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J O
P R O D U C T D E S I G N P O R T O L I O K O Z L O W S K A
ABOUT
I’m a recent First Class Honours Product Design graduate, specialising in product development and human centred design. Experience gained in diverse fields, allowed me to develop a strong work ethic, a meticulous attention to detail, and valuable communication skills. Crucially, I have learnt to fully appreciate the importance of a critical, as well as reflexive approach to design practice. Despite enjoying the challenge of individual tasks, I find being part of a team on both- a professional and personal level, most rewarding. As a laureate of the Robert Peake Academic Excellence Award 2017, the pressure of deadlines constructively drives my design process; I feel I’m at my most productive, and creative best, when there’s almost too much to do.
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RÉSUMÉ E D U C AT I O N OVERVIEW
DESIGN EXPERIENCE
LEEDS BECKETT UNIVERSITY 2 0 14 - 2 0 17 BA (HONS) PRODUCT DESIGN 1ST CLASS HONOURS Final year project 1. ‘UmbiIntego’ - A medical device aimed to prevent neonatal death due to Sepsis in Third World Countries. Final year project 2. ‘Souvenirs from the Odyssey’- an exhibition design concept, with an accompanying social campaign video addressing Syrian refugee crisis. Proposed, as an alternative approach to disaster relief.
Both projects were completed to First Class standards.
DESIGNER
The Robert Peake Award for Academic Excellence 2017 (Leeds Beckett University) Shortlisted to exhibit at the New Designers 2017 (London)
NETWORK RAIL | DESIGN INTERN J U L 2 016 Throughout a two week internship, I worked as part of the Internal Network Rail Design Team, York. During this time, I designed a reception area draft proposal, for the plans for the new Glasgow Rail Depot.
SOFTWARE SKILLS
C O N C E P T G R O U P I N T E R N AT I O N A L | PA TO THE CEO J A N - J U N 2 0 11 This opportunity was invaluable in allowing me to develop an overview of the stages involved in the design process in a professional arena. As such, it provided the basis for my future career choice.
EVENTS EXPERIENCE
LS31BT 07403637520
j.d.kozlowska@gmail.com
AWARDS
E Q U I N O X D E S I G N LT D . | 3D EXHIBITION DESIGNER A U G - O C T 2 0 17 In the course of my final year, I have been selected amongst applicants from different Universities for Equinox 3 week internship programme, which was extended to three months, based on my performance. Working within the 3d design team I designed moodboards, visualisations and technical drawings for exhibitions for clients such as Johnson & Johnson, the Discovery Channel, Craghoppers and ABB amongst others. Despite only being an intern, one of my design proposals was shortlisted for a final pitch presentation for the Inmarsat World Communications Conference, Lisbon.
REVOLUTION BARS PLC | S A L E S A N D E V E N T S C O O R D I N AT O R O C T 2 0 13 - J U N E 2 0 17 I worked for Revolution Bars throughout my University Degree. Consulting with the Sales Manager, I was responsible for event strategies, project management and administrative support. Working closely with the management team, I planned and carried out large events (over 200 people), from the initial phone call until final ‘goodbye’. I have also been responsible for developing event schedules and assignments, to coordinate all aspects of running busiest trading days for flagship site- Revolution York. In 2016 as an Events Team, we broke the record of highest prebooked revenue delivered for New Year’s Eve.
