Climate Gallery Combining Virtual Reality & Climate Activism
Siobhan Keegan | DES 505 | SP21
Abstract The COVID19 pandemic has lead non-profits, such as the environmental justice organization Climate Creative, to seek new remote ways in which to connect with their audience. VR offers the ability for non-profits to create virtual spaces to communicate and interact with their communities directly and continue garnering support as the pandemic continues. The specific goal of this study is to Utilize VR to create a 3D gallery for Climate Creative to promote climate issues and solutions through art and creativity. This study takes a pragmatic approach, combining qualitative and quantitative data collected through a variety of research methods including; surveys, observations, interviews, literature reviews, comparative analysis and storyboarding. Data will be collected and analyzed to determine the most effective form of branding and virtual space necessary to make the VR gallery an engaging and informative experience. Users will potentially be able to submit and/or view art in a social virtual gallery space that can be accessed through a VR headset or desktop computer. The study hopes to find that this virtual medium of interaction with art and climate change will be successful in user education and enjoyment and will be an effective approach for non-profits to connect with their audience and supporters during the pandemic.
Table of Contents CHAPTER ONE Introduction 5 Problem/Purpose statement 6 Preliminary Research Summary 7 Importance of Project 8 Assumptions 9 Scope of Limitations 10 Operational Definition of Terms 11 3 Hypotheses 12 Initial Proposed Solution 13 Project Timeline 14-15 Chapter Conclusion 16 CHAPTER TWO Literature & Website Review 19 Initial Survey Results 20 Panel of Experts 21 Personas 22 Final Hypothesis & Solution 23 Chapter Conclusion 24 PERT Chart 25
CHAPTER THREE
CHAPTER FOUR
Introduction to Proposed Solution 27 Benefits 28 Users & Stakeholders 29 Inspiration 30 Preliminary Ideas 31 Deliverables & Design Drivers 32 Attributions 33 Solution Matrix 34 Competitive/Comparative Analysis 35 Persona Journey Map 36-37 Journey Map Evaluation 38 Persona Sub Problems 39 Storyboard 40-41 Design Methods & Timeline 42 Technique & Technology 43 Gallery Principles 44 User Needs 45 Prototype Sketches 46 Initial Gallery Prototypes 47 Logo Sketches 48-50 Branding Sketches 51 Showroom Testing 52-53 Artsteps Testing 54-55 Spoke Testing Cont. 56-57 Gallery Space Analysis 58 Gallery Space Feedback 59 Branding & Link Development 60-62 Climate Creative Connections 63 Navigation Design 64 Gallery Refinement 65 Final Gallery Images 66 Branding Feedback 67 Chapter Conclusion 68
Completed Gallery 70 Strengths & Weaknesses 71 User Feedback 72 Gallery Features 73 Artist-User Application 74 Accessibility 75 Service Model 76 Artists 77 Future Opportunities 78 QR Code 79 Final Feedback 80 Conclusion 81 BIBLIOGRAPHY Bibliography 82-83 APPENDIX Initial Survey Questions 86-87 Logan Evasco Bio 88 Val Evans Bio 89 Joshua McVeigh-Schultz 90 Daphne Mir 91 Mira Musank 92 Rachel 93 Persona Daily Scenarios 94 Challenges & Sub Problems 95 User Testing Survey 96-97
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Chapter One Introduction
“Combining creativity and environmental consciousness in a way that creates community, builds skills, and enacts change.” - Climate Creative
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This study focuses on the ability of virtual reality to utilize galley exhibitions for the promotion of creativity and climate education. The impacts of climate change continue to worsen with every passing year. NASA’s 2021 climate data revealed that the Earth has experienced a 2.1 degree Fahrenheit rise in global temperatures since 1880, polar ice sheets are losing 428 billion metric tones of mass per year and sea levels have risen nearly 7 inches over the past 100 years (NASA 2021). Working in partnership with environmental justice and media advocacy non-profit Climate Creative this study will develop branding for a virtual reality Climate Gallery to help address and promote climate activism and increase awareness of climate issues and solutions. Alongside creativity the gallery aims to promote social interaction and community during the ongoing COVID19 pandemic and shelter-in-place order that has kept many Americans in isolation over the past year. 5
NASA’s Vital Signs of Climate Change 2021.
Problem Statement The impacts of climate change including rising global temperatures, melting ice sheets and rising sea levels, continue to worsen with each passing year. As such, there needs to be a new form of climate change education that is creatively inspiring and engaging to help inform the general public on climate issues and solutions.
Purpose Statement The purpose of this study is to develop branding for a virtual art gallery for environmental justice non-profit Climate Creative. Focusing on the promotion and education of climate issues and solutions through an interactive, virtual medium. Hiker overlooks retreating glacier in Banff, Canada. 80% of which is 6 expected to melt within the nest 50 years (Alam 2018).
Preliminary Research Summary Climate Change “The current warming trend is of particular significance because most of it is extremely likely (greater than 95% probability) to be the result of human activity since the mid-20th century and proceeding at a rate that is unprecedented over decades to millennium” (Climate Change 2021).
Virtual Reality “many organizations, charities, and schools are turning to immersive media—virtual reality, augmented reality, mixed reality—to bring the effects of climate change closer to home and ultimately inspire action” (Rogers 2020). “We suspect that the strong learning effects in immersive VR reflect the medium’s unique ability to fully engage a subject in an experience” (Markowitz et al. 2018).
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Importance of Project It is vital to the longevity of our planet and resources that more people come together and act to prevent and slow the impacts of Climate Change. The consequences of global warming and climate change on our environments are devastating and will continue to worsen unless we, as a global community, commit to change. Virtual reality experiences may help in this mission, bringing individuals face-to-face with the realities of climate change as well as the solutions that provide hope for a more sustainable and protected future. Since the beginning of the COVID19 pandemic, the majority of social interactions and events have had to be held virtually. As a result, non-profit organizations have had to find new ways to connect and interact remotely, with many struggling to garner the same level of interest and support. Living through a global pandemic is a justly frightening experience and, consequently, it is very easy to forget about or lack the energy to focus on other continuing global issues such as climate change and global warming. The Climate Gallery will offer users a new way to interact and learn about climate issues/solutions in a lighthearted and creatively inspiring way.
(Top Image: Sign held up during a 2019 global climate change protest in Germany. Bottom Image: Man wearing protective mask observes artwork during the COVID19 pandemic.
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Assumptions People are looking for new ways to interact remotely due to the ongoing pandemic. Users are more open to learning about serious topics in ways that are perceived as fun and entertaining. Memory and retention is higher if information is learned in a fully immersive gallery environment. Non-profits have been struggling since the outbreak of COVID19. A gallery can help promote climate education and environmental activism through art and creativity. Artists and business owners could benefit from showing their work in a virtual setting. Issues surrounding climate change and global warming continue to worsen. Creativity and design play important roles in the promotion and global communication of environmental activism.
