processagraphy

PROC-ESSOG-RAPHY DESIGN / POETRY / ART /


CHEESE BRING MAY 7TH

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I have set out to make a processbook that blurs the line between fine art, de-sign, and poetry. Arguing that the act of creating alone is the most important objective, its not about the means in which it was produced although those means add context, the same meaning can exist in all realms of creation. PROC-

ESSOG-RAPHY DESIGN / POETRY / ART /

I want to thank my friends and family for the support they have given me this semester. It hasn’t been easy. Thank you to my professors for giving me structure through out the semester and supporting me in the difficult times that are college.


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//CONTENT

EVERY-THING

EVERY-THING

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//What I’ve LearnedChris Pullman

Chris Pullman is the only person who can be said to have won not one but two of the highest possible honors from AIGA. The first was the Corporate Leadership Award, which the company he shaped, Boston public broadcasting network WGBH, won in 1985. The sec-ond was the AIGA Medal, which Pullman himself won in 2002.

Chris Pullman was a young teacher at the Yale School of Art when he was re-cruited by Ivan Chermayeff, who had just redesigned WGBH’s logo, to take charge of the station’s in-house design depart-ment. He joined the company as Vice President for Design in 1973. This past spring, after 35 years, he announced that he was stepping down. At an emotional going-away party on October 28, he talked about his three-and-a-half dec-ades at the station. He has kindly given us permission to publish his remarks here. [The Editors] The chance invitation to work here at WGBH placed me in an environment that was a perfect fit for my tempera-ment, and for my aspirations as a pro-fessional and as just a plain person.

Once I came here, I recognized, gradual-ly, why it felt so right as a place to work and associate. I’d like to take this op-portunity to share ten lessons I learned in the past 35 years.

1 Work on things that matter.

If you possibly can, use your skills and your time to make a differ-ence. Long before I came to WGHB, I developed a preference for non-profit projects. In my freelance work and in my years at the office of George Nelson, the projects that interested me most were the ones for non-profit, pro-social clients. Early on, I decided that I wanted to work someplace that made a positive difference for people, and that affected a lot of people, not some boutique studio doing design for other designers.

So when the phone rang and it was Ivan Chermayeff saying that there was an opportunity to work at a TV station in Boston, my first reaction was “definitely not.” This was because my teachers and mentors at Yale had made it clear that the only way to squan-der a good education faster than going into advertising was to go into television. But I was vaguely curious to see what a TV studio was like, so I decided to just go up and scope the place out.

After about 20 minutes with the then General Manager, Michael Rice, it became clear to me that what WGBH was up to was very different from what television in general was up to. So I said “yes,” and have found myself for the past 35 years in the ideal environ-ment to do the kind of work I had hoped to do.

In this first lesson I may be preaching to the choir, but I think it is particularly pertinent for young people who may be at their first way station on a longer professional journey. Given all the ways you could use your skills and your valuable time, pick something that serves the greater good.

2 Work with people you like and respect.

Birds of a feather flock together. That is a natural thing. Most of the people here at WGBH are here (or certainly stay here) because of our mission. Certainly, my long tenure has been largely because of the people in this room with whom I’ve shared such personal and heart-warming recollections of our time together. Since April, when I first announced my intention to leave WGBH, the private expres-sion of these feelings has been so gratifying, both personally and professionally, that I recently suggested that maybe we should institute the policy of encouraging individuals to make periodic “mock retirement” announcements, with the goal of releasing more regularly the flow of kind remarks for the nourishment of the indi-vidual, since we are otherwise so reticent to praise or encourage others in our busy, self-centered daily lives.

3 Be nice.

And be positive. And be respectful of the work of others. Strive to understand each others professional contributions and then re-spect them (as you would want them to respect you) with your ac-tions and your comments. Remember: we are all applying our own particular skills towards a shared objective.

4 Have high standards.

Don’t settle for “whatever.” The corrosive Dilbert mind-set is de-pressing and demeaning. Wherever you choose to work, don’t give it a foothold. I prefer the “see you and raise you one” escalation of good ideas, even crazy ideas. High standards is something that has set this place apart. Even in hard times, it is important to keep hold of this core distinction, whatever it costs. 5 Have a sense of humor.