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S P E C I A LT I E S User Experience Product Development Human Centred Design Design Communication Exhibition design Video production
Solidworks AutoCAD Autodesk 3ds Max Sketchup CorelDRAW InDesign CC Illustrator CC Photoshop CC Premiere Pro CC MS Office Package Windows iOS
PRODUCTION SKILLS Laser Cutter 3D Printing Wood shop tools
LANGUAGES English Polish
OTHER SKILLS Events Management International Driving License
JO KOZLOWSKA
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I. Souvenirs from the Odyssey II. Inmarsat III. UmbiIntego IV. Discovery V. ABB
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JO KOZLOWSKA
PROJECTS
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SOUVENIRS
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DURATION BRIEF BUDGET FOCUS
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4 months Design a way of aiding current Syrian refugee crisis. N/A Psychology Evoking empathy User experience Industrial processes Film production Exhibition design Outside the box approach
Souvenirs from the Odyssey
‘Souvenirs from the Odyssey’ collection, is a critique of western way of addressing disaster relief, and proposed alternative modus operandi in tackling humanitarian issues. It focuses specifically on the current Refugee Crisis caused by Syrian Civil War. The collection’s(four products) purpose is to aid the Refugee Crisis, in a non-traditional, but rather controversial manner, via social campaign video, and additional exhibition design concept. The video through purposefully insensitive tone, and shocking item descriptions aims to evoke emotional reaction in viewer, and by doing so, tackle the issue of a refugee stereotype, often unfair, and based on imperialistic as well as single-minded presumptions. The word souvenir means: “A thing that is kept as a reminder of a person, place, or event”. ‘The Souvenirs from the Odyssey’ collection, is named this way, so as to initially conceal the proposed function of these products, as well as the video. Upon further investigation, the viewer will discover that the souvenirs in question are relics of suffering, embodying the traumatic events a Syrian refugee goes through en route from their home country to Europe. Souvenirs or loss, of rape, or being forced into a human sex trafficking scheme, of drowning and of fading hope. The shocking discovery is aimed to inspire the viewer to empathise, and truly want to help people in question.
Project 1.
JO KOZLOWSKA
JO KOZLOWSKA
IDEA SUMMARY European public displays an astonishing level of bigotry in regards to the current refugee crisis. Although we are content to live in ignorance of the traumas of non-European nationals, we would take to arms, were such an event to impact our lives directly. The exclusion bias we experience as a result of this kind of positionality, makes us unable to empathise with people outside of our established circle, such as refugee. Because of the evident lack of empathy we are unable to understand refugees, or (want to) help them.
A refugee is someone who has been forced to flee his or her country because of persecution, war, or violence. A refugee has a well-founded fear of persecution for reasons of race, religion, nationality, political opinion or membership in a particular social group. Most likely, they cannot return home or are afraid to do so. War and ethnic, tribal as well as religious violence are leading causes of refugees fleeing their countries.
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If the aim of this exhibition is to modify that perception, and forge empathy in people’s minds, it is necessary for it to be approached without preconception of what it is trying to achieve. ‘Souvenirs from the odyssey’, takes the viewer on a journey. This is achieved by progressing from one product to another, each of which symbolises a deep and moving tragedy, all of which are too crude to step away. The unusual, and questionable form of these objects, promotes an element of natural curiosity, which is to guide the audience through the exhibit. The viewer is tricked into thinking they are looking at a functional, very modern and fashionable new invention. The daring names given to each piece, such as body bag and rape kit will inevitably provoke further investigation still. Ultimately, stories of individuals will emerge, hopefully drawing any sense of empathy to the surface.
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The tangible item, together with an inspiring story of a person in great need, and intentionally insensitive tone, promotes a real chance for positionality reappraisal. When the viewer finally abandons an ‘us’ versus ‘them’ mentality, and recognises the true situation of a refugee, genuine empathy will be generated. The assurance of different approaches lies with the ownership of the discovery. When we determine the true meaning of something, we feel a sense of achievement, almost as if it belonged to us. This again, would increase the value of the exhibition to a viewer, and affirm its place in their memory. //above are extracts from the ‘Designing Empathy’ essay, from May 2017. Full essay with reverences available on request//
Souvenirs from the Odyssey
In order to instigate positionality reappraisal, and acknowledge refugees as integral part of what we consider our society to be, we need to truly empathise with them. Medecins Sans Frontiers (MSF), rightfully recognised that it is impossible to counteract the current empathy crisis we are experiencing, without first understanding the hardships faced by a refugee.