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Scope of Limitations Design Time - Project to finish in May at the end Spring 2021 semester, potentially reducing the scope of the project. Design limitations of mock-up gallery spaces, full branding may need to be shown in a separate prototype if available prototypes are unable to accommodate customizations. Number of people able to be within the virtual gallery at a given time may be constrained depending on prototype system.
Procedure COVID19 pandemic prevents any gallery iteration or presentation from being held in physical space. Gallery must be accessible remotely via VR headset or desktop. May only be able to connect with and present the work of a select few artists given the short time-frame. Social interactions must remain appropriate and safe for all ages and gallery visitors. All art shown in gallery must be relevant to climate change and environmental justice.
Branding must be transferable to physical pop-up space or gallery website.
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Operational Definition of terms VR (Virtual Reality) - A digitally created simulation of reality. User interacts with objects and other users in a computer generated three-dimensional space, often viewed through a computer screen or VR headset. VR Headset vs Desktop - VR headsets enable the user to fully access virtual reality through a headmounted device and hand-motion tracking controllers. A desktop computer and/or laptop can also enable users to access virtual reality using their monitors, keyboard and mouse, although the experience will not be as immersive compared to a headset. Climate Change - Local or global shift in climate patterns. Recent 19th century acceleration in climate change largely attributed to human interaction and pollution. Global Warming - Rise in Earth’s temperatures; including the ocean, surface and atmospheric temperature. A result of the greenhouse effect as pollutants collect in the atmosphere and trap heat. Virtual Gallery - A computer generated art gallery that can be accessed through a website or VR headset. Gallery Pop-up - Small mobile gallery installation able to showcase a selection of artwork in a variety of physical environments. COVID19 Pandemic - An ongoing (As of Feb 2021) infectious virus causing severe respiratory illness that has resulted in a world-wide quarantine and series of varying shelter-in-place orders across the United States. Branding - Symbol, Text, Color and overall identity used by companies for marketing and identification. 11
3 Hypotheses
1
A website based gallery has the ability to promote climate and environmental issues in a familiar, creative and engaging form.
2
A VR (Virtual Reality) gallery has the ability to bring users face-to-face with climate issues and create a space for users to interact with one another remotely and learn about climate issues together through creative mediums.
3
Creation of a physical pop-up climate gallery will enable locally based individuals, artists, activists and non-profits to connect, share their expertise together in support of environmental justice.
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Initial Proposed Solution To design branding for a virtual reality Climate Gallery, focusing on combining education and creativity together to boost support for Climate Creative and climate change awareness. This gallery also hopes to support a new form of social interaction during the COVID19 pandemic.
Virtual Reality headset in use
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Project Timeline Week 1 - Jan 25th
Week 2 - Feb 1st
Week 3 - Feb 8th
• Establish journal blog
• Draft three potential projects
• Problem/purpose statement
• Evaluate existing 505 reports
• Review blogs
• Identify users, environmental context and potential references
Week 6 - March 1st
Week 5 - Feb 22nd
Week 4 - Feb 15th
• Finalize survey, bibliography
• Research Proposal
• Create Personas
• Identify comparative reference sources, research methods
• Start bibliography, panel of experts
• Identify sub problems, possible hypothesis, solutions, storyboards and journey maps
START
• Create timeline, panel bios and pert chart
• Draft survey
Week 7 - March 8th
Week 8 -March 15th
Week 9 - March 22nd
• Midterm preparation
• Midterm presentations
• 1 on 1 advising
• Midterm report and written research proposal
• Begin iteration of branding
• Review of proposed solution
• Begin testing VR spaces and gallery options
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Week 10 -March 29th
Week 11 - April 5th
Week 12 - April 12th
• Interviews with panel of experts
• Identify possible artists and begin outreach
• Feedback on final branding design • Begin implementing into VR space
• Branding continued
Week 15 - May 3rd
Week 14 - April 26th
Week 13 - April 19th
• Make alterations and updates based off of observations, user testing and feedback
• 22nd Earth day - Trial launch?
• Revision to branding based on feedback
• User observation and feedback
• Update branding in vr space and begin adding artwork
Week 16 -May 10th
Week 17 - May 17
• Final touches to branding, vr space and artwork display
• Final gallery launch • Completion of gallery branding and VR space • Final Written research report due
FINISH 15
Chapter Conclusion Chapter one has highlighted the need for new forms of climate activism and increased awareness and participation in preemptive and sustainable solutions. Preliminary research suggests that a virtual reality gallery could be an effective way to communicate issues surrounding climate change to a wide, new audience. Further research into the potential of VR for climate activism will done in the next chapter to determine if it is the best course of action for this study.
Sign held up in climate march at Union Square, San Francisco
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Chapter Two Research Methods This Chapter will focus on the types of research methods used through out the study to form hypotheses, generate user feedback and form effective and well tested solutions.
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Research Methodology Literature/Web Site Reviews
A selection of relevant web sites, articles and books have been reviewed to help form hypotheses and solutions concerning the effectiveness of VR education, and climate activism through creativity.
Comparative Analysis/Mapping Matrix
A mapping matrix was used to determine the best gallery format and location for a variety of users. Existing digital and VR galleries were compared and analyzed for their ability to promote awareness of climate change and express creativity.
Observations/User testing/Feedback
Primary observations of potential VR gallery prototyping tools will be tested. As the final prototype is developed continuous user testing will be used to gather feedback and measure how effective the gallery’s space, branding and social capability both through desktop and VR headset.
Interviews With Panel of Experts
Interviews, project reviews and expert user testing will be conducted throughout the project with a selected panel of experts in the fields of exhibition design, virtual reality and climate activism.
Story Boarding
Combining persona research with proposed hypotheses to create visualizations of final solutions in use.
Survey
An anonymous digital survey was created to test the levels of public interest surrounding galleries, VR and climate activism.
Artist outreach and showcasing
A selection of artists and artwork related to climate change will be collected and showcased within the virtual gallery.
Personas/Scenarios/Journey Mapping
Personas and persona scenarios will be created to help focus the target audience and appropriate develop solutions. 18
Literature & Website Climate Change & Art
Review
“Each of us, sometime and somewhere in our lives, has been profoundly moved by a piece of art; a song, a poem, a book, a painting or a film. The values and desires inherent here become absorbed into our psyche, they inform our response, and are embedded to form the person we can be and the societies we construct” (Buckland, 2013). Throughout the review of literature and websites, art has been found to be a powerful and effective way of visualizing and communicating climate related concerns.
Virtual Reality
“In all of our investigations, after experiencing immersive VR people demonstrated knowledge gains or inquisitiveness about climate science and in some cases, displayed more positive attitudes toward the environment after comparing pre- and post-test assessments.” (Markowitz et al. 2018). Existing studies of users experiencing climate-impacted environments in VR have noted increased user engagement and higher memory recall and emotional response to climate issues.
Non-Profits & VR “virtual reality (VR) technology increases empathy and can influence people toward pro-environmental behavior. Non-profit organizations are increasingly marketing their causes using virtual reality and they report increased donations when VR technology is employed” (Nelson et. al 2020). Non-profits have found success in utilizing VR in their campaigns and connecting to their audiences through a fairly new and exciting medium. 19
Initial Survey Results
The results showed that half of respondents had some experience with virtual reality while the other half had no experience. Indicating a potential for enticing users to interact with a new emerging media form.
