Discuss these questions in relation to a group creating a design in collaboration
01 – What are the 3 best things about your efforts for this year’s exhibition?
Weekly logistics reports
Managing time for exhibition piece
Developing my creative process
02 – Did you manage time well?
Yes, I feel I am on track to finishing my exhibition piece comfortably (even allowing for last minute hiccups). I can sometimes be more of a ‘last minute person’ but I have managed to complete little tasks weekly to this point of having everything tried and tested and on the home stretch to completing my piece. As for the weekly diaries and blogs, they may not be completed at the same time each week, but they do get completed in the time that I do have to devote to it.
03 – Did you manage materials well i.e. test prototypes?
Yes, I tested prototypes throughout the creative process, without having done this, I would not have been able to come up with the new ideas that I have. It has been good to create the 3D shapes that I am working with and it has allowed my design to continue evolving.
04 – Have you researched installation methods?
I have thought about the possibilities and how I would like to display my work, but I need to re-visit the space that we are exhibiting in (the photography room) and make sure I can actually do these things and that I have the appropriate materials to do it.
05 – Have you made a shortlist of the essentials for the last WEEK?
Things I need:
*Exhibition piece will include wires (that it will hang from) and also a battery as the power source.
*Hook to attach to the ceiling
*Spare batteries
Navigation: balloons, completed maps and banners
Things I need to do:
*Make sure I can hang it from the ceiling in the photography room
*That the position it is in does it justice (ie a darker corner so the lights/patterns look brighter)
*Write my artists statement for my exhibition piece.
Navigation: complete maps (with correct rooms and names of displays), work out where to hang balloons/signage to help direct people to each exhibition room; banners completed with plans of where to hang them.
06 – Have you made a shortlist of the essentials for the last DAY?
*Spare batteries
*Double sided tape (incase of damage to the lanterns) and normal sticky tape for the installation
Blog Exercise – Using Failure
In regard to creative collaboration & the exhibition:
1 . List and describe 2 areas of failure in your preparation for uphere
*The group effort in organizing the exhibition – some groups could have been doing their respective jobs earlier in the semester so other groups that rely on their jobs being done wont be left with all their jobs to do at the very last minute. Communication between and within groups could have also been better.
*Not already having a portfolio organised (for the exhibition and beyond) as we are now running out of time to put one together.
2. Describe how you could realistically improve on this next time you exhibit
As there was no structured timeline (with strict deadlines) amongst individual groups, this could be improved upon (and adhered to) next time. Communication can also be improved with more regular face to face meetings, etc.
It would be good if there was more emphasis and guidance on the compilation of a portfolio as this is central to gaining a job afterwards.
Today we had to collaborate as a group, discuss and present one of the three topics below that were assigned to us:
1. Communication Methods
2. Emerging Technologies
3. Idea adaptation
Our group had to research ‘Communication Methods’ and each of us had to find an appropriate YouTube clip that encapsulated our topic (and then choose the most appropriate to present).
We came up with various clips, such as the future of mobile phones, and viral communication as well as a clip on how the deaf and blind can communicate as a specific example.
We decided to go with the following YouTube clip that I happened upon as it was a well illustrated, simple to understand presentation of the history of communication, to present day and it even continued to make predictions on what could happen in the future with regards to the way we interact and communicate.
*We actually also got to show the Beijing deaf and blind clip to demonstrate a specific example of a method of communicating.
Discuss these questions in relation to a group creating a design in collaboration
01 – What is the difference between reflection and criticism?
Reflection is about having serious thought or an idea about something whereas criticism is analysis and judgment about something – can often be negative, but if approached the right way (by both parties), it can be constructive.
02 – Can you reflect while you are designing?
The process of designing is a constant reflection. I often find it easiest to do in intervals throughout the creative process, ie complete a bit, then stop and reflect to make sure it is looking like I want it to look, it is adhering to the specified guidelines (if there are any) and also establishing the best way to take the next step.
03 – Do you set aside time for reflection?
As mentioned above, I am constantly taking time (in intervals) to reflect during the design/creation process. I often like to set aside time at the end, when I am close to being finished or indeed, finished, to really analyse it to make sure I have done what I set out to do.