Project 1.
Europe has only accommodated twenty-two per cent of 5 million refugees, who constitute only a minimal fraction of the continents population of 738 million inhabitants. The vast majority are not autonomous, they have no political power, they hope to work, rather than seek government benefits, and ask only for a feeling of safety and security. As such, the fear we seem to experience is almost entirely illogical, but instead emotional. This can be explained to an extent by our natural instinct to fear outsiders, the desire to preserve tradition at all costs, the ease of ignoring certain uncomfortable facts - all of which allow us to justify our irrational bias. In conquering emotional fear in order to empathise, data depictions are relatively ineffective, whilst personalised stories and anecdotes are able to provoke an emotive response. This is because our brains are able to familiarise with them more, and by doing so, position us in the scenario presented and for this reason, empathise. Data on the other hand, however stark and terrifying, still allows disassociation between the viewer and the situation in question.
REFU
Aya, Tripoli
Maan, Aleppo
JO KOZLOWSKA
Maan is five years old. He plays with his cousin Victor, in the street outside his home, whilst his mother watches over them with a warm, and protective smile. Maan dreams of being teacher one day, just like his father Anwar; a tall and imposing man with an air of knowledge and geniality. He lives in a beautiful house, furnished with a colonial coffee table, billowing white curtains and a generous bath. These are Maan’s favourite things. Although Maan doesn’t have any siblings, he hopes to have a sister. Anwar and his wife feel blessed with their little family, and are hopeful of what the future may bring... One fateful day, Anwar returns home from teaching at the local school. Rubble, shards of glass and broken furniture lay where his house once was. An airstrike had hit the street. Maan and his mother are dead.
Aya is twelve years old. She is remarkably beautiful, with captivating dark brown eyes. A mass of thick black curls obscure her face, as a sharp wind flurries around her. Aya apathetically shoves the curls behind her ears, and looks to her feet. She can sense her mother’s apprehension and sorrow, although cannot fathom the reason why. Her mother, Asma, recently fled a sexual slavery ring, where she was relentlessly raped. Aya can only conclude that her mother’s sorrow, and previous absence, must be due to her inability to feed seven children with meagre camps rations. Aya yearns to help her mother, in any way she can. She eats a number of pellets of rat poison strewn about the camp. After a month in hospital, Aya rouses from her stupor and whispers to her desperate mother, “It was one less burden for you maman, one less to feed. I wanted to die”. The naive glimmer of youthful hope had faded from her eyes, leaving in its wake the tormented, vacant stare of an adult.
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Adnan is thirteen. Hopelessly and frantically, he clutches his phone and proof of nationality. His most precious posessions. He travelled here scared and alone. His father was a prominent character within the conflicted government. In the dead of night, soldiers came to their house to deliver punishment for an unspoken crime. They brutally severed his right hand, whilst Adnan watched through the guttural screams. That was when Adnan’s childhood came to an abrupt end. His fraught mother, fearing for her son’s life, called her brother in London begging for him to take in her child. Adnan’s uncle agreed, and within a few days, the smugglers came. Adnan gathered a few possessions, said his heart wrenching goodbyes, then begun his gruelling journey to a brighter future. Once Adnan had successfully crossed the border, he was left to fend for himself and find his own way. It has been two months since he last heard his father’s words of advice or his mother’s gentle laugh. He tries to call them every day, but there is never a response. Adnan doesn’t believe he has a future without his family.
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Souvenirs from the Odyssey Project 1.
