brookecirone-blog

[brookecirone-blog]

sample logo for senior show.

[brookecirone-blog]

play

this is adding on to my previous work, dealing with children learning typography in a tangible way.

[brookecirone-blog]

final

the final delivery was in the epperson building, and there is a pretty clear difference. there are more serious answers and less of them, probably due to the type of people walking through, which is mostly staff. there are only 2 bad, inappropriate answers, which in my opinion, is better than them messing up the whole project for me!

[brookecirone-blog]

Proud & Mirror

then, i put it on the mirror, at an attempt to force you to look at yourself when responding. someone didn’t like that.

results:

[brookecirone-blog]

Ashamed

Then, I asked about being ashamed. I put this in IA bathroom. 

results:

and then, i installed both, next to each other, in the bathrooms in the Nerman

results:

[brookecirone-blog]

What are you proud of? Ashamed of?

I put up my voting poll first in the graphic design hallway, asking the specific question of, what are you proud of today?

results:

[brookecirone-blog]

Reading Responses

do it yourself murder: social and moral responsibilities of designi’d like to start by saying how incredibly annoying it is that every article / book / journal / you-name-it, that i read about the designer, the designer is referred to as “he”. always. i have only come across ONE book that refers to the designer as “she” and that is Thoughts on Interaction Design by Jon Kolko. that is the single book i have been able to read that referred to the designer as someone like me. a female. i won’t talk too much on this because the article was actually really interesting and i don’t want that to blind me for the richness of it, but it is exhausting to never, EVER be recognized within your field during conversation, text, anything. the designer is always, always, “he”.i thought it was kind of nice how he described his client reminding him of his obligations and responsibilities as a designer. sometimes it may feel like our responsibilities aren’t that grave, but when you put it into the perspective of others’ lives and jobs and families, it becomes important.I’ve also never considered the design of microcomputers as anything other than bad because i don’t know much about the inner workings of them, but the questions being asked (such as type color % size & key arrangements) are interesting.i am SO happy to read that the author touched on the fact that design can and does live in an elitist state. are designers, we don’t even get to touch most of the real problems and i think there is a lot that can be said about that. he touches on this when referring to the second triangle involving country.As far as the minority conversation goes, what i am understanding is that he is claiming that the minority is the majority, which insinuates you are in fact not designing for the minority? i didn’t really follow the logic but some interesting ideas in there.I think the idea of giving 10% of our time to designing to mankind is absolutely doable and a reasonable request. personally, i like numbers and schedules and plans, so i like having the 10% to think about when thinking of my time.I really think we should watch “objectified” in class. It is by the same creators of “helvetica” and a lot of what the author is talking about concerning the hart hats and safety glasses is 1:1 related to the movie. It would be great for everyone to see.toward the end, when he is talking about the ways to design for a community that isn’t yours (another country in his example), i felt like we talked about most of those things but i found “move the designer to the underdeveloped country and have him teach designers there” which is a really interesting notion. politics please, we’re social designers.i thought it was interesting that the author touched on the fact that designers are in fact redesigners. they continue to say that designers cannot claim to be originators of the innovative ideas. i think this does a good job of acknowledging that there is a system in place and that it isn’t “bad” or “good” but that the design is to be redesigned. i found it REALLY interesting that the author brings up the western northerners attempting to solve the “wicked” problems of central/south. this makes me think of the conversation we had last, where everyone in the class (except me, but i wasn’t going to say that out loud), agreed that it was a better decision to try to manipulate a section about donald trump to minimize it, in other words, remove someone else’s voice because you don’t agree with it or it offends you. personally, i think the author addresses this directly in saying: if you are not from there, how deep can your empathetic design thinking of the situation be? which is precisely my question on the topic we had in class, which is: how are you able to understand trump voters and empathize with why they believe what they do, if you think that your voice is bigger, morally better, more important and more powerful? wouldn’t it be best to try to actually understand a trump supporter, than to shut the voice down? it is not and never will be anyones right to not be offended. i think it’s a mistake for designers to be shutting other voices down because they don’t agree, they are offended, or think their opinions are more justified. this is a toxic way of thinking.personally, i find nothing wrong with deciding you want to stay out of politics with design and i think the author would disagree with me. and it is absolutely, completely, 100% okay that we wouldn't agree, because we don't have to. are humanitarian designers imperialists? project h respondsi like that not far into the article, the author says, we have made the mistake of being disconnected to our audience in the past. that’s a big thing to own up to and i admire it. i love that the organization learned from its mistake and decided that its project from then on would be local, as in, ran by designers calling the place home.but mostly, i enjoy the eloquent way that the author is able to correct the Mr. Nussbaum, who had his information wrong, and i absolutely love seeing passion like this from designers. readings like this inspire me with the amount of passion put into designing for the good of people.

