complex is fantastic design.  To invoke such pleasure into the viewer is also fantastic design.

For more Alexandar McQueen pleasure, visit http://www.alexandermcqueen.com/
To watch the Design Q&A film, visit http://www.youtube.com/watch?v=z8qs5-BDXNU

Design as Conversation: Disneyland

Source: http://commons.wikimedia.org/wiki/File:Disneyland_plaque.jpg

Disneyland is magical. Disneyland is happy. Why? Because the design of it is magical and happy.  What the Disney plaque above says is true.  Once entering through this archway, visitors are suddenly somewhere else where one can escape into a place they never deemed imaginable.  A place where "acting like a kid" is permitted for people of various ages.  This past weekend I visited Disneyland for the first time and I overheard an abundance of conversation concerning the design of the entire park.  

Amidst all the rides, Peter Pan's Flight will be my main focus where conversation is used in the ride's design.  Riders load into miniature galleons that "lift" off to fly over rooftops, over London, through the stars, towards Neverland, and through movie scenes bought to life by audio-animatronics.

The first room riders fly into!

All Peter Pan's Flight Photos Taken by Me!

This ride greatly uses perception and perspective.  The galleon is suspended from the ceiling as riders swoop over a lighted miniaturized London with the largest focal point being Big Ben.  The position of the galleon and city make riders feel as if they really are high up in the sky.  From there riders are bought into a galaxy surrounded by stars.  I must say that I never fathomed traveling to "space" without paying Richard Bronson $250,000.  After the ride was over, I overheard fellow riders converse about how amazing the ride was and inquire how certain things were accomplished by the creators.

I discussed with my own group how they made the stars appear so close to us yet we couldn't seem to touch them.  How is it timed it so that each rider sees Peter battling Hook?  How mini or how large is the miniaturized London?  Similar questions were asked about all of the rides where holograms, projections, and audio-animatronics were skillfully and creatively used and timed.

Not only did the ride's design cause conversation, but used it.  The repetition of lines from the movie, Hook and Peter arguing, Peter saying "Come on everybody, here we go!" at the start of the ride all contributes to its fantastical qualities.  Using conversation in design pulls viewers in, involves them not only through sight but with their ears.  Involving viewers makes design more exciting, inviting, and successful.

Great design creates conversation and uses it.  Similarly, great design holds secrets and keeps an air of mystique so that the conversation is full of creative hypotheses and open-mindedness.  

Let's Compare and Contrast Hand Dryers

Products like the Dyson Airblade and motion sensor towel dispensers have been popping up in several public restrooms, changing the way hands are dried around the world.  Nifty machines like these are reducing the sights of garbage cans overflowing with barely used paper towels.  Most effective are the electric hand dryers.  Hand dryers have been around for some time, but older machines, like the one seen below are not successfully designed.

Most people opt to use paper towels over these older machines because these machines take forever and seem to never turn off.  Drying a shirt after cleaning off a food stain seems like the only plausible usage.  However, the innovation of the newer machines along with the elimination of paper towel usage is exciting.  

With the old machines, water would drip onto the floor creating a slippery puddle which created the need for more paper towels or cleaning products to dry up.  The Dyson product reduces this problem with motion sensor "sheets of air travelling at 400mph to scrape water from hands like a windshield wiper" (www.dysonairblade.com).  The usage of one paper towel equals drying off 22 pairs of hands with the Dyson Airblade.  The product also uses up to 80% less energy than warm air dryers and removes 99.9% of bacteria unlike the old dryers which would leave hands damp and more susceptible to bacteria.  

Not only does the Dyson Airblade and other similar products reduce carbon footprints, but it also looks sleek, modern, and interesting.  Like the Airblade, good design combines aesthetics with practicality, innovation, and, especially in the modern day, with environmental friendliness.

The only thing that may vamp up this design even more is some creative imagery:

Advertising Agency: McCann Erickson, Thailand

Art Director: Noppadon Shinkhem

Photographer: Chubcheevit

But perhaps a more pleasant design geared toward going green, and one that does not add to the advertising clutter of today!

For more information, visit www.dysonairblade.com

For more information on the Mitsubishi Jet Towel, visit http://www.mitsubishijettowel.com

(all images from websites listed above)

And Getting to the Getty...

Photos of the Getty, taken by me!

This past weekend, I embarked on a strange journey. And though the reasons for said journey were atypical, it was, simply, an enjoyable trip down to Los Angeles. During my down time, I visited the Getty Center, a beautifully designed museum which houses several antiquities of the past. What is immensely interesting about the Getty is the juxtaposition of the contemporary architecture with the antiquity that the architecture helps to exhibit.

Visitors must take a short trip in a tram up to the museum. This isolation of the center makes visitors feel as if they are traveling to a different world or to a different time, capsuled by the large buildings that sit before them upon exiting the tram.

The Getty has a truly unique appearance. The unusual curvature and sharp edges of the buildings can be seen in the photos above. Shallow pools of water edge the stairways and can be found in several nooks and crannies. Pathways are not done in a completely systematic matter which keeps the visit exciting. Visitors simply follow the pathways to run into another section to enjoy. Gardens are not restricted to the ground level but are also on the upper floors. As extensions of the buildings, the gardens become a part of the Los Angeles shrubbery and skyline.