Initial results have found that no individuals are confident in their ability to positively impact climate change. Highlighting the need to boost public confidence in climate solutions and individual ability.
The majority of responses revealed that the majority of individuals never engage in climate/environmental activism with only 14.29% engaging occasionally.
The survey found that over half of respondents were extremely interested in creating art to help further climate education. Suggesting a gallery aimed at individual art, creativity and activism may be highly effective.
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Panel of Experts
Logan Evasco
Val Evans
Joshua McVeigh-Schultz
Social Impact Designer
UK Based, Freelance
SFSU Design Professor
Founder & Director of
Exhibition & Graphic
Background in Design
Climate Creative
Designer
research, Media arts, VR and Social sciences
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Personas Jennifer Garbett is a 19 year old junior art student at the University of Berkley. Jennifer has been missing hanging out with fellow students and friends since many of them moved away at the beginning of the pandemic, with a few even leaving the United States. Studying at home everyday has been a lonely experience and she is looking for ways to virtually hang out and learn with her fellow classmates.
Craig Shore is a 40 year old corporate lawyer in San Francisco. Craig is empathetic and hardworking and really enjoys his job. However, he often worries that the companies and big businesses he advises don’t always have the most ethical and environmentally friendly goals in mind. Craig is open to learning new ways to better himself and his work in more ethical and environmentally conscious ways.
Geoff Lancaster is a 72 year old retired marine biologist living in Monterey, California. Even after 45 years working in the industry Geoff never tired of the beauty and mystery of the marine environment. Since his retirement last year Geoff decided to learn how to paint. He would love to share the beauty of the marine world with more people and often wonders if the marine environments he paints will still be as beautiful in the years to come as the climate changes. Geoff still wants to help preserve the underwater world he studied for so long but is hesitant to share his paintings as he is new to painting and worries his skills are not established enough to show.
Monica Ronael is a 28 year old director for a non-profit environmental organization in the Bay Area. Monica’s work focuses on outreach and education for climate issues within California. Monica most enjoys connecting and becoming partners with other local non-profits. However, since COVID19 began it has been difficult finding new ways to partner with other organizations and achieve the same level of community support and engagement as before. Monica grew up in San Francisco and loves taking walks along the ocean and redwood forests. She hopes her work will make a positive difference in the fight against climate change, so that future generations are able to enjoy the same environments she loves.
Dezi Garbon is a 25 year old full time designer for an advertising company in San Jose. Since COVID19 began Dezi has been working remotely and spends most of her days at home working on her laptop or sketchbook. Dezi’s favorite pastimes are visiting museums and galleries. She often draws a lot of inspiration and motivation for work from the art and exhibitions she visits, and has really been missing those experiences since the start of quarantine.
James Campbell is 23 years old, works full time for a small bakery and dedicates much of his free time to environmental activism and social justice. Before COVID James often helped organize events and protests to help advocate for climate issues in the Bay Area. Since the pandemic James hasn’t been able to attend as many events and worries people aren’t as interested in preventing climate change as they were before COVID. The bakery James works at often has small gallery showings and James would love the opportunity to share his passion for climate activism at work too.
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Final Hypothesis A virtual reality Climate Gallery, focusing on climate change and environmental justice through creativity and art will increase public awareness and participation in climate activism. The VR medium will also improve social engagement between individuals and create a vibrant community of artists, learners and educators.
Proposed solution To design branding and working prototype for a virtual reality Climate Gallery, focusing on combining education and creativity together to boost support for Climate Creative and climate change awareness. This gallery also hopes to support a new form of social interaction during the COVID19 pandemic.
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Chapter conclusion Research conducted throughout chapter two has further highlighted the need for increased awareness and action regarding climate change. VR has also proven to be a valuable tool in bringing both the problems and solutions surrounding climate change to life in a engaging and evocative form. There also appears to be a openness in learning and creative expression concerning climate change through art. This suggests that a Climate Gallery would be an effective solution to the challenge of getting more people involved in climate activism.
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PERT Chart - Program Evaluation Review Technique Comparative analysis
Analysis of past projects
Design Research Potential solutions/ Hypotheses Report and revised proposal
Research methods
Interviews with experts
Literary Research
Field Research
Gallery Branding (Logo + Color)
Midterm
Written research report
0 Final Presentation
Final
Website hosting/ Integration
Design Prototype
Feedback adjustments made
Existing VR Experiences
Gallery/Exhibition Branding
Books/Articles/Journal Midterm Presentation
Surveys
Artist + Climate Creative feedback
User Testing
Trial gallery launch + Observations User feedback in VR + Desktop
Artist Outreach
Application of branding + Art in VR space
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Chapter Three Design Solution Chapter three explores the inspiration and development of the final solution including a competitive analysis of existing galleries, climate conscious organizations and persona scenarios.
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Introduction to Proposed Solution VR has been found to be an effective form of communication and artistic expression. This study aims to utilize VR in the form of a Climate Gallery. The gallery will feature artwork that raises awareness for climate/ environmental issues and potential solutions. Chapter three begins to explore how best to combine education and creativity for the gallery’s branding and prototype.
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Climate Gallery Benefits • Increase interaction and awareness of climate change solutions/issues • Provide a new way for friends, individuals and families to interact together remotely • Create a space for artists to share their work with a new audience • Develop new ways for nonprofits to connect with their audiences • Help further use of VR as a media form for climate activism.
Galleries & VR Oculus virtual reality headset in use
COVID19
Roadsign urging users to shelter-in-place during the ongoing COVID19 pandemic
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Identified Users • Young adults in quarantine are the primary target user • Open to anyone interested in creativity and climate justice • Initially focused on artists in the bay area • Artists and designers who advocate for climate change solutions • Climate activists • VR enthusiasts • Directors of other non-profits looking for inspiration
Stakeholders • Climate Creative • Environmental Non-Profits • Government funded climate organizations • VR companies • Potential global benefit as more people learn and support climate change solutions.
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Inspiration
A selection of virtual gallery experiences around the world available through Google Arts & Culture Initial inspiration drawing on existing virtual reality museum and gallery experiences including the Google Arts & Culture collection of 360 tours and the incredible 3D art installations within the Museum of Other Realities. Inspiration for prototyping arose from existing VR spaces that allow social interaction through vocal speaking or text messaging.
User explores Matt Schaefer’s Sci-Fi World within the Museum of Other Realities
Social interaction in a VR gallery made using Artsteps 30
Preliminary Ideas Potential Prototype Platforms
Design promotes community and environmental themes Mapping, geography, biomes, weather, color compliments Climate Creatives logo
Possible prototype generators Artstep creates gallery spaces that can be customized and embedded into a website. Mozilla Spoke creates virtual spaces for any use/ purpose suitable for both headset and desktop.
