Atto: an exploration of design + movement

a series of design interventions exploring movement

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is an exploration

Atto_thesis_2016

of design & movement

Š Copyright 2016

by Chelsea Stewart All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means; electronic, mechanical, photocopying, recording, or otherwise, without the prior permission in writing from the author.

For inquiries, contact cstewart3@sva.edu School of Visual Arts MFA Products of Design 136 West 21st Street New York, NY 10011-3213

Set in Circular typeface by Lineto Typefoundry, Switzerland.

Lineto GmbH Kleinbreitfeld PO Box 461 CH-6403 KĂźssnacht am Rigi / Switzerland for more information please visit chelsea-stewart.com

Chelsea Stewart Author & Designer Allan Chochinov Chair, MFA Products of Design Thesis Instructor Andrew Schloss Thesis Instructor Abby Covert Thesis Instructor Emilie Baltz Experience Instructor Amy Johnson Thesis Advisor Rosa Bond Editor

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preface_17_ 1.1 - 1.2 introduction_27_ 2.1 - 2.2 goals + objectives_41_ 3.1 methodology_49_ 4.1 research_55_ 5.1 - 5.11 audience_137_ 6.1 past work_41_ 7.1 early explorations_151_ 8.1 - 8.6 developed work_215_ 9.1 - 9.7 conclusion_319_ 10.1 - 10.2 looking forward_329_ 11.1

Preface

fig. 1.1, 1.2

18

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_the thesis process

The School of Visual Art’s, Products of Design MFA is a two year intensive program spanning four semesters.

At the end of the first year, the students are asked to search for territories of interest and do research

fig. 1.1

over the summer. They are asked to read, watch and find inspiration about their areas of interest. At the start of the final year, also considered the thesis year, each student presents their findings and dedicates themselves to a year long exploration into the topic.

During the thesis year, the students take a total of fifteen classes, seven each semester. Nine of those classes are focused solely on thesis work, with the other six classes continuing to focus on group work separate from the individual thesis studies.

The thesis is an opportunity to for each student to focus on many different aspects of the design process. Each student is asked to look at their topic through several different lenses, which creates a multitude of branding, products, services, experiences, interactive goods, and visual direction

to enhance the meaning and story of the final deliverables. The final deliverables for the year long thesis term is a book and a presentation which includes all the work presented at different points of the year to showcase and display the findings of the thesis exploration.

The year long thesis program is intended to shape and transform our topic to create diversity within the offerings and design directions being considered.

The MFA Products of Design program is unique to other master’s programs in the field of design, as it approaches the thesis in a progressive series of design offerings and services, not meant to conclude when the book is published or when the final presentation is complete. It asks students to find find opportunities to build from and formulate new projects around in the future. The backbone of the program aims to create social entrepreneurship and individuality upon graduation. So without further ado, I welcome you to Atto ~ a series of design interventions exploring movement.

productsofdesign.sva.edu

topics and interests which they would continue to

_use of movement

Movement creates patterns, textures, data sets, a system, a city, a way of life and... a typeface a click (metronome) a diagram (playmaking)

fig. 1.2

a sound a frequency (stride) a rate an action a change a sensorial experience _____________-------__--movement x color movement x texture movement x visual balance movement x shape movement x form movement x emphasis / dominance movement x space movement x symmetry

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< Me

12

21

84

Childhood > A New Mexico > USA / Europe Oklahoma > R / New Mexico / Massachuse Oklahoma / T Masterâ&#x20AC;&#x2122;s Degr >>>>

Arizona / > Soccer > e > Education> Rhode Island o / Germany etts > Work > Texas / Oregon > ree > New York

———————__________—___--__ Yep, that kid on the left is me. I spent my days running around the backside of a mountain catching horned toads, kicking the soccer ball, and playing hide and seek.

I was born in Albuquerque, New Mexico in the last month of 1984. Soon after, my parents and I moved to Scottsdale, Arizona where my little brother, Ryan was born. We moved to Flagstaff, Arizona in the summer of 1989. It’s the kind of city where life moves at it’s own pace and you are exposed to lots of life’s natural layers. From the Grand Canyon to the smallest bird on the branch outside my window, life in the southwest is intricate.

When I began thinking about my thesis, I immediately looked to my experiences in Flagstaff to inspire my topic.

I feel this thesis, which focuses on movement, is about the layers and stories which sometimes go unseen, but reveal themselves in actions and moments, and sometimes in the most unexpected way.

â&#x20AC;&#x153;And so you touch t something happens can go a little bit fu mind power, your d your instinct, and t Ayrton Senna June, 1984

26

this limit, s and you suddenly urther. With your determination, the experience.â&#x20AC;?

Introduction

fig. 2.1 - 2.2

28

_introduction

fig. 2.1

_____________-------_________ ___——— __-

“All that is important is this one moment in movement. Make the moment important, vital, and worth living. Do not let it slip away unnoticed and unused.”

-Martha Graham

Movement is designed

Take a moment and recall all the individual actions you simple actions like taking a shower, to more complex actions like competing in a game of basketball. The origins of movement are simple, but their effects complex. We move to live and from this concept, we Design as science

Brown University, Febuary, 2009

took to get ready for work this morning. People perform

create considered design interventions, like a pathway to walk, a street to drive down, or an elevator to easily move between floors of a building. How we move now is not the way we moved hundreds of years ago. In our most current state we have the agency to manipulate the actions or movements of people, objects and information

Understanding the workings of life

Sarah Evert, 2002

like never before.

In fact, new designed interventions in movement have allowed us to create a world so advanced that we forget

If we go back and look at migratory patterns, trade routes, and simple navigation tools, we can begin to realize how advanced we have become. how essential simple movement is to life.

We can design movement in many ways: physical, visual, and/or emotional. We make and interpret, and ultimately we do what we feel is best. Those are all design considerations. Wayfinding is a good example of these

key elements coming together to keep our system working effectively. These are designed mechanisms for specific social needs.

Most of this explanation might come at no surprise to you, but what might be surprising is all of the unseen elements which move because of these designed interventions, e.g., media content, payment systems, news streams, and even the spread germs, are, in some ways, unseen effects of movementâ&#x20AC;&#x2122;s designed interventions.

something I am fascinated by and is a key component to my thesis, Atto: The exploration of movement and design.

to

physical, visual, and emotional moments

in movement. Think of movement as a rhythm or a delicate balance of conditions. Like when you are walking down a flight of stairs or when a pilot descends for landing. Designers must take many different aspects of movement into consideration when designing products, services and goods.

Sarah Evert, 2002

This thesis explores the relationship design has

Understanding the workings of life

This relationship between movement and design is

Is Anywhere on Earth that is Safe

The Atlantic, Aug, 2013

When I was young I quickly became obsessed with things like airplanes, trains, and cars (really anything that moved). The simple instance of looking up and watching a plane fly thousands of miles above me captured my imagination. But, it is not just transportation and mechanisms that captured my attention. The natural world has always played an influential role in my upbringing.

Whether it was catching lizards and horned toads with my little brother in our backyard, or watching other wildlife was a lesson in movement all itâ&#x20AC;&#x2122;s own. From observing animals and the natural hierarchy of wild creatures, we can understand the core values of why we move today.