Sara is only ten years old. She grew up in a tranquil farming village, on the foothills of Mount Hermon. Her current predicament feels like a terrible nightmare. All about her men are shouting to be heard above the crashing waves, whilst women mutter prayers to frightened children. Her breath catches in her chest, as the boat lurches and rolls. As tears stream down her face, her father, Elias, clutches her ever tighter. This embrace provides little reassurance to Sara however. Her cumbersome life jacket constricts her chest under her father’s fond hold. For a fleeting moment, an eerie silence descends, before the overcrowded boat capsizes, throwing its precious cargo into the cold, dark water of the sea. Sara clutches to her father, surrounded by her mother and three young brothers. Sara’s desperate hope for survival rapidly dissipates. Her life jacket isn’t floating, but rather dragging her down. Sara slips below the surface of the choppy water, as her father’s hands hopelessly reach for her to no avail. She is too weak to fight the weight of the saturated paper which fills the life jacket she prayed would protect her. Sara never had a chance.
Adnan, Moria
Sara, Aegean
UGEE STORIES
JO KOZLOWSKA
SOUVENIR ONE
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INFANT BODY BAG FROM
Project 1.
Aleppo Syria
Souvenirs from the Odyssey
JO KOZLOWSKA
For Maan and his family. In hope that, if his father had it at the time, it would have served him wonderfully.
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JO KOZLOWSKA
SOUVENIR TWO
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POST RAPE KIT FROM
Project 1.
Tripoli Lebanon
Souvenirs from the Odyssey
JO KOZLOWSKA
The rape kit was designed especially for Aya’s mum. May your days be bright and happy again.
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JO KOZLOWSKA
SOUVENIR THREE
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FAKE LIFE JACKET SAFETY CUTTER FROM
Project 1.
Aegean Sea
Souvenirs from the Odyssey
JO KOZLOWSKA
We developed this safety cutter ispired by Sara’s story... if only you had it then, we could have given you a few extra seconds of life.
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SOUVENIR FOUR
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MEMENTO LANTERN FROM
Project 1.
Moria Greece
Souvenirs from the Odyssey
JO KOZLOWSKA
We wanted to help Adnan remember his family. Hopefully, the lantern will assure, he never let’s them go.
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PROCE
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Project 1.
Souvenirs from the Odyssey
ESSES
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JO KOZLOWSKA
VIDEO The promotional video displayed as a part of the exhibition, shows the collection in a style of a fashion brand. Models present pieces symbolising traumatic events in a commercial, unfitting and almost grotesque manner. The irony heavy branding is suggestive of our society’s preference of wilful ignorance. The ‘commercial’ is intended to be transparent, and shock the viewer with its ignorance, making them vigilant about their own sensitivity. Video intentionally comes as an integral part of the exhibition, and it’s meant to be played continuously on repeat.
Video available: https://jdkozlowska.wixsite.com/souvenirs
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‘What an amazing video. Awesome awesome awesome, very well put together.’ The Kloons http://thekloonsviralstudio.com/about/
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Project 1.
Souvenirs from the Odyssey
JO KOZLOWSKA
JO KOZLOWSKA
3DSMAX MODELLING REFUGEE STORIES VIDEO W AT C H I N G A R E A
SOUVERNIR’S NAME
SOUVERNIR’S NAME
SOUVERNIR’S NAME
SOUVERNIR’S NAME
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PRODUCT PLACEMENT
PRODUCT PLACEMENT
PRODUCT PLACEMENT
PRODUCT PLACEMENT
MAP MAP
MAP
Project 1.
MAP
Souvenirs from the Odyssey
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Exhibition’s design as well as the placement, was limited by very low budget, and space availibility throughout Leeds Beckett University Final Year Show.
Project 1.
Souvenirs from the Odyssey
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END RESULT
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INMARSAT
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Inmarsat World Communications Conference Lisbon Congress Centre 3-6 Nov 2017
DURATION
3 months
BRIEF Area specific, see further BUDGET Approx ÂŁ100 000 for the entire project FOCUS Stand design and construction Client communication Team communication 3ds Max modelling AutoCAD drawing
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The brief spamming over 3 months encompassed requirements for five separate areas within Lisbon Congress Centre. Each section was intended to showcase different aspect of Inmarsat satellite infrastructure, latest products and new possibilities for existing clients. Design requirements varied from Virtual Reality Igloo area, through to interactive exhibition in the Transformation Zone, as well as different lightbox displays in Developer and Start up Zones.