Create unique ways for users to interact with art and learn Art submissions, drawing in gallery, animated artwork, written posts, guest speakers Potential to have the gallery appear in different climate environments Outdoor & indoor areas, glacier, forests,
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Deliverables & Design Drivers Logo Climate Gallery logo design. Potential to have both a symbolic logo and logotype.
Gallery logo used on front desk of the Gibbes museum of art
Signage Wayfinding and signage for use within the gallery. Including directional signs/floor indication and description signs for the art work displayed.
Example of directional signage used within the museum
Prototype Working prototype with climate art and social interaction capability. Built using existing prototyping tools to get a feel for how a full VR gallery would function in terms of scale and social interaction between users and artwork.
VR gallery space made through Sketchfab
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Attributions Social Gallery supports social interaction and community. In-gallery interaction through speaking, written messages or drawing. Artwork encourages discussion and collaboration of ideas.
Creative Supports an inclusive space for artists and creatives to share their work. Branding will be eye-catching and colorful, enticing the viewer to enter the gallery experience.
Educational Branding and displayed artwork focuses on climate change’s impacts and solutions. Design aims to be a balance of seriousness and hopefulness.
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Solution Matrix Physical Gallery
Individuals
Bay Area
Global Community
Desktop Gallery
VR Gallery
Conclusion A desktop gallery would be the most useful for connecting a broader global community. The Bay Area community on the other hand would benefit from direct contact with physical gallery spaces. VR galleries would be the most beneficial to individuals looking for remote social interaction in virtual spaces. Most Useful Somewhat Useful Least Useful
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Competitive/Comparative Analysis NASA Global Climate Change
Climate Conscious Climate Designers Climate Gallery
Pros: Very climate focused, educational, serious Cons: Less focused on creativity
Pros: Very climate focused, global community, educational, creative solutions Cons: could benefit from vr meet-ups and events
Uncreative V&A Online Collections
Pros: Elegant branding, Large collection, mobile/desktop friendly Cons: Not interactive, less engaging layout
Google Arts & Culture
Pros: Global, great range of art and culture, accessible remotely Cons: Not focused on climate issues, less social
Climate Unconscious
Creative
Museum of Other Realities
Pros: Incredible interactive experiences, social, uplifts artists Cons: Not focused on climate issues 35
Climate Gallery - Persona Journey Map - (With Solution) Jennifer Garbett - Art Student Morning 1. 2.
Afternoon
Has breakfast and cram studies for online quiz Attends morning zoom lecture
3. 4.
Is inspired by the combination of art and climate education.
5.
Decided to study more before quiz
1
2
3
4
6. 7.
Takes online quiz and does well Invites friends to meet up in the virtual climate gallery.
“Glad I studied more!”
“This art is so meaningful!”
“It’s nice to see everyone” “I wish I had studied more”
Whilst scrolling online during lunch she discovers the climate gallery
Evening
5
6
“It was so fun to hang out this way!”
7
Reflection 8.
Virtual gallery offered a fun new way to interact with friends. Helped decrease loneliness and inspired creativity and motivation. Jennifer and friends also engaged with and learned about climate issues/solutions. “Definitely makes quarantines more bearable”
8
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Climate Gallery - Persona Journey Map - (Without Solution) Jennifer Garbett - Art Student Morning 1. 2.
Afternoon
Has breakfast and cram studies for online quiz Attends morning zoom lecture
“It’s nice to see everyone” “I wish I had studied more”
1
2
3.
Has lunch alone
4.
Has little motivation to study
Evening 5. 6.
Takes online quiz and doesn’t do well Plays online game with friends over zoom
“Quarantine is so isolating” “That quiz was really tough”
3 4
Reflection
5
“Feels like we are still in a lecture”
6
7.
Spends a lot of time alone at home Zoom is her main way of communication Lack of social interaction and creative environment leaves her uninspired and demotivated
“I miss life before the pandemic”
7
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Climate Gallery - Persona Journey Map - Evaluation
Experience ( 1 = Poor, 5 = Excellent)
Jennifer Garbett - Art Student With Solution
5
Without Solution
4 3 2 1
Morning
Afternoon
Evening
The climate gallery offers a new innovative solution to the lack of interest in current climate change issues. The gallery also provides a chance for friends and peers to interact and participate in entertainment and education. Whilst hosting a space for creatives to share their work and ideas to a wide audience. Although not a complete solution to climate change or the struggles of quarantine, the Climate Gallery will significantly help bring creatives and climate activist together in a positive and productive way.
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3 Most Challenging Persona Sub Problems
1
How to engage with people remotely about climate change issues during a pandemic
2
Making climate and environmental education fun and engaging
3
Creating new ways for creatives to express themselves and interact in virtual environments
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Storyboard - Artist
Artist Perspective
Painter who is passionate about human impact on the environment
Discovers the climate gallery through Climate Creative
Applies and is able to showcase their work in the virtual gallery
They help promote climate education whilst sharing their art and generating income
In the above storyboard scenario an artist submits their work to the Climate Gallery and is able to share their passion for creativity and climate change with others in the gallery. The artist does not own a VR headset but is still able to have an enjoyable and interactive experience with others in the gallery through their desktop computer.
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Storyboard - Individual Individual Perspective
Lonely in quarantine, wishing to hang out with friends
Whilst on their computer they discover the climate gallery
Calls friend to join them in the They enjoy exploring the gallery in VR headsets gallery together and learning about climate change
Storyboarding the proposed solution enabled further development of the potential user’s perspective. The storyboard above reveals how an individual might come across the gallery on their laptop and then be able to remotely join their friend in virtual space through VR headsets. Together they explore the gallery learning about climate change through artwork whilst also being able to safely spend time “together” during the pandemic.
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Design Methodology & Timeline Concept Sketching
Traditional sketching will be used to brainstorm and develop initial concept ideas for the logo, prototype and branding.
Concept 3D Modeling
3D modeling in Multi Brush and Gravity Sketch will be used to get a sense for how the branding could potentially work in a virtual setting.
Prototype Development
Gallery prototypes will be developed in Gravity Sketch and Artstep and then tested using Mozilla Spoke through VR headset and desktop.
User Think Aloud
Users will visit in-progress gallery prototypes and conducted user “think aloud.” During which the user explores the environment without prompt from the designer and talks aloud their thoughts and questions that arise during the experience.
Multi-user Testing
Multiple users will be brought into virtual environments either through vr headset or desktop to test the social and interactive elements of the gallery space.
Observations/User testing/Feedback
Feedback from observations and user testing will be recorded help to further develop the gallery’s prototype and branding in terms of its effectiveness to educate on climate change through creativity.
April 1st-12th
April 13th-25th
April 26th - May 8th
May 8th - May 17th
• Complete Logo, branding and prototype iterations.
• Test out gallery models in spoke and begin implementing branding into gallery
• Continue to refine and iterate on gallery space and branding. Add artwork to gallery and continue user testing.