We move to live and we move to survive.

Even in our youth we know movement allow us to survive. We run and hide just like squirrels scurry or a lizard finds a rock to hide behind. We innately function on simple levels of survival and although we donâ&#x20AC;&#x2122;t use these skills as rudimentary, we do solve design problems for them.

Designers find moments of need, delight and safety to create new ways to move. We build houses for people to live, plazas for people to enjoy and gather, schools for people to learn, and planes for people to travel. It all seems to simple, but designers find opportunities in both conventional and unconventional

And we move now because it advances our experiences and understandings of life and thatâ&#x20AC;&#x2122;s the power of design and movement.

This book is an exploration of conventional and unconventional ways design relates to movement. This captured and utilized. You will see lots of different explorations and ideas ranging from typefaces to data systems. In most ways they are independent thoughts and ideas about movement, yet they speak to how design interprets different aspects of physical, visual, and emotional needs in movement, and how design and movement impact our lives.

Co-intelligence.Org, 2005

thesis aims to find moments where movement can be

A deeper understanding of what stories are all about

ways to advance our state of movement.

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_lexicons Atto - the Italian term for act, or to do something.

Agile / Agility - the nimble state of movement inside of a system.

fig. 2.2

Orientation / Spatial Cognition - the relative position of something or someone (especially oneself) or oneâ&#x20AC;&#x2122;s position in relation to true north, to points on the compass, or to a specific place or object.

Active - actions, micro-motion, microactions, of very short duration or length.

Contagious - an action or moment likely to spread to and affect others.

Wayfinding - refers to how people find their way around environments.

Navigation - refers to the specific means by which people find their way, including route navigation, landmark navigation, and map navigation.

Moment - a very brief period. Short time, bit, minute, instant, second, split second.

Movement - an act of changing physical location or position or of having this changed.

Microcosms - community, place, or situation regarded as encapsulating in miniature the characteristic qualities or features of something much larger.

Innate - existing naturally or by heredity rather than being learned.

Sequence - a particular order in which related events, movements, or things follow each other.

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Assiciated Press: Febuary 1977: Space Shuttle Enterprise rides atop a 747

Goals & Objectives fig. 3.1

42

Adam Magyar / medium.com / 2014

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"A story can be both concrete and abstract, or a concrete story can hold abstractions.

And abstractions are things that really can’t be said so well with words."

David Lynch

_goals + objectives

fig. 3.1

My goal as a designer has always been to find new ways to tell stories and capture the essence of an interaction between people, objects and spaces.

_____________-------_________ ___——— __-

Currently we move to find new opportunities for progression.

But regardless of the date or time, we move because we need to and that will never change. From the time we wake up to the days end, we are in constant movement. Movement creates our lives and from movement we create artifacts. These artifacts are things we choose to create and to improve, show or choreograph our movements are significant. From roads to pens, we use design to capture the stillness inside movement.

To me, stillness is seen as a way to capture the things we canâ&#x20AC;&#x2122;t keep. Like when we see pen lines where there was a handwriting or a photo where there was a funny or spectacular moment. We are constantly trying to find new ways of

capturing the stages and the instances in our lives.

My goal as a designer have always been to find new ways to tell these stories and capture the essence of an event, circumstance, the conception of a particular aspect in our lives or an interaction between people. During this thesis, I aimed to capture new aspects of how, what and why we move. Martha Graham said it best when she describes how she felt about movement.

“There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all time, this expression is unique.

We give designer, artists and makers credit when they can create and craft new projects, artworks and goods from their thoughts and actions. We validate them from their output.

Output of their physical results, this directly refers back to the pen and hand example from the paragraph before. We have

Wikipedia: About Martha Grahm

This thesis attempts consider new ways of interpretation of movement, space, interaction and information we create through the modernization of movement. Where movement used to be constrained to a time and place and necessity, it is, at it’s most modern a life force. We gauge the quality of someone’s life around the experiences, places and relationships to our world. We may even go as far to suggest that movement though place and circumstance gave a person meaning and reason.

Martha Grahm, 1954

She also felt that movement was “permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.”

A Conversation With Brian Greene

NOVA, 2013

new outputs for our energy and experiences. These output are tangent to their experience of making them and what came before.

We are a spectrum of wonderful moments woven together.

Atto aims to tell this story and narrative though deconstruction of the actions. This work has given we a new perspective for meaningful work that intersects graphic, product, sports, and typographic design implementations.

You will find different sources of fidelity in these projects.

Intentionally, this is something which is useful for designers to use as a tool for meaningful progress and finality. The work looks at many spectrums of fidelity and conception of ideas and asks meaningful questions of the work as it progresses. The work is shown in all stages and without censorship. This thesis is show in linear progression as it explores the topic and crafted relationship between movement and design.

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Methodology fig. 4.1

50

_methodology This thesis topic has always been an inquiry and exploration for me. Whether it began subconsciously or intentionally, I have explored movement and design since I was very young and continue to explore topics like Formula One, subway ridership, space travel, and more in my early design years. When working with Nike, I helped shape how the voice of the *Athlete resonates within the

fig. 4.1

products they creates. I donâ&#x20AC;&#x2122;t see this inquiry of movement slipping away from me in the future. I am guided by my

passion and dreams of discovering new ways to look at the connected system of people and things that move around us at every moment. Whether that is though transportation, typography, athletics, or the metrics of day habits, I am fascinated with the way our world makes our lives worth living. This is first and foremost my methodology for discovery and intent as a designer.

My studies at the School of Visual Artâ&#x20AC;&#x2122;s Products of Design program has widened my understanding and questioning about my thesis topic. Utilizing research, ideation, and design implementation has brought my thesis to life though small sprints and full semester length projects.

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These projects are based on both linear and nonlinear formats led by both design-led and research-led processes.

This thesis was strengthened by experts in the fields of design, sports, science, and typography. My thesis coordinators Allan Chochinov, Andrew Schloss, and Abby Covert were instrumental in this process.

In the final year of the Products of Design program classes such as Thesis I, Thesis II, Design for Delight, Designing for Screens, 3DPD, Service Design, and Business Model Structures were essential for crafting the story and methodology for the thesis project outputs.

The interrelationships between the classes was critical for crafting the thesis’ purpose and project outcomes.

Each project resolution came from the humble means of of taking pen to paper to sketch and draw out different ideas which could create new project potentials. Finding pain points, using quick ideation techniques and user testing allowed me to find a clear direction in each of my projects.

Please keep in mind that this thesis work is a mix of speculative and futuristic ideas within the present day context. But please keep in mind that speculative design has the authority and influence to make future ideas relevant to todayâ&#x20AC;&#x2122;s society, to find a balance between what we have now and what we will have in the future. Today is just as import as the next 40 years. So designers must be aware of their influence and power in both the present and future design contexts.