[brookecirone-blog]

Handle in the works

[brookecirone-blog]

Handle V3

[brookecirone-blog]

purse holder in full effect

[brookecirone-blog]

some little sketches for handle assignment

[brookecirone-blog]

Official documentation

[brookecirone-blog]

Music Box

This experiential installation is made to evoke the emotions of having someone in your life in the hospital. The space is designed for the user to see what’s on the door when entering, which identifies room number and allows wayfinding toward other rooms and restrooms. When you enter the space, a patient number is identified on the panel with light. As you turn the corner, the beeping of the heart monitor gets louder. The user notices chairs facing the panel, which encourages the user to sit, stare, and watch the pain of a patient waver as days continue to pass. The user is captivated into the story of, in this case, Jason, and maybe reminded of personal experiences as well. The feeling of having to sit through the process and waiting, hoping, things will get better is evoked through absorbing the elements engaging the user in the room.

[brookecirone-blog]

Reading Response 2

 what are a few methods from this toolkit that you could implement into your design research for this project? what information do you expect you would get?

It would be pretty impossible for me to talk about all the methods in this book, considering its length, but i think a good process to consider is the HCD process: Hear, Create, Deliver. Josh and I have started the hear phase by going to different departments and interviewing students and faculty. We have our “ideal constituents” which we consider to be the departments that use the most material, such as sculpture and fibers. We’ve defined the research method as individual interviewing and have a Google Doc for questions so that we are both asking the same questions. Finite timeframes are mentioned and that is probably a good idea for my group, specifically for me. i know from experience that having dates and sections of a project help me stay in the zone. 

I think we need to incorporate self-documentation. The book explains that this is a method of observing processes over a long period of time, to understand the community. I think Josh and I need to do long(er) term self-documentation of the trash and recycle bins throughout campus to monitor the activity. I would expect that from this method of research, we would have a much better idea of what exactly is being thrown away that could be reused.

[brookecirone-blog]

Reading Response 1

where do you land in the argument of more activist methods of design research and imposing the designers (or client’s) values through the design, versus remaining a neutral party that supports the audience’s existing needs? why?

I think the article does a really great job of outlining the importance of activist design methods through persuasion, catalyst and performative design. I found performative design to be an interesting notion; to become immersed enough in the user to perform the user. Mouna Andraos is used as an example by her knowing her users of technology well enough to know that if she brings out a bunch of charging ports, she will be attracting her users. Her role or “performance” is what created the dialogue amongst those users.

As far as imposing values through design versus remaining neutral, I think that can be pretty reliant on the context. However, I personally believe in balance and think both methods are useful. If I remember correctly, the chapter openers we read from "designing for social change" by Andrew Shae touched on the importance of pure observation. He talks about immersion as well as hands-off work and focusing on observing the user. Using both activist and neutral methods probably brings you the most amount of primary research. 

[brookecirone-blog]

Elevator Pitch Crit

Okay, well. That didn’t really leave me feeling super confident.

A few notes I got from Adam: Why do you want to share this with people? What questions are coming out of these topics? Who, specifically? Treat the topic with sophistication. Make it strange. How do you create the experience of my ideas about her for others? What if _____.

Good critique, but I’m feeling pretty lost. I’d like to capitalize on the idea of Kylie Jenner and I would like to produce publications or zines. But what Adam is questioning is, what is the experience? How do people experience this?

I started thinking about the fact that almost all of Kylie Jenner’s makeup is sold in pop-ups. I started thinking about the “Kylie Craze” of the United States and what that is looking like. For example, women getting lip fillers when Kylie Jenner does and women removing them when Kylie Jenner does. 

What is the Kylie Craze? How do I make the Kylie Craze? What makes me think Kylie Jenner is paparazzi, cameras, makeup, photoshoots, expensive items (clothing, cars, etc.), other famous people. But the Kylie Craze looks like women changing their appearance to look like hers, women wanting her makeup, her clothing, her makeup tricks. It’s almost a godly presence to most women. Why? Her money? Her power? Her looks?

This project is freaking me out.