• Finalize Climate Gallery and complete final written report and presentation
• Begin testing out VR environments
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Technique/Technology Application
3D models and testing of VR experiences/ capabilities will be tested and created using the Oculus Quest headset and hand controllers. 3D gallery modesl and initial prototypes will be created using the VR apps Gravity Sketch and Multibrush. Gallery 3D models and prototypes will then be brought into Mozilla spoke’s VR/Desktop hosting service and will be tested both through virtual reality headsets, laptops and mobiles. Spoke also allows for voice communication and spacial interactions that will be tested during the prototyping phase.
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Gallery Principles
Community Developing a space for creatives and activists to gather regardless of global location
Climate Gallery Creativity
Education
Creation and cultivation of climate-related art and design
Promotion of climate issues/ solutions through creativity
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User Needs
Access - Users need to be able to access the gallery if they don’t own VR headsets, therefore, the gallery must also be equally as accessible through desktop and mobile
Socialization - If multiple users are in the gallery at once there needs to be an easy way for them to communicate with each other through text or speech.
Creativity - Users must be presented with challenging climaterelated issues in a creative way in order to increase engagement and encourage interest in the gallery and climate issues.
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Gallery Prototype Sketches
Initial gallery space sketches exploring shape and space. Iterating on the potential incorporation of C/G letter forms into the gallery building
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Initial Gallery Prototypes
Initial gallery prototypes created using the Oculus Quest headset and Gravity Sketch. 47
Initial Logo Sketches
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Further logo sketch development exploring the idea of combining the C and G from Climate Gallery. 49
3D Logo Development
Continued development and exploration of logo shape and design in Multibrush with fellow DES505 student Qingjun Liu. Qingjun focused his study on refinement and development of the Climate Gallery logo promotional material and website.
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Gallery Branding & Way-finding Sketches
Incorporating themes of cartography and climate environments into the gallery’s branding 51
Gallery Space Testing - Showroom Gallery
Testing out a pre-made showroom gallery in Mozilla Spoke with Logan Evasco (Panda avatar). Testing out the ease of interaction between a desktop user (Logan) and a user in a VR headset (Me).
Using branding sketches to test out how artwork could be hung in a virtual space.
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User Testing - Interactions Within the Showroom Gallery
Mozilla spoke enables users to free draw. Opens the possibility of have in-gallery Q&A drawing areas.
Teleportation enables users to easily navigate gallery. Users are also able to upload images within the gallery if needed. 53
Artsteps Gallery Development & User Testing
Testing out the gallery customization and usability within Artsteps.
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User testing a customized gallery space in Artstep Qingjun Liu.
Artstep enables guided tours and customization of gallery shape and wall placement.
Avatar and movement in Artstep. Text communication appears above users avatar.
Text communication available if user has an Artstep account. Mini-map enables birds-eye view of G shaped building and fast travel around gallery space.
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User Testing - Showroom Gallery
Testing out pen/drawing function within the gallery space.
Testing obect interaction within gallery space.
Gathering feedback and testing out showroom gallery space with project expert Val Evans (Fox Avatar). 56
User Testing - Modular Gallery
Testing the object interaction/duplication function within the gallery.
Gathering feedback and testing out modular gallery space with fellow designer Qingjun Liu. 57
Gallery Space Comparative Analysis Accessible
Modular Gallery Pros: Can be customized for different sized exhibitions, verbal communication, no app or download required Cons: Can’t customize dark color scheme, confined space, informal avatars
Showroom Gallery
Pros: Open space, spoke attributes, verbal communication, no app or download required Cons: Building is not customizable although white walls generation more potential design capability, informal avatars
Not customizable
Customizable
Final solution Artsteps Gallery Pros: Customizable building space, guided tours, easy to read text Cons: Can only use text function if an account holder, must download app for VR headset use
Utilizing Mozilla Spoke’s showroom gallery offers the social and user-art interactions accessible through a variety of devices. Although he building is not customizable it has great potential for customization through branding and wayfinding
Inaccessible
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Gallery Space Feedback & Analysis User Testing
User testing of gallery spaces found the Mozilla spoke showroom gallery to be the most effective in terms of aesthetic, accessibility and intractability. Although the building model is less customizable than a gallery in artsteps, the white walls and open room within the showroom gallery offer great potential for movement, user familiarity and customization.
Val Evans
Focus on how to work with the space and how wayfinding and signage would work in the showroom space. How do users navigate to specific artsts and how are artists sections indicated in the gallery? Focus on ease of use for the user.
Logan Evasco
Mozilla Spoke offers a range of possible interaction between desktop and VR headset users. The ability of visitors to the gallery to draw, talk and interact with object improves user experience. 59
Branding Creating a design system of color and pattern derived from USGS topographic map symbols.
Excerpt from USGS symbol key
Final three color pallate and contour line pattern. Garamond was chosen as the main title typeface while Proima Nova was chosen as the body typeface due to its lightness and legibility.
GARAMOND abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&* PROXIMA NOVA abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&* 60
Implementing color and pattern into the showroom galley space. Testing out how to customize the walls and floor of the gallery space and utilize a similar design system of contour lines for the signage, wayfinding and plaques. 61
Painting hanging in gallery
Separate spoke scene containing a 360 world version of the painting
Development of links to external websites and world-to-world transitions within Spoke, through mobile and desktop. Starry Night by Van Gogh was chosen to represent artwork in the gallery. In this instance a gallery visitor can click the use scene button to “jump into” the painting and enter a world surrounded by the painting. Mobile user transitioning from gallery into painting
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Climate Creative Connections Climate Creative specific brand elements were designed to ensure a connection between Climate Creative and the Climate Gallery.
Creative problem solving and community building to serve the most important client...
Events, groups and educational campaigns created by Climate Creative are also included in the gallery to encourage increased engagement from visitors.
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Information panels were designed to help users navigate the gallery and learn about each individual art piece. A custom gallery map was also designed to orient visitors within the gallery and assist them in locating specific artwork.
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Refinement of signage, color & pattern. Additions of artwork into the gallery.
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Final Gallery Images
Enterance to Daphne Mir’s section of the gallery
View of second floor from enterance
Interaction area with map and discussion prompt
View of gallery from above
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Branding Feedback Logan Evasco
Positive feedback for branding color scheme, pattern and use within gallery. Hoping to push it further with links to sources outside of the gallery and the ability to bring in custom art and models. Have arranged to meet with an AR/VR artist to discuss the potential for the gallery moving forward.
Joshua Mcveigh Schultz
Positive feedback, be careful of frame rate when using a detailed high-poly model. Advice for how to link to other Mozilla spoke worlds - could enable artists to create their own worlds and then link them to the gallery space. Where is the gallery in space, develop skybox and bounding area further. Discord, tutorials and ... would be a great source of inspiration and feedback.
Val Evans
“This is looking really good! I especially like the colour palette, its a strong nod to the client brief, being in natural earth colours, but not ‘in your face’… the bright colour tones are pitched just right I think… You might have to bear in mind some darker colours to use for texts or titles as an accessibility issue with people not seeing to well” 67
Chapter Conclusion Chapter three has revealed a breadth of existing VR gallery experiences, spaces and prototype builders that will be extremely beneficial to the further development of this project. Knowledge gleamed from past and continued research methods will be used to ensure the final gallery space in Mozilla Spoke’s showroom gallery is able to effectively educate visitors and encourage interaction with a variety of climate change impacts and solution.