04 – Do you make notes on your reflections?
I make notes on some of my reflections, often it’s just a natural progression of ideas recorded that can lead to more pivotal reflections. Eg. with my lanterns, I started out wanting to design them as individual tetrahedrons and from constantly reflecting on my ideas and making little changes, I was able to come up with what is it today – 18 tetrahedrons joined together to make one spherical-shaped lantern.
05 – When is the best time to reflect?
I find constant reflecting during the creative process is the best time to reflect. By doing this, you’re still at a stage where you can make changes (it is much harder to drastically alter things once the design has been finalised).
06 – Do you compare your work to work by your heroes?
I wouldn’t say that I have any heroes as such, I draw inspiration from many weird and wonderful places, however, yes, sometimes I do like to compare my work to those that are very good at what they do. Although my skills are still basic, this gives me somewhat of a benchmark, and it also shows me of what I can be capable of also.
07 – How do you benefit by comparison?
As I said above, it sets a benchmark for something to aspire to. By looking at and comparing your works to people renowned in their field of design, it shows you that the ‘sky is the limit’ and that you are capable of equally achieving your own great things.
08 – What can be a disadvantage of comparison?
It can sometimes get you down that you can’t achieve the same sort of techniques/creativeness. But I’m sure the great designers of today once started off just like us, and achieved what they have by lots of trial and error and hard work, so it should serve as more of an inspiration.
Creative Collaboration (Blog exercise)
1 . Describe how reflection has helped improve your own designs
By reflecting on my own designs constantly throughout the creative process, I have been able to achieve better outcomes than what I visualized in the beginning. With regards to my exhibition piece, I started out with quite a simple idea of wanting to create single tetrahedral lanterns (most likely hung on a string of fairy lights). However, as the design process went on, I felt that I could achieve more with this idea – I still really liked the concept of the lantern, but I didn’t think that the individual lanterns looked as aesthetically pleasing or presented as much of a challenge. Upon reflection, I knew this idea had more potential and played around with the shapes to come up with the design I have today – one lantern made up of 18 tetrahedral shapes joined together, which will be lit by individual LED lights powered by a battery. Without reflection and change, it wouldn’t be what it is today!
2. Describe how you have reflected on your group’s designs
Through class work, group discussions and our weekly blogs, we have been given numerous opportunities to reflect on the groups’ designs, concepts and processes. Often by discussing and reflecting on each other’s work, it helps to give new perspectives and new ideas that might not have been thought of otherwise. When giving reflection and feedback I always try to be honest and constructive.
3. When is reflection useless?
Perhaps when you are doing work for a client. You would still do your own reflections along the way as to whether you are meeting the specifications, however, it is really up to the client to reflect on your work – they are the ones that need to be happy with the finished product. Having started to do a little bit of freelance work, I now know that your own reflection (aside from the reflection you put into whether you are meeting the guidelines) does not mean as much as the reflection of who you are doing the work for. They always have the final say.
Key 1: Away – more appears less by moving it far away e.g. Google search engines. It is a complex network of databases and computers however all the end user sees is a visually and operationally simple interface. The result is local but all the actual work is done far away.
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Key 2: Open – openness simplifies complexity e.g. Fixing a Linux system is simpler (as opposed to a Windows system which is a closed source). There is a higher risk in taking an open approach to things (whether it be in business or personally), however, there can also be increased rewards in doing so (ie. loyalty).
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Key 3: Power – use less, gain more e.g. Rechargeable batteries. The power has to come from somewhere, if we can collectively use less, the better of we’ll be.
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2. Describe how you have used these in your work towards UPHERE? Give at least
one example of each key.
Key 1: Away – in the context of my lanterns, I want the individual lanterns and their more complex spherical design to look simple (yet they are made up of 18 individually crafted and assembled tetrahedrons). If the complete lanterns are hung up, they are likely to look simpler (especially when it’s whole working process is contained in the same piece.)
The further away one stands, the simpler they are likely to look.
