Final Shelter Bus!

All the images above are process pictures for my Shelter Bus. The shelter bus is a bus for four relief workers to stay, and a place that will hopefully help out the community as well. I changed my mind over five times on the design of my bus because I felt my concept wasn't strong enough with the design. I needed to make the concept be a reflection of the overall design of my bus. First, I had a very plain bus design (from the top images) that was supposed to reflect "gravity" then I changed to a rotating bus that involved the concept of rotation, and then finally I came to the idea of Lustre. Most of the images above show my process of drawing on trashpaper, on the back of random pieces of paper, and also making little sketch models to help me become inspired with a good design.





These last images are the final product. The bus transforms outward (like my concept of lustre) and all the materials used reflect the idea of lustre as well. 

IAR 222 West Side Story

SHELTER BUS: UNITY

A & T Bus Shelter

A & T Bus Shelter process sketches

SHELTER BUS

BUS SHELTER

Communication charette part 2

Communication Charette

Communication is about the process in which information is being passed from a sender to a recipient in order to create a shared understanding.  

PLACE: This is a model of a booth that we would have at the Tate Street festival.  It would reinforce the logo, as well as provide seating, like a bus shelter.

HTTP:// -The picture above would be an image that would rotate on UNCG's homepage.  People may have noticed students walking around in t-shirts with the same logo, as well as posters.  Seeing it on the website, they might think Oh, I've seen this! What the heck is it? When they click on the logo on the homepage, they would be directed to a series of images like the one above this one, which describe our studio and what we are working on:
 PEOPLE- We felt that a t-shirt would get the message out if a lot of people wore them on the same day.  It would get a question started in peoples' minds.  What is this?  Why is everyone wearing the same shirt?
PRINTED MATERIALS- We chose to design a poster to give more information about our program as well as about the Greensboro bus system.  Featuring the logo, it would also function as a branding mechanism.



PRODUCT- wait ON a bus while you wait FOR the bus was our group's idea. Every Bus bench would be different and unique. It could have no limits to the design either, and would be placed all over Greensboro.    (similar to the Big Apples in New York, or the cows in Kansas City), which would also function as benches at bus stops. 

Artifact for IAR 222

The Mobile above was made by Alexander Calder in 1972, and given as a gift by the collectors committee. It is one of the first mobiles ever made, and consists of steel wire and aluminum. The aluminum is painted red and blue, with the wires connecting each aluminum shape with one another in a visually appealing design. The shapes are rounded and slightly geometric with thin wires to create contrast The negative space of this work is especially intriguing because there is so much negative space that the feeling of the mobile floating is very prominent. The mobile idea, invented my Calder himself, is successful in this sculpture because of its negative space. Also, the colors are important in this work because the primary colors are fairly bright against the dark grey wire, creating a contrast. One last thing that is interesting about this piece is the symmetry. It is unbalanced yet it still floats in a straight line. This makes the piece different from anything else before or after it.
One piece of work that is fairly similar to this mobile is the curtain by Marian Mahler. It is a red curtain with a print that consists of yellow, white and black shapes coming down from strings. This reminds me of the mobile because of the way it is suspended. Also, the colors are similar because the red background is bright and the colored shapes on the foreground are brighter and darker than the red to create a contrast just like Calder’s piece. One other thing I noticed was the negative space in this work. It isn’t the same as the mobile, but it was used with the same idea.
Le Corbusier’s loveseat is one artifact that is completely different from the mobile. It is a larger piece for one, but it also has no negative space. The chair is very grounded because of it’s size and shape. Also, instead of organic shapes and curves, this chair has only straight lines.

Ergonomics, Codes, and Proxemics

Ergonomics "helps designers understand how to best address the needs of the user through theory, data, methods, resulting in an optimized overall experience for users."

Proxemics is the interaction of people with other people. for example how close they sit to each other on a bench.

For studio 9-17-08 we had to draw our Shelter Buses and show the Ergonomics, Codes, and Proxemics of each design.

I drew a few of the Ergonomics, and one Code

Essay about our experience:

Symbol group 6's experience with the various requirements to support human activities and needs at first was confusion and frustration because of misunderstanding the intentions of the exercise at first. Even after clarification, there was still a level of frustration because of the limits which caused several aspects of our designs to change. We also found that making a diagram was no longer quite as simple as it used to be. Suddenly we had to look up dimensions and numbers to apply to our diagram. We would recommend to other designers that they attempt to consider the needs of their clients and coding early on in the design process so that later on the changes won't be so drastic when they try and accommodate their design to fit the standards. This will save them a lot of problems later on. Codes help design by creating generalization and making people familiar with the objects the codes are applied to even if they haven’t seen these objects in that particular context before.The client will recognize a door frame for example because that is the size of a door frame in every other building they have entered. We anticipate that codes will change our work by making the design process more structured. This will both add to the ease and difficulty. With codes in place, suddenly we know the dimensions for our design, but it also limits to some extent what we can do. Keeping actual standards in mind means that we can no longer pick arbitrary numbers for a hallway.