So, visitors, while being air trammed into modernity, are simultaneously being taken to the past.

This juxtaposition beautifully showcases the beauty of the art more so than if the art was standing on its own. The antiquities' modern housing is almost overwhelming due to the buildings' massive scale. This overwhelming feeling can cause visitors to yearn for something from a simpler time and this desire can be easily fulfilled by entering one of many exhibits. For instance, viewing Monet's calming Wheatstacks, Snow Effect, Morning (1891) inside a thoroughly modern building strongly emphasizes the beauty in the old and the new.  This large scale contrast can elevate a visitor's appreciation for the housed art.

The Getty Center shows that juxtaposition, when utilized well, can make a design extremely successful and, in this case, can enhance a visitor's experience.

Creativity from Without: Christo and Jeanne-Claude

Christo and Jeanne-Claude
The Umbrellas, Japan - USA, 1984-91
Photo: Wolfgang Volz ©1991 Christo

Not creativity from within, but creativity from without.  Artists Christo and Jeanne-Claude find inspiration outside of themselves while working in rural and urban environments.  Specifically with the project The Umbrellas, urban development of two inland valleys, one in Japan and one in the U.S. served as inspiration.  As stated by the artists themselves, "This Japan-USA temporary work of art reflected the similarities and differences in the ways of life and the use of the land in two inland valleys...creating an invitational inner space, as houses without walls, or temporary settlements and related to the ephemeral character of the work of art"(http://www.christojeanneclaude.net).

Christo and Jeanne-Claude use their projects to emphasize certain characteristics of the surrounding environment as elements of the valleys affected the artistic choices of The Umbrellas.  Because the Japanese rice fields are cultivated with water year round, the umbrellas were blue.  Because the Californian uncultivated grazing land was covered by dry blond grass, the umbrellas were yellow.  The umbrellas, large and open reflect the availability of the land and the land's usages through color and placement.  Umbrellas were placed alongside roads and highways, adjacent to barns, temples, churches, gas stations, schools, habitations and cattle.

All of Christo and Jeanne-Claude's works are temporary installments.  They do this because they have love and tenderness for things that do not last, like life and childhood.  Finding inspiration in temporal qualities encourages them to endow their work with this love and tenderness as an additional aesthetic quality.  The land that they work with is also temporal as nature is always changing and going through its own cycles.  Here is one of my favorite Jeanne-Claude quotes:

      "The fact that the work does not remain creates an urgency to see it.  For instance, if someone were to tell you, “Oh, look on the right, there is a rainbow.”  You will never answer, “I will look at it tomorrow.”

This urgency also draws attention to the land and methods used by Christo and Jeanne-Claude.  The artists often restore and care for the land they use.  In addition, after removing installations, pieces are recycled and reused.  These activities influence people to care for the environment, to appreciate the beauty in it and the magnified beauty of it through the artists' work.

While finding inspiration outside of themselves, Christo and Jeanne-Claude serve as an external inspiration for myself.   

Another work entitled: Wrapped Trees,  Fondation Beyeler and Berower Park; Riehen, Switzerland, 1997-98

Christo and Jeanne-Claude
Wrapped Trees, Fondation Beyeler and Berower Park,
Riehen, Switzerland 1997-98
Photo: Wolfgang Volz, ©Christo 1998

For more Christo and Jeanne-Claude, visit: http://www.christojeanneclaude.net

A Stone Soup Tree

 A Stone Soup production

Photo by Samantha Schneider

For those who know the folk story Stone Soup, the sprouting tree sculpture above was a temporary creation for a project which encouraged the behavioral philosophies of cooperation and collaboration emphasized in the short story.  Cooperation and collaboration.  These are two fantastic nouns that helped our group's project manifest into a success of recycled goods in one very time efficient hour.  The most inspiring thing that I pulled from this was that our level of communication was almost telepathic in nature.

Upon viewing the materials each person bought, we all agreed with the second suggestion: to make a tree.  We discussed colors, the roots, and basic construction.

Vicky started spray painting the box gold while Tobias and Jose collected fallen leaves to stick onto the paint.  Jose had also tied hemp pieces together by knotting them at the top while Eric and I wrapped the soda bottle in brown paper.  Alice, Linda, and Christine began making paper flowers and  branches.  I then wrapped each string of Jose's knotted hemp to create the roots.  After the roots were connected, everyone began creating small additions.  For instance, Vicky made bird nests and Tobias made leaves.  Our finishing touches were adding the branches, smaller creations, and garnishes to the tree.

What was fantastic was that people did not ask for permission to do something.  It was truly collaborative without authority.  It was a common understanding to let people work and have it all come together in the end.  This is what I mean by telepathic.  A personal example is when I made the roots.  I saw Jose tying the hemp together but didn't know what he was doing it for because it was before Tobias suggested making roots.  When I saw that roots needed to be done, I used Jose's string and began rolling brown paper around each string.  While I held the string, Samantha had come over and checked with me that the strings were going to be the roots.  It's as if we were all communicating without verbally communicating.

My Awesome Group

Photo by Samantha Schneider

It was a great experience to work with my group to create a tree which is representative of many concepts such as growth, development, and connectivity.  In making our little creatures, flowers, leaves, etc. we created a community contained within our tree which embodies what we are doing each class period in our groups.