Key 2: Open – each step in the development process for my exhibition pieces, has been recorded in my diary, blogged and discussed amongst the class quite regularly. Being open with my techniques and ideas allows others to see my process and how the concept has developed over time. Being transparent and open in my progression also allows people to see that these are my original ideas. Although being so open (particularly on the blog, where anyone with internet access can see it) there is the potential for my ideas to be used unlawfully.
Key 3: Power – with my lanterns, I was initially thinking of using an existing lighting set up (ie fairy lights) to display my individual lanterns, which would plug into an electrical power source. I have since re-evaluated and have decided to go with LED lights as they use little power, produce a cool light and about 18-20 of them can be run off a single 9V battery and still produce a strong light. By using a battery it also gives me the flexibility to display them where ever suits.
So, I will be using less power (compared to the original method I had in mind), and I’m hoping the lighting display will demonstrate longevity throughout the exhibition due to this.
3. Describe an incident in the production of UPHERE where technology has been an
enabler…. and another where it has been a disabler!
Enabler: technology allows us to do things we might not be able to otherwise. E.g. communicating en masse to the groups when not in class is as simple as writing a message on Google docs or sending an email.
Disabler: when we come to rely on the technology. E.g. when we rely on these technologies as our only way to communicate between groups.
This YouTube clip talks about how technology can enable you to do things that you wouldn't have thought of otherwise.
4. At this stage in the exhibition process you are all working on some element or
process for the big event. List 3 things (in your current project) that you could
take away to simplify and one thing you could add for meaning.
Three things that can be taken away to simplify the navigation (a part of the exhibition process):
·the need for multiple maps;
·strings of flags; &
·detail on maps
One thing that can be added for meaning:
·more thought going into one easy-to-understand handout which contains all the details that it needs to.
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Homework: My contribution to the exhibition in relation to two of the laws are as follows:
LAW 2: Organise: I am continuing to use the second law of simplicity to prioritise the processes I need to complete in order to create my exhibition piece. Eg. In addition to last weeks example, it is through experimentation and prototypes that I have realised that the lighting will need to be finalised before the lanterns are put together as a whole.
LAW 6: Context: by taking what is around you and applying it to what you’re working on help helps to prioritise and provide new perspective.
I would like to put my lanterns into the context of everyday life. I want them to be usable and re-usable. So, as such, it would be appropriate to make them out of durable materials such as plastic or strong paper and design them so they can be easily re-hung, etc.
Discuss these questions in relation to a group creating a design in collaboration
01 – Have you had to abandon any exhibition design concepts so far?
Yes, there are many ideas I have abandoned along the way for various reasons; time constraints, practicality, aesthetics. There are also lots of little ideas within ideas that get abandoned or changed constantly during the design process.
02 – If so, was it hard?
It depends on how much I’ve invested into that idea. It gets harder to abandon an idea the more time and energy I have invested into it.
03 – Do you think it is easy to miss a better idea if it is not the first one?
It can be at times. Sometimes I can get quite attached to a first idea, which can be hard to look past.
04 – Do you have any techniques for creating unpredictable ideas?
My best technique would probably be thinking about an idea and immersing myself in it (researching, looking for inspiration, etc) and then forgetting about it (or going to sleep)! New ideas come to me in all shapes and forms once I have re-directed my attention for a period of time.
05 – Is logic the best way to attack a design problem?
It can be to a point. After all, most design problems have set parameters that the solution needs to abide by. However, I think logic can only take you so far before you need to start thinking ‘outside the box’ to come up with a really great design solution.
06 – What other problem solving methods could work?
Brainstorming, idea mapping, researching, talking to others.
07 – Do you ever doubt your design decisions?
Yes. I always feel it is productive to get feedback from others, whether they are fellow designers or not. Talking to others often gives you a good perspective of your design decisions.
08 – Do you ever consciously put on “another hat” to get inspiration?
Yes. I often try to picture a problem or a design I’ve actually come up with from another perspective. It can help to address issues you didn’t think of at first.
09 – Describe somebody opposite to you in relation to their design approach?
Someone opposite to me in their design approach might not plan and experiment with their ideas to the same degree. Their process may not be as structured.
10 – Could you imagine designing like them?