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Chapter Four Solution Analysis Chapter four evaluates the effectiveness of the vr Climate Gallery. Analysis and conclusions will be drawn based on user feedback, interviews and expert reviews.
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Completed Gallery Pictured above is the entrance way to the completed Climate Gallery in Mozilla Spoke. Visitors to the gallery spawn on the first floor and are guided to artwork and interaction activities by contour patterns on the walls and floor of the gallery. A coastal cliff skybox was chosen to give the gallery a light, open-air position that feels familiar to the Bay Area’s coastline.
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Evaluation of Strengths & Weaknesses Strengths The gallery offers an entertaining way to engage in climate activism.
Can be accessed through a variety of devices from anywhere that has Internet.
Provides a way for people to socialize and learn about climate change through a creative and COVID safe format.
Can link to other creator’s vr rooms or websites connecting artists and their work together.
Weaknesses The gallery building model is fairly high-poly and does require some time to load. The gallery space only allows 25 people at one time, although multiple rooms of the gallery can exist at once. Requires Internet and a technical device to access and is difficult to navigate if inexperienced with technology. 71
User Feedback
100%
100% of users surveyed said they would be interested in visiting more VR galleries in the future. 100% of users surveyed said they would be extremely likely to recommend a VR experience to a friends or non-profit organization “Being able to ‘like’ or rate particular images/designs would show which were most interesting and also add further interaction for the visitors.” - Visitor feedback
Screenshots from group user testing within the final gallery
“A bigger space with added artists and works. A video or film space” - Visitor feedback 72
Gallery Features & User Needs
Educational
Discussion prompts and socialization capability within gallery
Artwork relates to issues/ solutions surrounding climate change
Climate Gallery
Social
Creative
Interactions with and, visual observation of, art and other visitors in gallery 73
Artist-User Application
Gallery links to artists pages and portfolios
Information signs help visitors understand climate issues and artwork within the gallery
Not being able to interact with art, other people and climate change issues has been a particular pain point for many during the ongoing COVID19 pandemic. The Climate Gallery helps to address these issues, offering a virtual space for users to meet and interact together or individually with art and climate change activism. Each image displayed in the gallery has an active link to the related artist’s website/portfolio to encourage visitors to get to know the artists and their work further. Information signs help to explain each image to visitors if they wish to learn more about each piece. 74
Accessibility All aspects of the Climate Gallery gallery can be accessed through desktop, mobile and vr headset. enabling interaction between people regardless of their device. The gallery also has the potential to set up an audio tour and audio points that may help users who are visually impaired access the gallery. The gallery map, way-finding signage and written information helps navigate users who may be hard of hearing around the gallery. The map also helps to assist in navigation for new users of the gallery. Pre-made spoke signs at spawn points have been placed to help visitors learn how to move around the gallery and pinpoint their current location.
Gallery map and Spoke user board. Featuring the final Climate Gallery logo design by Qingjun Liu
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Service Model
1. Climate Gallery creates a 5. Visitors inspired to learn
space to host a range of climaterelated art and designs
more about climate change and create their own artwork
4. Artists and curators are able
to meet and interact with visitors within the gallery promoting their work and environmental issues.
2. Climate Creative reaches
out to artists to display their work in the galley or vise versa.
3. Visitors to the gallery learn about
climate issues through observation and interaction with art (and each other) within the gallery
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Artists
Daphne Mir
Mira Musank
Rachel - Newd Elements
For the launch of the Climate Gallery prototype, Logan Evasco reached out to Climate Creative’s designers to see if anyone would be interesting in showing their work in the gallery. Three incredible creators offered their work; Mira Musank an “avid garmet refashioner and textile waste upcycler, Daphne Mir an “interdisciplinary artist & designer” and Rachel is an “artist at heart and an industrial designer by trade.” Their work highlights sustainable fashion, upcycling and plastic use in a range of photography, fashion and product design showcased within the gallery. 77
Future Opportunities The Climate Gallery prototype has proven the potential for increasing engagement in climate activism through virtual reality The Climate Gallery prototype can remain active and usable as long as needed and can be regularly updated to address different aspects of climate change through the work of a wide variety of artists and designers. Going forward Climate Creative plans to reach out to more artists and begin putting together plans for a full VR gallery launch.
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Visit the gallery on mobile by scanning the QR code or join through desktop or headset via this link
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Final Feedback
"Siobhan's work on the VR Climate Gallery has gone above and beyond in every way! She's a talented visual designer who's imaginative, hardworking, and a great collaborator. The Climate Gallery is stunning and well researched. Her idea to use the USGS topographical map key as a branding and userexperience element was inspired! She even worked with other Climate Creative members to get the artwork to display in the gallery. She and Qingjun worked extremely well together and over-delivered on my expectations. I'm so excited to move forward with this project! Thank you Siobhan!" - Logan Evasco
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Chapter Conclusion In conclusion, this research project has found great success in the use of VR to further environmental activism. The Climate Gallery was able to successfully engage visitors in a range of climate related artwork and created a space to interact with other visitors and artist through a remote COVID-safe format. The final gallery aims to continue to raise awareness for climate change and inspire visitors to take preventative action, helping work towards a vibrant world of creativity and environmental conscious.