This introspection and interrelationship between design and movement has always been important to me. I personally feel the relationship between the physical world of sports and the design world everyday. This correlation between the two has given me a unique opportunity to tell a different story as a designer. A story I truthfully have yet to fully tell, but aimed to scratch the surface during my thesis year. I beleive this topic will continue long past May, 6 and be a lifelong exploration for me. It will certainly influence the projects I will choose to work on in the future and my determination to find unique ways to look at the topic will stay with me for years to come.

Through this thesis process I have learn a lot about myself and my future goals as a designer. Before coming to this program I found myself reaching for all the design opportunities I could, looking for new ways to convey my creativity. Over the last 6 years I have explored

graphic, product, interactive, furniture, architecture and service design.

My methodologies include the investigation between movement and design though the historical research, subject matter expert interviews, observation, and user testing. All of which is give shape though a series of design lenses: visual design, speculative objects, digital platforms, experiential design, campaigns, service, business model development, future narratives. Each lens has surfaced new understanding of the territory and often lead to future iterations.

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Research

fig. 5.1 - 5.11

56

Adam Magyar / medium.com / 2014

_____________-------_________ ___——— __-

As I began my thesis journey, I found lots of relevant research around the current state of mental / cognitive studies about the physical actions we undergo on a daily basis. However, for me, my design process begins with inspiration and looking back at who I see as design’s important figures. I find this a great way to guide my subject and project forward.

_important figures

fig. 5.1

"Ninety-nine percent of who you are is invisible and untouchable."

Buckminster Fuller

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Among the many designers and artists I most admire, I feel

Martha Graham, Buckminster Fuller, Craig Ward, Roger Deakins and Nicholas Felton are exceptional

that

examples of inspiration to this thesis. Although they are all highly respected in their fields, it is their notions of design opportunities that I find so

compelling and important to

my work and, in their own ways, they give a different value to the meaning of design and movement. We could even go so far as to say they design new values to the meaning of life.

These individuals focused on both the unexpected and the every day to find opportunities to utilize design.

Other people and studios that I find personally inspirational are Marc Newson, Kelli Anderson, Jose Cabaco, Ash Thorp, Nendo, Snohetta, The Bauhaus, Josef Albers, Ayrton Senna, *Zaha Hadid, Christopher Nolan, Alex Webb, Anagrama, Made by Anonymous, Tevez, Eadweard Muybridge, Nike, and Dieter Rams. They continue to inspire me to push forward in my thinking and knowledge of art, design, science, sports, etc.

_ newtwon's three laws of motion Science is the formula for great design work. Similar to the laws of movement there are laws which fall upon designers. An example of this is Newton’s three laws of movement, and what I see as the corresponding design formula for each law.

The three laws of motion were first compiled by Isaac Newton in his book

Philosophiæ Naturalis Principia

Mathematica. Mathematical Principles of Natural

objects and systems.

Newton's Philosophiæ Naturalis Principia

to explain and investigate the motion of many physical

University of Cambridge Digital Library, 1965

Philosophy, first published in 1687. Newton used them

Stroboscopic Study of an Arm Movement Made by Dancer Patricia Mcbride

_newtonâ&#x20AC;&#x2122;s first law

Every object in a state of uniform motion tends to remain in that state of motion unless an external force is applied to it.

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_newtonâ&#x20AC;&#x2122;s second law

The relationship between an objectâ&#x20AC;&#x2122;s mass m, its acceleration a, and the applied force F is F = ma. The direction of the force vector is the same as the direction of acceleration.

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_newtonâ&#x20AC;&#x2122;s third law

For every action there is an equal and opposite reaction.

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_design's first law

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Every typeface is a state of uniform trends that keep those assets in circulation, unless external forces intervene.

_designâ&#x20AC;&#x2122;s second law

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The relationship between a composition c, itâ&#x20AC;&#x2122;s graphics g and the applied typography t is T = ca. Graphics and Typography are vectors in the law of art direction.

_designâ&#x20AC;&#x2122;s third law

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For every creation there is an equal and opposite recreation.

_ the design principle of this x that

fig. 5.2

Design seeks to create new connections for truly innovative work. Great project results are a delicate balance of rhythm and action. It takes a formula of “this” (Design condition) and “that” (idea) to find a new solution or implementation. You can see this in campaigns, new brands, new business sectors, and startup companies in today’s market. We must always have “this” x “that” in the body of work.

Most commonly, I find this research method to prove grounding. Both to the subject and the exploration of the project become more successful and allow for the user / viewer to relate quickly, yet find something new to discover.

buildllc.com, 2015

fig. 5.3

Over the course of the thesis year. Diagrams were created and used to help explain complication problems, their counter parts and the project solutions. These connected relationships, pain points and opportunity positioning were mapped out in lots of diagram and maps. Each diagram aims to tell a new story around the nature of the thesis and new insights around movement.

Here is a small selection of those diagrams.

Sometimes these diagrams bring clarity to chaos. Create a roadmap for future projects and provides project DNA which can be carried forward for a successful project.

Importance of Diagrams

_ diagrams

Movement can be traced.

Movement by definition

SL OW T OURISM PERSONAL NA

VIGA TION SYSTEM SHORELINE WAY- SIGNING V TRAJEC TO RY VISIBILIT Y INDEX SURVEY DIRECTIONS TA CTILE GROUND SURF PERSONAL NA

ACE INDI CA TO RS

VIGA TION SYSTEM STEERING BEH

AV IO R

SL OW T OURISM SHORELINE CHANGEABLE MESSA ROUTE KNO WLEDGE AND STRA

GE SIGN ( CMS )

TE GY

POINT OF INTEREST COGNITIVE MAP REVERSE PERSPECTIVE ROUTE ANGUL

ARI TY EFFEC T

CONTE XT A WA R ENESS SERVIC

CARDINAL DIRECTIONS ROUTE BA SED LEARNING

E

DWELL TIME

DIRECTIO N MAR KO V DECISION PROCESS

DEAD RECK ONING WAYFINDING

MUFIDS GL OB AL POSITIONING SYSTEM EINSTELLUNG EFFECT GEO-SP AT IAL INFORM AT ION SYSTEM S GY ROSCOPE ENVIRONMENT

AL DIFFERENTIA

TIO N

LEVEL OF SERVICE KINESTHETIC LEARNING HEURISTIC

WAY FINDING

ENVIRONMENT

AL VISIBILI

FIELD OF VIEW KINETICS LO CA TION AW ARENESS TY – LO CA TION BA SED SERVICES L ANDMARK

BAS ED LEARNIN

G KINESTHETIC LEARNING

HEURISTIC

WAY FINDING

FIELD OF VIEW LO CA TION AW ARENESS KINETICS ENVIRONMENT

AL VISIBILI

TY – LO CA TION BA SED SERVICES

L ANDMARK

BAS ED LEARNIN

G

_ migration Among the many animals that perform long distance

butterflies, fish, marine turtles, marine mammals, and birds represent the most impressive performers. They are also the best-studied group, with many and the factors involved in their orientation, than in other groups. The main question of how birds actually do navigate,

fig. 5.4

however, remains unanswered. In this article Professor Schmidt-Koenig reviews the available evidence and suggests that a multiplicity of cues and strategies may be involved.