Project 2.
Inmarsat World Conference Lisbon
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Project 2.
Inmarsat World Conference Lisbon
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LISBON CONGRESS CENTRE
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Areas created in accordance with specific briefs:
1. Transformation Zone 2. Developer Zone
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3. Set up Zone 6.
4. VR Igloo 5. Reception Desk 3.
6. Lightbox
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JO KOZLOWSKA
TRANSFORMATION ZONE BRIEF • Information feature in entrance hall RECEIVED • 5m diameter • Open plan • 4 areas marked with previously specified Inmarsat colours • 3 computer/tv screens per area • Leaflet holders required • Allowing further possibility of PERCH displays • Wow effect • Mordern/futuristic
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First ideation drawing
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Inmarsat World Conference Lisbon
Inmarsat World Conference Lisbon
JO KOZLOWSKA
Project 2.
3dsMax modelling
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3dsMax modelling
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PROPOSAL 1. 3dsMax modelling
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Project 2.
Inmarsat World Conference Lisbon
3dsMax modelling
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3dsMax modelling
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PROPOSAL 2.
3dsMax modelling
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START UP ZONE AutoCAD drawing 3dsMax modelling
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Project 2.
End result
Inmarsat World Conference Lisbon
BRIEF RECEIVED • Wall wide Lightbox • 3 interactive pods • Possibility of two extra screens • Low budget • Inmarsat Shanghai theme
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End result
JO KOZLOWSKA
DEVELOPER ZONE AutoCAD drawing End result
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Project 2.
3dsMax modelling
Inmarsat World Conference Lisbon
BRIEF RECEIVED • Wall wide Lightbox • 12 product displayed in 4 separate categories • Secure products preventing visitors from touching them • 5 screens • Low budget • Design fitting stalactite theme from the lobby
3dsMax modelling
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IGLOO AutoCAD drawing Photoshop visual
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Project 2.
End result
Inmarsat World Conference Lisbon
BRIEF RECEIVED • Walling surrounding VR Igloo • External graphics
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End result
JO KOZLOWSKA
UMBIINTEGO
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DURATION BRIEF
BUDGET FOCUS
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4 months Design a way of ensuring that mothers and children in emerging markets have the greatest chance of survival in pregnancy and birth. N/A Design from distance Postitionality Modelling User Testing Reflexivity
Project 3.
An Umbilical Stump Cover, for topical application; aimed to prevent the neonatal mortality due to Sepsis and associated infections, in Pakistan. The RSA (in partnership with Glaxo Smith Kline) Brief 'Happy Birthday', has directly asked us to take a closer look into the improvement of mortality rates of mothers and newborns in developing countries. It specifically emphasises the need for thorough understanding of the surrounding environment, and the daily struggles of family life through extensive research. Any innovation expected to better their daily lives is suggested to be frugal in nature, given the few resources available and the low income of the families themselves.
UmbiIntego- Umbilical Stump Cover
JO KOZLOWSKA
118 207 children were born in Pakistan, from 1st until 8th of January 2017. Current neonatal mortality of 46 deaths per 1000 births means, that 5910 of them died. Since 20% of all deaths under one month of life in Pakistan happen due to preventable, infantile Sepsis... We could have saved 1182 lives, over the space of 8 days.
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Project 3.