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Bibliography Alam, Hina. (27 Dec. 2018).”80% of mountain glaciers in Alberta, B.C and Yukon will disappear within 50 years: report.” The Canadian Press. Retrieved from https://www.cbc.ca/news/canada/british-columbia/western-glaciers-disappear-50-years-1.4959663 Buckland, D. Ostendorf, Y. (23 Sept. 2013). “Art attack: why getting creative about climate change makes sense.” The Guardian. Retrieved from https://www. theguardian.com/global-development-professionals-network/2013/sep/23/climate-is-culture-global-warming-art “Chris Hayes Podcast With David Wallace-Wells I Why Is This Happening? - Ep 46 I MSNBC.” (8 Jan. 2020). MSNBC. Youtube, Retrieved from https:// www.youtube.com/watch?v=MRSqselsuGQ&t=8s “Climate Change: How Do We Know?” (2021). NASA: Global Climate Change. Retrieved from https://climate.nasa.gov/evidence/ Collins, Hilary. (2010) Creative Research: The theory and practice of research for the creative industries. Bloomsbury Publishing, Vol 2. “Coronavirus and Climate Change.” (2020). Harvard T.H. Chan School of Public Health. Retrieved from https://www.hsph.harvard.edu/c-change/subtopics/ coronavirus-and-climate-change/ Davis, J. (23 Apr. 2020). “Creativity in Quarantine.” Psychology Today. Retrieved from https://www.psychologytoday.com/us/blog/tracking-wonder/202004/ creativity-in-quarantine “Design Kit.” Ideo.org. Retrieved from https://www.designkit.org Evans, Val. “Val Evans Design.” Retrieved from https://www.valevans.com Evasco, L. Climate Creative. Retrienved from https://climatecreative.us “Experience your carbon footprint in VR.” (25 Jun 2020). UN Environmental Programme. Retrieved from https://www.unep.org/news-and-stories/story/ experience-your-carbon-footprint-vr “Getting started as a climate designer.” (2021). Climate Designers. Retrieved from https://www.climatedesigners.org/getstarted “Global Climate Change: Vital Signs of the Plant.” (2021). NASA. Retrieved from https://climate.nasa.gov Greenpeace. Retrieved from https://www.greenpeace.org/usa/ 82
Krosnick, J and MacInnis, B. (24 Aug. 2020). “Climate Insights 2020; OVerall Trends.” Resources for the Future. Retrieved from https://www.rff.org/publications/reports/climateinsights2020/ Levine, M. (23 Jun 2020). “Nonprofits Struggle to Stay Alive amid COVID19. Non Profit Quarterly. Retrieved from https://nonprofitquarterly.org/nonprofits-struggle-to-stay-alive-amid-covid-19/ “Make your own VR Exhibitions.” Artsteps. Retrieved from https://www.artsteps.com Markowitz, David M, Laha, Rob, Perone, Brian P, Pea, Roy D, and Bailenson, Jeremy N. (2018) “Immersive Virtual Reality Field Trips Facilitate Learning About Climate Change.” Frontiers in Psychology 9: 2364. Retrieved from https://www.frontiersin.org/articles/10.3389/fpsyg.2018.02364/full#B52 McGrath, M. (2 Dec. 2020). “Climate change: 2020 set to be one of the three warmest years on record” BBC News. Retrieved from https://www.bbc.com/ news/science-environment-55150910 Mcveigh Schultz, J. “Speculative Rituals.” Retrieved from http://joshuamcveighschultz.com Mir, Daphne. (2021) Daphne Mir Patreon. Retrieved from https://www.patreon.com/daphnemir Musank, Mira. (2021). Fafafoom Studio. Retrieved from https://www.fafafoom.com “Museum From Home.” (2020). Asian Art Museum. Retrieved from https://asianart.org/museumfromhome/ “Museum of Other Realities.” (2021). Retrieved from https://www.museumor.com Nelson, K. Anggraini, E, et al. (6 Apr 2020). “Virtual reality as a tool for environmental conservations and fundraising.” PLoS ONE, Vol. 15, Issue 4. Retreived from https://go-gale-com.jpllnet.sfsu.edu/ps/i.do?p=OVIC&u=sfsu_main&id=GALE%7CA619584459&v=2.1&it=r Rogers, S. (21 Apr 2020). “How Extended Reality Can Bring Climate Change Front of Mind.” Forbes. Retrieved from https://www.forbes.com/sites/solrogers/2020/04/21/how-extended-reality-can-bring-climate-change-front-of-mind/?sh=31b84c2d4b18 Romano, A. (12 Mar. 2020). “Stuck at Home? These 12 Famous Museums Offer Virutal Tours You Can Take on Your Couch.” Travel and Leisure. Retreived from https://www.travelandleisure.com/attractions/museums-galleries/museums-with-virtual-tours “These VR Projects Help Tackle Climate Change.” (10 Jan. 2020). Immersive Learning News. Retrieved from https://www.immersivelearning. news/2020/01/10/these-5-vr-projects-help-tackle-climate-change/ “Spoke.” Mozilla. Retrieved from https://hubs.mozilla.com/spoke
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Appendix
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Initial Research Survey Questions Q1. What age range are you in? Under 20, 20-29, 30-39, 40-49, 50-59, 60-69. 70+
Q2. Would you be interesting in visiting a virtual gallery (I.e A digital gallery through desktop or VR headset).
Scale of 0-10: 0 = Not Interested, 10 = Extremely Interested
Q3. Do you have any experience in virtual reality (Either through desktop or VR headset). No Experience, Some Experience, Lots of Experience
Q4. How often do you visit museums/galleries (Pre COVID19). Never, A few times a year, a few times a month, a few times a week, Every day
Q5. How often do you engage in climate/environmental activism? Scale of 0-10: 0 = Never 10 = All the time. 86
Q6. Would you be interested in learning about climate change issues/solutions through a creative medium? (Through art, sculpture, presentations, poetry etc)
On a sale of 0-10: 0 = Not interested, 10 = Extremely Interested
Q7. What have you missed the most from life before quarantine? Open response
Q8. What aspect of climate change worries you the most? Open response
Q9. How confident are you in your ability to positively impact climate change? On a scale of 0-10: 0 = Not Confident, 10 = Extremely Confident
Q10. Would you be interested in creating art to help further climate education and activism? On a scale of 0-10: 0 = not interested, 10 = Extremely Interested 87
Logan Evasco
Logan Evasco is a social impact communications designer, community organizer, and environmental activist with 10+ years of experience designing for technology companies, non-profits, community-based organizations, small businesses, and government agencies. She is a design generalist with tons of experience in the print and digital spaces. She believes in the power of creativity and visual communication to make an impact, so she founded ClimateCreative.us, a non-profit project built around the tenants of creative professional development, community empowerment, and environmental justice. She love meeting other eco-creatives, so feel free to reach out and just say hi! She is super flexible and enjoys jumping into teams to help fill the gaps– whether it’s as an ad-hoc team lead or as a solitary design resource, She is here to help clarify and execute as needed!
Climate Emergency Mobilization Task Force Webite design by Logan Evasco. Bio information and imagery from https://loganevasco.com.
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Val Evans
Based in Warrington, Cheshire in the United Kingdom Val specializes in permanent/temporary exhibition displays for museums, galleries and events. Accomplished in the design of annual reports, catalogues, promotional advertising, web design and development. Further skills include illustration, multimedia and project management. Some of Val’s clients include; National Museums Liverpool, The Lowry, Salford Museum and Art Gallery, The National Trust, Edge Hill University, equalta, Technik Ground Solution, Synergy Technology, Fox Covert Care Homes, Mersey Basin Campaign, Historic Society of Lancashire and Cheshire, C3 Imaging, Liverpool.
Top image: Unlocking Salford Quays an exhibition and heritage project. Bottom image: Lowry Favourites, branding and display visuals for a new gallery by Val Evans. Bio information and imagery from https://www. valevans.com. 89
Joshua McVeighSchultz Virtual Design Workspace project. Bio and imagery from http://joshuamcveighschultz.com
Joshua McVeigh-Schultz is a hybrid ethnographer, design researcher, and media maker who recently earned a PhD from the Media Arts and Practice PhD program in USC’s School of Cinematic Arts. His research intersects fields of HCI, anthropology, media studies, and design theory, and his dissertation explores the intersection between ritual and design. In 2013, he won an Intel PhD Fellowship for his dissertation research. At MSR New England he studied the role of affordances in a microsocial relationship app, Couple. At Intel Labs’ Interaction Experience Research group (IXR), he researched youth and mobile media and developed UX insights for mobile play. For his dissertation, he explored the intersection between ritual and design in a range of contexts: civic participation, interpersonal communication, and human-object relationship formation. He earned an MFA at UC Santa Cruz’s Digital Arts & New Media program and also completed an MA in Asian Studies at UC Berkeley, where he researched identity performance in Japanese social media. As an undergraduate he completed a BA in anthropology from the University of Chicago. At USC he worked as a designer in Scott Fisher’s Mobile and Environmental Media Lab, designing speculative interfaces for creative collaboration in VR (among other topics). He has also been a researcher for the Institute for Multimedia Literacy, a member of Henry Jenkins’s Civic Paths research group, and a contributor to the academic blog Culture Digitally. Between his undergraduate and graduate careers, he lived, studied, and taught in Japan and China. 90
Daphne Mir Venus Anadyomene (Venus Rising from the Sea) photoshoot with Leah Olbrich.