Some of the longest migration patterns in the world come from animals of all sizes and types. Leatherback turtles, Adelie Penguins, Monarch Butterfly, South Indian dragonflies, Arctic Terns, and Grey Whales are among the animals who have the longest migration patterns. These studies are important to this thesis because it is pulls apart the deep and connected nature of the world and itâ&#x20AC;&#x2122;s need to move to flourish in life.

Life flourishes when it is in a state of movement. This is clear from the natural patterns of migration and the natural state of the world. We are all connected and we need to craft design solutions and stories which tie back to the natural world and expose an underpinning of bioscience.

CNN.com, April, 2015

more details known of their migratory accomplishments

World's longest migrations

migration, such as

U.S. Geological Survey

/ usgs.gov /

2012

DarkEyedJunc0 / thisgreatplanet.wordpress.com / 2011

Dennis Hlynsky / Flight Path of Birds / 2009

Movemen Brad Pitt World War Z, 2013

94

nt is life.

Fabrice Guerin / Mother and Calf Humpback Whale / 2015

luyou boke / luyouboke.com / 2011

_wayfinding + navigation Wayfinding and navigation are related concepts, but they aren’t exactly the same. So, what’s the difference?

Wayfinding, the broader term, refers to how people find their way around environments. Navigation refers to the specific means by which people find their way, including route navigation, landmark navigation, and map navigation.

crucial in both of theses scenarios and create challenges the designer’s role in these spaces. Creating spaces, signage, areas are very important. The scale at which wayfinding is constructed in also vastly important. In both the natural and built environment these products and tools become critical to our ability to move around the world. The exploration and

maps, vestures, visual connection, signage, verbal communications and physical gestures are all aspects of

use of

wayfinding and navigation.

Human Factors in Wayfinding and Navigation

tools and products enabling humans to navigate these

Daniel Montello, 2005

fig. 5.5

Wayfinding is both physical and virtual. Orientation is

Portland and Vancouver, Oregon / Oregonmaps.com / 1949

Table of astronomy, Sacred Geometry, 1728

_eadweard muybridge Eadweard holds a special place is this thesis. For me, he combined everything that makes design, artistic sensibility, science, and innovation worth it. By capturing movement through photography he was able to show how animals and humans create moments, as well as displays mechanical looks into how we behave, act and move. Although he is well known to inspire the motion picture industry, I believe

fig. 5.7

he inspired the documentation of science and medicine. As well as, pushed others to capture and create new ways to capture life.

As a designer, I aspired to create and showcase movement like Eadweard did so many years ago.

Fabrice Guerin / Mother and Calf Humpback Whale / 2015

Fabrice Guerin / Mother and Calf Humpback Whale / 2015

Fabrice Guerin / Mother and Calf Humpback Whale / 2015

_the graphic / art direction of cinematography

I am deeply inspired by the power of story and visual narrative of cinematography. Creating beautiful images

Roger Deakins, Emmanuel Lubezki, Matthew Libatique, Wally Pfister and Conrad Hall are among some of

and connections to place are critical to me.

the people I find inspiring. They use movement, light and action to tell elaborate stories with simplicity and beauty. Scenes set the tone and value set for experiences.

The next page has an example of this scene in Sherlock Holmes, where

Robert Downey Jr. fights an unsuspecting

opponent. The following page reflects the same tone as the scene in the movie, but of an everyday occurrence in New York City,

catching a taxi cab from your apartment.

This is an important exercise because many people forget how important movement is to our everyday life style and flow. We are fortunate to find ourselves in a vast system make complex decisions to enhance our lives. Cinema allows us to take those experience and find new ways to inspire art direction.

Sherlock Holmes

of options and experiences which allow us to move and Warner Bros, 2012

fig. 5.9

James Bond / Roger Deakins / 2013

Sherlock Holmes / Guy Richie / 2011

Sherlock Holmes / Directed by Guy Richie

fig.5.9

This mustnâ&#x20AC;&#x2122;t register on an emotional level.

First, distract target.

Then block his blind jab.

Counter with cross to the left cheek.

Discombobulate.

Dazed, heâ&#x20AC;&#x2122;ll attempt a wild haymaker. employ the elbow block.

And body shot. block through left. weaken right jaw.

Now fracture.

Break cracked ribs.

Traumatize, solar plexus.

Dislocate jaw entirely.

Heel kick to diaphragm.

In summary: jaw fractured, three ribs cracked four broken, diaphragm hemorrhaging.

Physical recovery: 6 weeks.

Full psychological recovery: 6 months.

Capacity to spit at back of head...

Neutralized.

Calling a cab / Nov. 21. 2015

I must go, it is getting late.

Lock the door behind me. pat pockets for keys. eureka. open flap. push into lock. rotate quickly. pull key out. walk hastily to elevator. push button. center of the button lights up this is it, it's coming. the elevator bell triggers me to look up. which elevator will open.

fig.5.9

the left.

I switch weight on my feet. get in. stand politely. go down. hear the second bell. door opens. walk past the doors, through the lobby. and step outside. avoid dog shit. shuffle along the street.

Look up the street. clutch my bag a bit tighter. see the light of a cab headed down 11th.

Calling a cab

11.21.2015

fig. 5.9

ignition, 5,4,3... my muscles react. push my hand from my side upward to the sky. my heart beats a bit faster as I anticipate what the driver will do. actively standing, as I anxiously await his reaction.reaction driver notices my hand. my eyes follow the cab as it switches across two lanes of traffic.

I shuffle back towards the sidewalk eye contact as the driver slows down. my muscles tense again, as I reach for the handle. pull it toward me and hinge open the door.

I look at the seat before sitting.

21st and 7th, please.

Another great example of exceptional cinema considerations for movement is

Jacques Tatiâ&#x20AC;&#x2122;s Playtime.

His films captured the essence of movement, action and lifestyle. Whether it was comical or socially interesting, Jacques could find moments to capture and celebrate. Yes he exaggerates the world he is trying to understand and dimensionalize for the audience.

Playtime takes on an almost experimental quality of film making. Through sounds and different, often exaggerated situations he departs from both realism and the classical Hollywood style of filmmaking. It is comprised of six sequences of a single day in Paris during the 1960s. There is minimal plot or story, which contributes to its experimental nature. What narrative is present is almost exclusively

from a watching fight club. Fight Club became to questions between being an athlete and a designer. There is a discrepancy between the two and I found this books to be the light inside that tunnel. It was then, in that bloody elegance, I swore to be everything I could as a designer and make sense of the two motivations inside me, that I have always felt were so split from one another.

Playtime

Lastly, One of my most sensorial memories of cinema is

Jacques Tati, 1960

driven by Tatiâ&#x20AC;&#x2122;s visual comedy, with very minimal dialogue.

Jacques Tati: Playtime, 1960

Fight Club: Chuck Palahniuk, 1996

_data & photo visualization Paired directly with Cinematography I am deeply connected to photography for the means of design. Photographers like Annie Leibovitz, Ansel Adams, Gary Winograd and Alex Webb. To just name a few. Tell the stories of humanity. In particular through movement. Whether those are humans, animals, or the natural world. Photography inspires people to understand, imagine and learn new things from dimensionality.