Yes, I would probably enjoy it (if I didn’t have to document everything). It would be quite liberating.
Encouraging Solutions
In regard to creative collaboration:
1 . Describe how you have contributed to design solutions for other group members
I always try to give honest, balanced and constructive feedback, usually when asked to give it. If I know someone a bit better or if I have helped in their design process prior, I will offer some feedback/ideas, etc, along the way.
Eg.I have offered ideas and aesthetic suggestions for various peoples work when they have been discussed with me.
2. Describe how you have challenged designs by other students in your group
I often find myself being the ‘devils advocate’ in various situations, including challenging the designs of other students. It is often things that seem obvious to me, but could be things others haven’t yet thought of.
Eg. I have suggested practical ideas and asked questions as to how something is going to work or look when it is completed.
3. Are you flexible when others suggest design improvements / changes?
Yes. I am always open to receiveing constructive feedback on my designs. In fact, I prefer getting others’ honest perspectives as I think it helps me to adopt a more well-rounded approach to my design work.
Eg. When designing the uphere logo, I had the general look of the design but after suggestions and refinements from others, it helped to make it what it is today!
4. Choose a design that group input has changed radically. Post before & after images.
I would have to say my uphere logo design has probably had the most group input. Although not radical, there have been many refinements and adjustments due to others’ input.
Eg.
5. Describe the process of shifting the design solution radically.
My understanding is that it means to start fresh and re-evaluate the design problem. By taking on a new approach and exploring new ways of achieving a different design solution, it will ultimately shift the design outcome.
Eg. My lanterns for the exhibition have changed quite radically in appearance, however, it is all still made up of the same original components. I didn’t exactly start from scratch, but I certainly re-evaluated the end result I had come up with at the time.
1. Using UPHERE as an example, describe an aspect of your work or something
you have worked on, where you have found a symbiotic relationship that is both
complexity and simplicity
The artwork I want to contribute to the exhibition is quite complex, yet I want it to look simple. There are lots of stages involved in bringing my lanterns to their final form: designing the 2D patterns, finding the right materials, printing, measuring and establishing the right template, cutting, assembling, etc. The result is one simple piece, made up of lots of complex pieces.
2. Provide a conceptual example of a situation that has arisen during this project
where you have had a return on failure?
Perfecting my design – finding that one method doesn’t work, so changing it slightly to look better/work better. It is also about my point of view on it, on certain days. Prototypes are a great way to physically see what will work and what won’t.
Eg. Changing my lantern design from single tetrahedral to joining them all together to make a sphere shape.
This TED Talk is by JK Rowling and she speaks of her personal experiences relating to the 'Fringe Benefits of Failure' which is not unlike John Maeda's concept of 'Return on Failure'. She speaks of how she 'failed' to achieve the expected outcome of others which instead lead her to write her famous Harry Potter series. http://www.ted.com/talks/jk_rowling_the_fringe_benefits_of_failure.html (This clip could not be embedded).
3. Homework: How are you using the laws in relation to your contribution to The
UPHERE exhibition? Provide a short explanation and example for TWO of the
laws so far. Use your work towards and your examples.
LAW 2: Organise: There is a process and priority to the order in which I need to do things to make my piece/s come together. Eg. The 2D pattern needs to be printed on the lanterns before they are assembled, and the individual tetrahedrons need to be assembled before they can be joined together to make the whole lantern. The finished product would not work if all these components do not occur in that order and the process was not prioritised and sorted prior.
LAW 7: Emotion: There are certain emotions that I want my lanterns to evoke in others when they look at them. Some key feelings I want the lanterns to convey are: warmth, luxury, relaxation, unusual, elegance/glamour and indulgence. I can achieve this through the use of 2D patterns and also in the structure of the lantern.
The materials used will also help communicate these feelings (ie white/cream translucent paper will allow the light through more efficiently to create a feeling of warmth/relaxation).
Discuss these questions in relation to a group creating a design in collaboration
01 – Do you want or need respect?
I want respect – for me it is necessary as a human to be respected, acknowledged, accounted for.
I also need respect – for example, when driving a car, drivers need to respect one another and follow the road rules. This is crucial to avoid accidents and death.