Hi! I’m an interdisciplinary artist & designer. My background is in lighting design for live events, but I’ve since explored theme park creative direction, photography & photomanipulation, game design, creative coding, neon art, and currently iridescent watercolors. Pre-pandemic I worked in Tokyo for 7 months doing lighting design for a large expansion at Tokyo Disneyland. On the environmental side, I’ve always been intensely emotional about nature, animals, humans, and our relationships. I’m excited to explore environmental and other art with goals which help create positive change. For fun, preaccident I used to do a lot of rock climbing & hiking, now I tend towards short walks & any sitting-nature! I also love swimming and hope to swim more soon! https://www.patreon.com/daphnemir
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Mira Musank Cage Dress: A special sewing project as part of Makery’s The Refashioners 2018 blogger lineup.
Mira Musank (she/her) is an avid garment refashioner and textile waste upcycler. She first fell in love with fashion design and began to teach herself how to construct garments with fabric remnants and old clothes. Most of her materials are pre-owned clothes, factory cut offs, and textile waste sourced locally. She also regularly rescues textile remnants from other designers and shares them with the local community for creative reuse. Her works of reimagining, repairing, and refashioning garments can be seen on fafafoom.com. Currently residing in Castro Valley, she’d like to collaborate with diverse artists globally to inspire meaningful climate actions. When she’s not in the sewing studio,, she enjoys learning regenerative agriculture, permaculture practices, home gardening (especially tomatoes), and flamenco dancing. Sometimes, she can be heard humming songs from K-Pop idol group Super Junior or seen petting her neighbor’s cat in the backyard. https://www.fafafoom.com
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Rachel
Maui Vessels: made of reclaimed cork.
As an artist at heart and an industrial designer by trade, I am drawn to the beautiful things in life. Merging design, sustainability, and sharing knowledge [around sustainability] is my lifelong mission. As with most, I’m constantly learning, but thoroughly enjoy geeking out on innovative eco-materials and processes. From former paths in furniture to tech, my goal is to intertwine environmentally friendly practices and products wherever I’m involved. My recent interests have been around biomimicry and ESG and I hope to deepen my education in these areas to expand my circle of sustainability connectivity in other industries. I’m currently located in Colorado, where I divert materials from going to the landfill and transcend them into modern lifestyle goods, with Newd Elements. There are eco-alternatives from serviettes to market totes, and dopp kits to daypacks for everyday living. In addition, I create infographics to help those visualize the data of how [as humans] we are impacting our planet and ourselves. Born in South America and raised in the Bay Area, I grew up with parents that loved the outdoors and who fully instilled that appreciation in me. You can always find me trekking a hiking trail, splashing in some large “puddle” anywhere, or prepping as close to a zerowaste meal as possible. I love visiting zero-waste stores on my travels, supporting the local shops, and just taking in the culture https://shopnewd.com
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Persona Daily Scenarios Monica
Geoff
Dezi
Craig
9AM
Starts the day with a healthy breakfast
Leisurely breakfast and watches news
Has breakfast and waters plants
10AM
Morning Zoom meeting
Morning walk to the ocean
Finishes some mock- Meets with client to Zoom lecture on discuss a settlement renaissance art ups for a meeting
11AM
Brief walk along the ocean
Sketching out ideas for a new painting
Presents mock-ups for new campaign
Client meeting continues
Lecture continues
Stocks shelves
12PM
Lunch and meeting planning
Has lunch and calls daughter
Has lunch and watches Netflix
Has lunch and examines data
Has lunch whilst studying
Lunch break, checks news
1PM
Community outreach Begins new painting meeting
Meeting with new client
Online quiz and Prepares and draft legal documentation review
2PM
Outreach meeting continued
3PM
Has breakfast and plans for client brief
Jennifer Has breakfast and studies for quiz
James Cleans and opens bakery Works as cashier
Helps prepare food in kitchen
Starts sketching out Reviews legal ideas from client brief documentation with colleague
Zoom lecture on 21st century modernism
Continues to work as cashier
Program and funding Looks at photos from a past diving trip strategising
Meeting with legal Zoom meeting with colleague about brief team
Lecture continues
Cleans and closes bakery
4PM
Board meeting and budgeting planning
Finishes painting
Works more on an existing project
Meeting continues
Works on an assignment
Checks news and signs online petition
5PM
Finishes work and heads home
Starts making dinner
Starts making dinner
Plans for the next day
Plays online game with friends.
Watches documentary and goes to sleep. 94
Continues painting
Challenging Activities (1 = least challenging, 3 = most challenging) Monica
Geoff
Dezi
Craig
Jennifer
1
Community outreach Sketching out ideas meeting for a new painting
Zoom lecture on Finishes some mock- Prepares and draft ups for zoom meeting legal documentation renaissance art
2
Program and funding Begins new painting strategising
Presents mock-ups for new campaign
Reviews legal documentation with colleague
3
Board meeting and budgeting planning
Meeting with new client
Meets with client to Online quiz and discuss a settlement review
Finishes painting
Zoom lecture on 21st century modernism
James Cleans and opens bakery Works as cashier
Cleans and closes bakery
Sub Problems Monica Wants to partner with environmental nonprofit organizations to increase engagement with climate issues
Geoff Wants a way to share his paintings with others to help promote marine life preservation
Dezi Looking for ways to experience and get art inspiration from home
Craig
Jennifer
Hoping to learn new Missing traveling ways to advise and studying with ethical and friends in person environmental practices with his clients
James Unsure of how best to be active in his support for environmental and social activism during the pandemic 95
User Testing Feedback Survey Survey Questions Q1. How would you rate your experience overall after visiting the Climate Gallery? 1 = Didn’t enjoy 10= Very enjoyable Q2. How effective was the gallery in terms of encouraging interaction with climate issues through art? 1 = Not effective 10= very effective Q3. How effective was the social capability of the gallery 1 = Not effective 10= very effective Q4. Would you be interested in visiting more VR galleries in the future? 1 = Not interested 10= very interested
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Q5. Would you be interested in submitting your own art/designs for a virtual gallery show? 1 = Not interested 10= very interested Q6. How likely are you to recommend the Climate Gallery to a friend? 1 = Not likely 10= very likely Q7. Are there any improvements or other gallery features you would like to see in the future? Open response.
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Siobhan Keegan | DES 505 | SP21
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