The idea of using pictures to comprehend information has been around for centuries, from maps and graphs in the 17th century to the invention of the pie chart in the early 1800s. Data and photo visualization allows designers to highlight patterns, trends and correlations that might go

Data / photo visulization allows the reader to comprehend information quickly, pinpoint emerging trends, identify relationships, and patterns.

Importance of Diagrams

undetected in text-based data can be exposed.

buildllc.com, 2015

fig. 5.11

all over the world. Photography inspires new cultural

Adam Magyar / medium.com / 2014

No machine-readable author provided. / Wikipedia.com / Article created in 2007

No machine-readable author provided. / Wikipedia.com / Article created in 2007

Unknown Artist, Rock Climber, 2014

No machine-readable author provided. / Wikipedia.com / Article created in 2007

The Old One Two by Devin Yalkin

Chronophotographie, dancing woman The Muybridge Movement Studies

Unknown Artist, Glitch

Artist unknown, light studies

Unknown Artist, Scale of life, 2014

ORA HALO: GMUNK INC, 2014

Audience

fig. 6.1

138

_audience When designing around movement there are many factors and considerations which need to be made.

Their is a daunting displacement of scale and users to consider when finding projects for this thesis exploration. My purpose has always been to find new ways of connecting movement to design and people.

I wanted to investigate the range of projects which

fig. 6.1

could utilize movement in new ways. Thus my target audience was broad. In some instance it could be anyone using these tools, however there are specific demographic I have found important. Athletes, commuters, outdoor seekers, and urbanists.

Through the implementation of tools, structure and rituals. This thesis provides opportunities for people to create a new perspective between design and our actions. The media and activity are tangled within themselves and overlap to allow a multitude of opportunities. People need to connect their movements and actions to tangible products and goods, but also to interactions, personal relationships and feelings.

There are lots of these forms developed in the world. I would argue the most essential is the

shoe. Something that in this age has transitioned from a necessity to a feeling and expression of self. The relationship between design and movement tends to output a level of emotional connectedness that many other topics or subjects do not. Another example is transportation, which has equally become a catalyst for personal reflection.

The study of these forms can become overwhelming and can overload the opportunities between the two, but the audience which seems to understand and see the connection between movement and designed outputs of all forms lies between 18 and 37 and is inclusive to all races, genders and cultural backgrounds.

Past Work fig. 7.1

142

_my design past Before completing my masterâ&#x20AC;&#x2122;s program at the School of Visual Arts, I created projects and concepts surrounding movement and action. I created a magazine called [Formulated] which was inspired by

Formula One racing. A personal

inquiry to showcase the beauty of top-tier open wheel racing. I also created a packaging project

fig. 7.1

which researched

beeâ&#x20AC;&#x2122;s, their movements and social

constructs to create new optics to combine package design and the natural world. I have long been inspired by space exploration and the past missions to the moon. Lastly, for my first project at SVA I designed a new way to look at patterns and subway commuters to create personalized products. I used

Marimekko to create and distribute the products.

There are a pattern and rhythm to my work about the exploration of patterns and systems opportunities.

My love for movement and design leads me to find new opportunities to look through new lenses and find moments create pivotal design projects. Here are three projects which inspired me to look through new lenses at movement. Each has asked me new questions and challenged my awareness of the subject and future projects.

Early Explorations fig. 8.1 - 8.6

152

fig. 8.1

_origins Origins is an application that allows users to investigate and understand the origins of their actions and movements. This app is able to give a new perspective on where certain movements, poses or actions originate and what groups currently use them. Actions as simple as jumping rope has a plethora of cultural implications.

Which largely goes unconsidered. This app helps frame the argument for a dictionary of action and terms for each action. From the way we walk to the way ballet is performed, each action holds a different and purposeful value.

This speculative application aims to make people more aware of their actions and the place, time and cultures associated with their current interpretation and meaning.

Origins has a wide range of opportunities, including sign language, exercises and pop culture references such as dancing and cultural physical remarks.

The app allows the user to upload videos and images similarly to Wikipedia and allows people a public platform for identifying different types of movements and show content about each action. This project played an important part to understanding the diverse and dynamic originations of simple actions and movements around us.

Move with gravity: Joe Goode, 2012

Origins

Origins

Jumping Jack

Find out what the origins of your movements are. Upload images and videos to discover their etymology.

UK, 1704

A jumping jack (Canada & US) or UPLOAD

star jump (UK and other Commonwealth nations), also called side-straddle hop in the US military, is a physical jumping exercise per-

Discover

formed by jumping to a position with the legs spread wide and the hands touching overhead, sometimes in a clap, and then returning to a position

Search

with the feet together and the arms at the sides. The jumping jack name comes from the traditional toy of the same name, while "star jump" refers to the person's appearance with legs and arms spread.

Origins

Origins

Jumping Jack

Discover

g the sides. The jumping jack name comes from the traditional toy of the same name, while "star jump" refers to the person's appearance with legs and arms spread.

Images

fig. 8.2

_floc 1.0 Floc is a specilitive app for mobile devices which takes your positioning or GPS coordinates and flocs together all of the information traveling around you at that exact time and place, as well as past timeline experiences which show images that have been taken, news reports from that location and other critical information for those locations.

Floc aims to re-evaluate the mindset we have to location and information. In our modern state of design, we do not need to be in the place where things are happening, yet we are so far removed, and there is so much information flowing around us all the time, that this app looks at those opportunities.

Think of Floc as a new way of deconstructing bits of visual information. This app helps create origins and direct physical relationships between content, the orgin of that content and its relivance to the user individually.

Floc takes inspiration from flocking patterns in birds and insects and begins to create visual relatioship between the singular user and the over all user-ship of the application.

Imagine if you are walking down the street and your applications information chages based on the people you are surround by. What relivant information could you gain and what types of behavioual patterns could be learned, studied and used accoringly.

Mark Harris: Wondrous Wingsuiting. 2013

fig. 8.3

_blip 1.0 Blip is an app which aids in finding new ways of dissecting levels or streams of purposeful information. Blip allows the user to scroll through each section and look at only specifically relevant news, information. By using a 40,000 to O ft. scale of measurements the user can begin to divulge what type of information is more relevant than others types and what is essential to their given or allotted time.

Powers of Ten is a reframing technique that can be used as a synthesis or ideation method. It allows the design team to use an intentional approach to considering the problem at varied magnitudes of framing. This can also be used to generate a large number of ideas during the empathy building process.

It helps designers understand the larger context in which their users exist. By developing a broader understanding of the context designers are able to develop deeper, non-obvious insights.

Blip looks at a users journey and a users daily life to create a new framework for information and how it is show to the user. The information becomes powerful when you see it at it's apporaprate scale, rather then in a collective list with other peices of info.

Powers of Ten by Charles and Ray Eames

BLIP

40,000 ft.

WORLD NEWS, GLOBAL PERSPECTIVE

25,000 ft.

10,000 ft.

NATIONAL NEWS

5,000 ft.

1,500 ft.

LOCAL NEWS, FRIENDS, CALENDER EVENTS

500 ft.