02 – Is there anybody in your class who does not give you respect?
I think most people in my class/life give me respect. Sometimes I am not respected by strangers/people who don’t know me, whether it be in a shop or a pub…
03 – If so, how do you feel about them?
Being disrespectful to another human is rude.
04 – Is there anybody in your class who you do not respect?
No. I believe everyone deserves respect despite what he or she is like/what they do and whether I agree with it. I don’t always respect person’s actions, but as we are all humans, I think everyone should do others the decency of respect.
05 – If so, how could you change your feelings to be more naturally respectful?
Be more reflective; separate persons actions from the person.
06 – When do you find yourself not listening in class?
When I am trying to multi-task, when the conversation trails off.
07 – What sort of people bore you?
Self indulgent, self-absorbed people.
08 – What sort of people are bored by you?
People who don’t take the time to try to understand or care about what you are saying/doing. Could be someone that has opposite interests to myself.
09 – Do you ever find that other students or teachers are not listening to you?
Yes. Sometimes due to others’ lack of manners and at other times I think because I am quieter by nature.
10 – If so, How could you improve this situation?
Persist with sharing thoughts and ideas.
Being Supportive
In regard to creative collaboration:
1 . Do you get the support you need?
In relation to creative collaboration I think I get support by way of direction and encouragement. People in class are always willing to give constructive feedback on my work or help me out if I get stuck.
Eg. Many times others have shown me helpful shortcuts or techniques in design programs.
2. What percentage of students in your your origination class do you support?
100%. On a regular basis, I usually bounce ideas off one or two other students, but as a group we all support each other well with the tasks at hand. Eg. Making the exhibition poster, we all had to arrange a time which considered everyone’s agendas to take the photos for it.
3. How?
If anyone needed help, support, or feedback all they would need to do it ask, and I’d be in there doing what I could for them. I am a good listener and quite observant so often, asking is not even necessary.
4. What about the others?
Although I support everyone in the class, I could actively support more people by encouraging communication. Eg. Sharing thoughts, hearing thoughts, contributing ideas.
5. Could you improve the way you support others?
Yes, I can communicate with others more and continue listening and being understanding. Eg. As above.
6. How?
Listen, be understanding and encourage communication.
1. Provide an example of a situation where you have to have trust – in the same vein as the author in his swimming lesson example. What made you trust in this situation and how did you feel?
Currently my fiancé and I are deciding on the location for our wedding next year.
Whilst we are fairly certain where we would like to have it, neither of us has been there. We have done lots of research and spoken to people there and also other people who have been to this location. We cannot visit until early next year, however we will need to book it before then and make a considerable deposit (which we will not get back if we cancel). Despite feeling slightly hesitant, we have to put our trust into our research and into the people we have spoken to and hope that this location will be as good as we think it will be for our big day!
This TED Talk by Jonathan Zittrain claims that the internet is "made up of millions of disinterested acts of kindness, curiosity and trust" R02. As an example of how internet addressing and routing works, he likens it to a fog-filled room of people. Each individual cannot see how many people are in the whole room, so instead, each person tells the person on their right what they see on the left and so on until they have a general overall understanding. This system is based on kindness and trust.
2. Where in our exhibition do we need to instill trust? Give examples. How are we going to achieve this?
We have to show that we are capable and know what we are doing not only in the set up and smooth execution of the week-long exhibition, but also in our individual works, presenting ideas with professionalism.
We need to have trust in each other as we have to work as a team and complete our respective and assigned jobs to a certain standard. Trust allows us to feel confident. For example, we can achieve this on our opening night in particular by offering visitors/guests food and drinks as a gesture of hospitality.
3. What strategies are used to instill trust? Examples? Where do we need to employ this in uphere? How are we going to do this?
Employing the strategies that Maeda suggests in Chapter 8, we can execute the following for our exhibition:
Relax. Lean Back – make sure everything is organized, well signed, well presented and professional for guests to be able to arrive, relax and just take it all in.
Trust The Master – show them that you are capable and confident in not only organizing and hosting the exhibition, but also in our individual works. The guests are trusting us to put on a quality exhibition which they will enjoy.