IDEA SUMMARY
UmbiIntego- Umbilical Stump Cover
JO KOZLOWSKA
The greatest risk of neonatal mortality occurs predominantly within the initial 24 hours, and the following first week of life. Ninety-nine per cent of preventable child deaths happen outside of the comfort of the first world. Pakistan has the second highest neonatal mortality rate, with 20% of all newborn deaths due to sepsis and associated infections. This has been frequently linked to the mistreatment of the umbilical stump after birth. Modern medical practice keeps the umbilical region clean and dry. In Pakistan however, specifically rural areas, where education is scarce, it is customary to apply a variety of ointments including mustard oil, coal, and breast milk. Contrary to social belief, this does not prevent infection, but rather aids its development. UmbiIntego allows medical professional to directly cover the neonatal, umbilical region, thus restricting the use of traditional treatments, and therefore preventing infection. The plaster falls off four days post-application, when the risk of infection has reduced to an acceptable level. The plaster itself includes nanoparticles that release a bright, yellow dye, when in contact with infected tissue. This will alert the mother, indicating that the child is in a need of urgent medical attention, and she should return with the baby to closest clinic or a hospital.
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Project 3.
UmbiIntego- Umbilical Stump Cover
JO KOZLOWSKA
IDEATION
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UmbiIntego- Umbilical Stump Cover
SOLIDWORKS MODELLING
Project 3.
JO KOZLOWSKA
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JO KOZLOWSKA
COVER:
NANOPARTICLES:
PebaxÂŽ MED- breathable, water resistant, semi- transparent and rubbery material.
Release a bright, yellow dye, when in contact with infected tissue, alerting the mother, that the child is in a need of urgent medical attention, and she should return with the baby to closest clinic or a hospital.
PLASTER:
Falls off four days post-application, when the risk of infection has reduced to an acceptable level.
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Product testing
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Project 3.
TESTING & REFINEMENT
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UmbiIntego- Umbilical Stump Cover
JO KOZLOWSKA
Project 3.
UmbiIntego- Umbilical Stump Cover
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“...We ceased using antibacterial Chlorhexidine powder, because newborns absorb substances through the skin- the umbilical stump especially... I think it [UmbiIntego], is a really great idea, and has a working chance of being applied worldwide.” Mrs Sarah Jowitt Postnatal Ward Manager St James’s University Hospital
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JO KOZLOWSKA
DISCOVERY
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Debenhams Oxford Street London BUDGET
October 2017
FOCUS
Moodboard and visualisation sketch for interior store stall: Feature(s) with wow effect Emphasis on Discovery Adventures Table with storage for extra clothing Outdoor/adventure theme Low/Unknown at that stage Rapid ideation sketching Stand design Moodboard making Team communication
I was asked to provide a moodboard and first ideation sketch ideas for Discovery Craghoppers store in London Debenhams. It was my responsibility to brief the team in preparation for the project, then work with the artist to create drawn visualisations for the client- for the initial design evaluation.
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Discovery Adventures for Craghoppers
BRIEF
3 hours
Project 4.
DURATION
Discovery Adventures for Craghoppers range
Discovery Adventures for Craghoppers
MOODBOARD
Project 4.
JO KOZLOWSKA
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Project 4.
Discovery Adventures for Craghoppers
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SKETCHES
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JO KOZLOWSKA
Work with the artist
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JO KOZLOWSKA
END RESULT
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Discovery Adventures for Craghoppers
JO KOZLOWSKA
ABB
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JO KOZLOWSKA
ABB LuxLive Show ExCel London
BUDGET Very low FOCUS Low budget stand design Graphic Design
16-17 Nov 2017
ABB for LuxLive design brief put the emphasis on a very low budget solutions, with a very classic, professional graphics. Stand was meant to fit within ABB’s visual brand standards, be minimal in form and communicate products’ function transparently.
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Project 5.
BRIEF Small exhibition stand 6m x 3m space- minimal design concept, exhibiting 4 types of products Colour scheme: red and white 2 person seating area with a TV Graphics wall 1m x 1m square storage with door(mid stand)
ABB for Lux Live show
DURATION 1 week
JO KOZLOWSKA
END RESULT 3ds Max visuals
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Project 5.
ABB for Lux Live show
AutoCAD drawing End result
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THANK YOU
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