0 ft.

PRESENT STATE OF BEING

40,000 ft.

THE SCALES OF LIFE

NEWS Why snow leopards are in trouble Portraits of Fukushima Inside the world of coffee The private lives of famous artists.

TRAVEL

SWIPE

1.2.16 COPENHAGEN - DM 3.25.16 MEXICO CITY - MX 6.10.16 VANCOUVER - CA

fig. 8.4

_micro-observations Through the implementation of tools, structure and rituals.

This thesis provides opportunities for people to create a new perspective between design and our actions. The media and activity are tangled within themselves and

People need to connect their movements and actions to tangible products and goods, but also to interactions, personal relationships and feelings. There are lots of

overlap to allow a multitude of opportunities.

these forms developed in the world. I would argue the most essential is the shoe. Something that in this age has transitioned from a necessity to a feeling and expression of self. The relationship between design and movement tends to output a level of emotional connectedness that many other topics or subjects do not. Another example is transportation, which has equally become a catalyst for personal reflection.

The study of these forms can become overwhelming and can overload the opportunities between the two, but the audience which seems to understand and see the connection between movement and designed outputs of all forms lies between 18 and 37 and is inclusive to all races, genders and cultural backgrounds.

chronophotography tennis, Jean-Yves Lemoigne, 2010

Woonjea Park

Marcus Shepard

_____________-------_________ ___——— __-

Movement is Inclusive Multifaceted Contagious Instinctual physiological manipulated

fig. 8.5

_frequency the feeling you get when you are in flow is just one indication when you in that state and sometimes we miss that regardless of how self aware we believe we are, so this objects analyzes. My research indicates that we move differently when are we are in a state of flow. Everyone know how flow feels, and sometimes we donâ&#x20AC;&#x2122;t realizes, this gives them a chance to go back an understand / find where and when and how these moments occur/ This will subsequently inform how the behave and move in the future / and allow for better moments of heightened states of flow.

GMUNK, Visualized image, 2013

12.10.15 Woonjea Park Between 3:45 - 6:10 pm

fig. 8.6

_floc capsule Next i would like to introduce floc capsule â&#x20AC;&#x201D; is a product which pairs with floc app and harnesses the information around the user at the time they are in that specific location. This product is a aesthetically pleasing product aimed to get you off your phone and just enjoy your time in the moment without loosing the opportunity to collect relevant information. Like instagram photos, location images, videos. This product creates a timeline which allows you to keep and look at later or use when talking to friends.

Unknown Artist, Glitch visual

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Developed Work & Lenses fig. 9.1 - 9.7

216

fig. 9.1

_tempo Metronome is a redesigned metronome aimed to create a new way of thinking about tempo, pace, speed and keeping rhythm. You may take this metronome anywhere you go to keep the tempo and rhythm.

Research: A major structural feature of Conlon Nancarrowâ&#x20AC;&#x2122;s tempo canons, where canonic material moves at different speeds in different voices, is the places where the musical lines converge. These convergence points can vary in importance and function, and, depending on the type of cannon being used in the piece, there may be only one or two convergence points per piece, or many. This paper will examine the features of convergence points in Nancarrowâ&#x20AC;&#x2122;s tempo canons and illustrate the many ways they are used in his Studies for Player Piano.

Tempo is the Italian word for time, and we use it to describe how quickly a piece of music is performed, as well as a word which describes the intended pace of the piece of music.

Adagio: Relaxed | Allegro: Jaunty | Presto: Fast

fig. 9.2

____-------__________---_-_-------------------____-------__-

_inno A product (Future product Design). Over the last three weeks, we were asked to craft two stories. One for a utopian future and one for a dystopian future. I chose to the dystopian, future where the world is in an apocalyptic state is 2070, and the world lacks resources to stay in one place, like we do now. Our societies begin to migrate for different aspects of food, water, shelter, etc. thus creating land migration paths, which need to be marked by various groups or tribes which are developed over time. So I created a series of markers / stakes which could be placed along paths to indicate / help navigate people to specific areas. I would consider them primitive wayfinding tools adjustable to different circumstances. This first pass at navigation tools led me to think about creating a series of different navigation tools for navigation. These tools could be traditional or non-traditional products. Currently, I am coming up with different ideas that I will be pitching next week.

Since I wanted the product to be a series I found a few projects I really admire. A series of navigation and wayfinding tools which speak to the primitive nature of movement and migration. We need to write a dystopian and utopian story find new opportunities to create future products and services.

_product stories

Product Stories This could be a potential shift in my thesis topic? It just defines wayfinding as the design medium between movement, action and knowledge. An investigation into wayfinding is very interesting. It is a design territory which controls a great deal of how we interact with the world.

My thesis investigates the â&#x20AC;&#x153;leaversâ&#x20AC;? humans use to create different way of moving.

Systems like, wayfinding, data collection and mapping are all aspects of motion and can help frame humanity's existence. We were asked to make two possibles futures 60 years from today.

_dystopian product story We survived on the graces of good luck. 10 years ago today our world was turned upside down. Our cities were destroyed and food supply dwindled until it was non-existent. Our live went from dependent on other too dependent on ourselves. And although we are an unfamiliar world to the one we used to know we continue to consider ourselves capable. As food channels become harder to find, we are constantly migrating in search of fresh water, green grass and things to eat. Our world has become a place of constant moment. We canâ&#x20AC;&#x2122;t stay somewhere very long. We must move to survive. Humanity runs in small (wolf like) packs all over the world. We get along with some and less with others, but we all have common goal; Food. Our lives are hard and because we must move all the time, we also much know where we are going. We rely on ancient forms of technology like compasses, the stars, but we also rely on communities laying out pathways for fertile places and channels of food.

Weâ&#x20AC;&#x2122;ve come up with different ways of communication and markers for migration / food channels. These markers are hand carved with insignia and way-finding symbolism. Each pack has their own story, connection to parts of the world and we all look to use these markers as a way to communicate. These markers are different sizes and colors, they are usually made from local wood or scraps, but all each pack tries to keep a constant visual value, so it will be easily recognized.

We have built this system because, as humans, we know how important way-finding is. In fact we consider it a transition between humanities success or death. So we work together to make theses migration patterns work. We canâ&#x20AC;&#x2122;t sit still any longer, we have to keep moving, finding food and learning from the land. We canâ&#x20AC;&#x2122;t rely on our cities any longer. It is necessary to advance this way finding system to coordinate patterns and travel times. These stakes can be a multi-valve tool or a way to find North. It is essential we make these stakes and utilize them to humanities advantage. The following pages show process, technical and final product for Inno.

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1.24

4.5

1.73

.2

V. 1.0

.78

4.5

1.20

1.1

.2

4.5

1.73

.2

1.2

6.5

V. 2.0

2.25

.2

.75

6.5

.35

1.2

.4

6.5

2.25

.2

1.3

4.2

1.0

.1

V. 3.0

.70

4.2

1.6

.73

.3

4.2

.1.0

.1

.3

9.6

V. 4.0

2.75

.1

.45

.83

9.6

1.2

9.6

.3 .2

_utopian product story In 60 years we will no longer need a map or directions. We will have implants in our bodies which give us the six-sense of direction. We developed the need from every asshole in the world asking for directions! The need for this action is not eradicated. Now we just know where we are going. However, the effects of getting lost are gone. Happy findings are never more.