Just Undo It – by trial and error, we can correct things that come up along the way. For example if something doesn’t work well on one night, we can change the process/display, etc for the remainder of the exhibition. Nothing is permanent and it is good to explore your options.
Trust Me – knowing your work and your classmates work will allow you to have greater control in your overall presentation of professionalism and skills.
4. If you could “undo” any aspect of the preparation for the exhibition to-date, what would you “undo”? With this in mind, what would you change now in your preparation strategy to overcome having to “undo” anything?
I would like to “undo” some of the hesitant and unsure feelings from people at the beginning of the organisational process. It was time which could have been utilized much better had we had some more clear direction from people who had organized an exhibition before. I think a lot of students felt like they were being ‘thrown in the deep end.’ With the future preparation in mind, I think we need to adhere to deadlines and be as productive as we can with the time we have.
5. Homework: How are you using the laws in relation to your contribution to The uphere exhibition? Provide a short explanation and example for each of the laws so far. Use your work towards and your examples.
Law 1: Reduce
“The simplest way to achieve simplicity is through thoughtful reduction” R02 and this can be done using methods such as SHE (shrink, hide & embody).
Lanterns are my contribution to the exhibition and I am working on the premise that less is more. I am experimenting with simple shapes (tetrahedral) and am trying out some simple yet effective patterns/designs to put on them.
Law 2: Organise
Maeda discusses ideas like SLIP (sort, label, integrate & prioritise) to help organize anything that needs organising. He also suggests that the quick path to simplicity is by using computer shortcuts (such as TAB) and knowing your way around your computer. This efficiency is important when I am designing my lantern patterns to reduce clutter/chaos, maximize use of space and increase visual appeal.
Law 3: Time
Designers can integrate time into their designs in various ways, such as progress bars, giving up the option of choice and hiding time.
In relation to my exhibition contribution, time relates to the above law, organize. By saving time (using shortcuts, etc), it can translate into more time I can spend assembling and experimenting with the physical lantern. Also I can save time in the set up and storage of the lanterns for people if it is a simple and durable design.
Law 4: Learn
Metaphors are useful in transferring large amounts of information from one context to another in an easy and relatable manner. Concepts like BRAIN (basics, repeat, avoid desperation, inspire, never forget) are applicable to the designs I am creating which I have learnt to do in programs such as Illustrator. Last semester, we learnt the basics and had to repeat them often in assignments. When there were times I was confused or something wasn’t working for me, there was always someone to ask and inspiration was always a click away with works of great designers at our fingertips. I have been repeating these skills constantly ever since learning them!
Law 5: Differences
Simplicity and complexity need each other – without one, we could not recognize the other when we see it. We need the contrast to help us identify the qualities we desire. Maeda likens the relationship between simplicity and complexity to a beat/rhythm and it is about achieving balance between the two.
In relation to my lanterns, I was thinking it would be effective if I had a complex pattern on a simple lantern, or vice versa to try and achieve this balance.
Law 6: Context
Contextualising is knowing what’s around you and applying it to what’s in front of you – this helps us determine its priority by putting it into perspective. This is different to focus, as focus is just concentrating on what is at hand – sacrificing everything in the background for the sake of attending the all-important foreground.
I would like to put my lanterns into the context of everyday life. I want them to be usable and re-usable. So I have to consider what materials I can use to integrate them into people’s daily lives easily, ie a lampshade or a string of lanterns on fairy lights (as opposed to singly hanging from a ceiling, etc).
Law 7: Emotion
“Everything starts from being sensitive to your own feelings” R03 so in relation to my contribution to the exhibition, I need to appeal to visitors’ feelings and emotions in my work. Etiquette, presentation and aichaku will all help to inspire respect and affection for my work. Also if my work empathizes with the surrounding environment, it becomes more relatable to the viewer.
Law 8: Trust
Some of the strategies that Maeda suggests to encourage trust from others are; Lean back. Relax; Trust the Master; Just Undo It; and Trust Me. In relation to my works, I need to demonstrate that I am professional and organised, that I have adequate skills and am confident in my abilities.