We know what is around the corner, how to get there and what traffic is like.

What does that mean? Navigation bliss! Road trips are now a breeze! Asking the wrong person and getting lost is completely gone. Starring at a screen while driving or maybe in 60 years â&#x20AC;&#x201D; flying is heavily reduced. People have been long programmable.

In the 1900 we found tribes living in the Polynesian Islands and in New Zealand that could always tell you which way north way. Even when they were placed in a pitch black room 30 ft underground. This remarkable sense was adapted first to Americanâ&#x20AC;&#x2122;s who where used as ginny pigs and second to anyone who wanted to try it. In 2035, it was mandated that everyone must have this sense. It makes the world go around much

smoother. The lack of â&#x20AC;&#x153;transitionâ&#x20AC;? is filled now with knowledge.

Everyone can be happy knowing where they are going and what is ahead of them.

Now that this has been implemented, people are much happier.

They have gained IQ and navigation intelligence. People make smarter decisions because they know where they are going.

This action is saving thousands of lives every year.

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fig. 9.3

_innate goods Innate goods originated from my research in navigation and my conversations with Emilie Baltz. Originally, I was looking for an experience which allowed me to find moments of navigation which tactility was lacking. I went back and forth about how this experience might be a new way to move about a physical space. Then Emilie said something interesting to me, she said; “What if you make it about a object something buys.” At first I wasn’t quite sure if that was what I had hoped for, but as time past it became clear to me that this was an opportunity to look at something as physically removed from our everyday tactile expenses, online shopping. Shopping online has never been more popular and mainstream, and it certainly will not be going away anytime soon.

Online shopping has become the normality and the easiest way to purchase goods, but with the good comes a lot of recourse. Shopping has morphed into a new type of purchasing power, one of extreme fluctuations and elevated manufacturing with a very high return rate.

Almost one third of all purchased goods are returned.

Meaning for every three shirts bought, one is sent back to the store or manufacturer. Whether that shirt was

purchased again is unknown, but the fluctuations of these one third of goods being sent back is in fact millions of dollars, if not close to a billion annually.

This type of manufacturing is volatile and can create a market of “empty goods”, but there is another major issue to the online shopping craze. The goods are being sent and returned by mail. The energy wasted is also a one third greater. The packages are larger and will most likely be sent in the same package back to the store.

So what does Innate goods do? They produce a test kit for the consumer’s preferences, targeting the senses.

For example, if the user would have been in a store when purchasing goods, they may have instantly felt, smelled or tasted the good, to find out that wasn’t really what they wanted. So the good would have never be purchased in the first place, but when the consumer only purchase from online sources, the clarity and probability of the consumer liking the product enough to keep it becomes vague and murky. Often times, people produce the habit of over purchasing, knowing the goods will most like be returned.

Innate goods, kits are made up of three smells, tastes, sounds, textures, and patterns. So the user can find their favored preferences towards goods. These test kits allow the person to better know themselves and let innategoods. com know more about them. Once the kit is used for testing, the consumer heads online to rank them. From best to worst. From this point the user is lead to a page with a goods that match their idealized preferences. The kits are renewed every four month for product upgrades and finds and will partner with top stores like amazon, Nike, Crate & Barrel, etc. for an extended selection of goods.

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TASTE

SIGHT SCENT

SOUND

TOUCH

TONES

COMMON SCENTS

INNATE GOODS

TASTE

SIGHT

SCENT

SOUND

TOUCH

PATTERN SWATCHES FLAVORED STICKS

TEXTURE SWATCHES

WWW.INNATEGOODS.COM

SCENT

SIGHT

TASTES

OUND

TOUCH

WWW.INNATEGOODS.COM

574 NB ORIGINALS

Classic. Expressive. Inspired. Created in 1988 by combining 2 different NB sneakers (we like to call it the original mashup), the 574 has become a symbol of ingenuity and originality.

74.99

fig. 9.4

_floc 2.0 Floc is the geolocation app that pulls data from that particular location to inform the user of what is around them at that moment or past moments in that specific location. I used an example of the a photographer searching for inspirational place around that specific area. The instructor wants something simple, maybe even less technological. I need to develop a new idea, ideally focused on navigation. Maybe these senses could come into play. Maybe an app or device to record all the sounds and smells an individual commute. A map of sorts.

A screen dedicated project. I had a one on one with Allan yesterday to have him catch up on my thesis and help brainstorm ideas for my thesis. He seems to like where I am headed with navigation and wayfinding, but he has asked me to continue to develop my apps from last semester.

He is interested in both Floc and Blip, esp. Blip, although I think he sees the idea differently than I do, so itâ&#x20AC;&#x2122;s a bit hard to get a true feel for what his idea of the app might be. He was intrigued by the dissection of daily information through the powers of ten. But where I think we diverge is what information is extrapolated. I believe he thinks that the app pulls apart circumstances. Like â&#x20AC;&#x153;grad schoolâ&#x20AC;? or air travel. He thinks it is more of a look at the powers of ten in an event or decision. Where I initially looked at fed data.

For example, take Facebook, where you can find every range of information that might be of interest.

So you have international: news, stories, and friends, national: news, stories, friends, a section of the nation (Midwest): “” state: “” city: “” community: “”, work: “”, friends: “”, and family “”. But Facebook does not break down the relationships you might have to those pieces of information. Recently they have allowed you to star favorite profiles to see at the beginning of your feed, but it has yet to illustrate the relevance between friends, national news, and global data, but Blip is a way to harness the connection and segregation of those elements of information. Blip let’s see the scale of how information is relevant to us and others we know. So, I am unsure if this app should be more about circumstance being re-contextualized or information being broken down and grouped together.

V. 1

V. 3

V. 3

V. 4

fig. 9.5

_.otf nyc OTF NYC is an experience for Design Delight has surfaced itself as a type design exploration though the movement of people and things in New York City. OTF asked participants to use their feet to write the first letter of their name. The action is something that comes from a familiar yet, new action encouraging people to think about their movements and intentions. This project originated from looking at Craig Wardâ&#x20AC;&#x2122;s work around a glyph typeface and his work around subway bacteria typography. Yet, the project speaks more to the movements that we take everyday. There is something extraordinary about the movements we consider simple, when in fact, they are quite complex and systematic. A participant said â&#x20AC;&#x153;I relate to the actions, but in an unfamiliar way.â&#x20AC;?

The individual actions taken spoke volumes about their personality and both their physical and mental processes.

Many participants created simple actions with their feet, but their upper body moved quite rapidly and largely when in the action of writing, while other made smaller movements, yet the actions would reversely end up more intricate. The next few pages show the work produced and the participants engagements with the experiment, as well as a process section for finding the right actions and typefaces.

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_OTF NYC Process

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Conclusion

fig. 10.1 - 10.2

320

_conclusion Over the course of the last year I have developed a new understanding of movement. One which sees the invisible, creates opportunities and takes on new forms. Whether that happens in the thesis work or seen in other things in life, to me, movement has changed. Itâ&#x20AC;&#x2122;s morphed and altered itâ&#x20AC;&#x2122;s motivation. I used to see movement as a opportunity and a way to advance our lives. I now see

fig. 10.1

movement as scaffolding, holding together our precious ecosystem and vibrant cultures.

My research led me to finding inspiration and aspiration in the systems around us and intentions we create.

Subjectâ&#x20AC;&#x2122;s like cinematography, photography, data / photo visualization, etc. where wonderful ways of seeing the world. The lens of cinematography took me through the art of making meaning and story though a moving image. From looking at scripts, to segments of a film to the message behind the film and finally to the full length feature.

Film is a very import aspect of movement and capturing movement for entertainment and historical relevance.

So much of film showcases our live in the era they were filmed. The creation and understanding of the use of movement is also crucial. Giving a voice to their actions was a very pivotal part of the thesis work. Understanding what makes movement so diverse and unite onto itself.

I was also intrigued to look at my past to find the source of inspiration for the year long inquiry of movement.

My life in the southwest and my time playing soccer was very important to this work. Ayrton Senna, the legendary Formula One driver, was a massive inspiration to this work. He was an incredible man whose spirit and love for driving and competitive racing is unparalleled.

Heâ&#x20AC;&#x2122;s determination and mindset is why things move forward and become greater. You need people like him in this world. Other aspirational figures like Martha Graham, Zaha Hadid, Alex Webb and others who inspire the actions for change and growth in society by understanding and utilizing the act of movement. The vibrancy, experience and opportunity values it presents as a topic.

Utilizing Isaac Newtonâ&#x20AC;&#x2122;s Laws of Motion during the research phase was extremely important. It taught me how important and parallel design principles are with laws of movement and how they need each other to create new design opportunities. The use of diagrams, and the self-created principal of This x That is integral in the articulation and creation of projects of the year long thesis. Diagrams create an opportunity to look at

and find new lines to cross and projects to consider. We forget that movement is traceable and can be captured in unique ways. Like migration patterns, where the built environment lacks the system or need, animal migration is incredibly important to understand. From bird, turtles, to whales, wild animals need to migrate to find the resource humans has worked so hard to manufacture. This lack of manufactured space is very important to be inspired by and find moments to celebrate in design.

Brad Pitt made a silly, yet very important statement in the movie World War Z. â&#x20AC;&#x153;Movement is Life.â&#x20AC;? This statement is integral to finding the narrative which design can create platforms for solving unique problems. Design has to realize how life works before it can create new ways of empowering those systems.

My past work and future work will be predicated on designing through movement. A space which I find vast inspiration from and hope.

The creation and findings of each project completed through the lens of the thesis allowed me to find new ways of sectioning resources and projects scopes around the need of movement in our lives. Systems like information

and data need to be handled with a different tone from projects that focus on the individual's actions. They have different values and create divides within them.

All of these project have been integral to the exploratory nature of the thesis and to my work for me to progress and morph into an important and influential designer.

Here are some of the conclusions which were considered though the lenses of the thesis.

_lenses _political The thesis explores the political sphere and actions within movement and subsequent actions as a political ramification. For example, the project Floc examines the ramifications between physical spaces and the information centered around them. Floc makes sense of the information

fig. 10.2

floating around us. The things we create from data and wireless streams is become a physical property of our lives. It is taking up much of space we have available for american political viability and we have come to rely on other computers to make and support our lifestyles. Our actions and social inclinations cost us the opportunities to create national self assurance and reliance. _social Movement is incredibly social. We move to live. We rely on all the things that can take us from point A to Z without thinking about the social impact it take to move. Our social systems are no different with the exception that they heavily reliant on online resources. We aim to make our lives more memorable and we do this though experiences.

It has become a phenomenon for this generation for their economic resources to be utilized on experiences, rather

than things or goods. This leads to greater social impact.

Atto used the lens of typography to create bridges between designed things and our experiences within the form of movement. Floc is also heavily invested in the experience and social nature of our societies. These impacts created opportunities to make goods and see thing we normally donâ&#x20AC;&#x2122;t consider. _economic The dollar, euro, and the yen are great examples of how we validate movement and trade in our societies. They are the crux of the actions we take and the good we produce. They are the landfills and respective places ruined by our destructive economic actions.

The economic actions we have taken also allocates us tremendous affordances. Metropolis are built on years of measurable resources, labor and actions. _material x economy x environmental Movement makes use of and the creation of goods.

From clothing to cars, we create things that helps us move about the world. We have a responsibility and

need to create goods that help us make our lives better, yet we need to understand their cost. Our actions create architectural structures, makes the sense of a home and creates the clearest throughways for society to build upon.

Movement makes clear lines and divides natural from the built environments.

But they take resources and materials to build infrastructure and goods to support the actions we take.

Atto looks at the opportunities, consequences and benefits surrounding those choices. One of the projects, Innate goods looks at the consequence surrounding the lack of physical navigation in online shopping and finds a way to lessen the things we unnecessarily purchase online. There are millions wasted in the creation and distribution of these goods. _energy Movement is energy. Everything that moves collects energy and distributes it within the ecosystem. Our use of oil, electricity, minerals, and food all account for our actions and consequences.

chronophotography tennis, Jean-Yves Lemoigne, 2010

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Looking Forward fig. 11.1

330

_looking forward My thesis originally looked at my past and current love of movement to explore new opportunities through design.

This was an exciting and exceptional area of exploration.

My year long investigation allowed me to see things I had yet to see in my work and in the world. I found parallels between design principles and scientific laws / principles.

It was an exciting discovery, because it takes on new

fig. 11.1

design challenges and projects which question and investigate the role of both questions.

Beyond the projects created and explored, I would like to move forward with writing a short book about the similarities and parallels between design principles and scientific and principles of scientific theory. Theses parallels are very important and strategic implications.

Moving forward I would like to create graphics and projects crafting a conversation around the principles crafted from science to tell a new story of design.

CoCl2 in Na2SiO3 Solution, 2014

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Web chelsea-stewart.com Blog chelsea-stewart.com/thesis Design Blog csdsgn21.tumblr.com MFA POD productsofdesign.sva.edu Contact cstewart0021@gmail.com s

Thank You

I am incredibly grateful and lucky to have the support of my family, friends and mentors. Thank you for everything you do every single day. _____----__-_----_______-------___--_-------__

Allan Chochinov Marko Manriquez Alisha Wessler Amy Johnson Abby Covert Andrew Schloss Emilie Baltz Sinclair Smith Janna Gilbert Brent Arnold Steven Dean

Mom , Dad, Marcus, & our Pico

Class of 2016 Long Isioma Panisa Eden Jon Lung Marianna Adem Onalan Qi Lou Van

Class of 2017 Souvik Paul Roya Leila Belen Yang Tahnee Judy Oscar Natsuki

Josh Corn Oscar Pipson Arjun Kalyanpur Julia Lindpaintner

Atto_thesis_2016

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