Humor is the grease of communications. Wit not only engages your head, it engages the other guy’s. Be serious, but don’t take yourself too seriously. Don’t lose sight of the potential to use sly humor to make connections and put people at their ease.

6 Design is not the narrow application of formal skills, it is a way of thinking.

I knew this before I came here, but my time here has reinforced this idea. My position, first established in 1973, and unusually high up in the org chart, allowed me (and I should say: expected me) to attend to all aspects of the way this organization expressed itself. My job, and that of scores of designers I have worked with in my area, has been to help define and then express through our work, a consistent, honest and engaging persona for WGBH. (Today’s name for this, by the way, is branding, but it is a process as old as the profession.)

This role has led me into a weird soup of assignments: wacko projects like a giant 2 on wheels or a pre-stained dish towel to pro-mote Julia Child’s show; important projects like a capital campaign case statement or the first proposal for AMEX; inspiring projects like the informational graphics for Vietnam: a Television History or four different title sequences over the years for Masterpiece Theat-er; and gnarly projects like how to help frame the long-term strate-gic goals for this company.

Each of these projects was a puzzle to figure out within the constraints of budgets and time-lines, and with respect for the unique context of a particular problem. Whether it was how to draw a dog with low self-esteem or how to convince a company to underwrite a project, all of it was design to me. Ultimately this led to the biggest project of all: the design and construction of our new headquarters. It was an honor and an incredible 5-year high to work on this project. This was the project that for the first time gave us an opportunity to apply the same high standards we insist on for our program-ming to the physical environ-ment in which we all work and in which we welcome the public.

The practice of design — dare I call it “intelligent design?” — has helped WGBH achieve a distinc-tion among broadcasters and public media publishers. It is my hope that the next person to hold this responsibility for the foundation will have as much fun and have as expansive a man-date as I have had.

7 Variety is the spice of life.

When I came here in the early 70’ s the trend was toward monolithic design programs governed by a thick and sacred style manual. As I got to under-stand the business, this strategy seemed to me to make no sense for WGBH. With programming as diverse as The French Chef, NOVA and ZOOM, no one mode of visual expression could

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logically suite this range of content. It occurred to me that in fact variety itself can be a kind of consistency. But when the visual expressions of a company are always and right-fully different, you have to have some other constant that binds the work together, something that lets individual expressions be different, but makes them recognizable as a family of re-lated materials. The goal in this game is to strive for the smallest number of constants and the largest number of variables. And you have to turn to non-visual sources of consistency.

So, soon after I got here, I proposed that our design team adopt a set of nonvisual criteria to define “good design” without resorting to the normal formal jargon. If you and your client could answer “yes” to the fol-lowing questions about a solu-tion, then it probably is a good piece of design:

Is it clear? Can I understand what it is, can I read it, can I sense its purpose? Is it accessible? Does it engage me, does it invite me in, is it easy and intuitive to use?

Is it appropriate? (to its budget, to the amount of time available to make it, to the language style and level of the audience, to the medium, to the objectives of the project, and to the family of materials it will join, etc.) A final measure, and perhaps the key measure in a business where variety is the norm, is

quality. “Of the highest quality” does not mean expensive. It means thoughtful and well-executed in its genre. If all these things are present in a project, then it is likely to be successful, from a design point of view, and otherwise.

8 Institutions have a character, just like people do.

In fact, it is impossible to not have an institutional character or image. It is the sum total of a person’s experience of our staff, our physical plant, our programming and services, our communications — everything we say and do. Every person out there experiences a different assortment of these expressions, but they average out to define our institutional character or persona. This character can-not be contrived. If it is contrived it will only fool people for a little while. Like a person you know who says he is one thing but whose daily behavior suggests another. But a person’s character inevita-bly shifts as they mature. The same thing happens to companies like ours. Over the years I have observed that our own institutional character has shifted as our own self image has shifted.

In the seventies, we identified ourselves as a local public broad-casting station, and we acted locally. We were known by our channel brand: Channel 2. Our self-image as an upstart local broadcaster willing to make a lot out of a little, encouraged a kind of smart-alecky attitude in our local persona. In the eighties, we identified ourselves as a national producer, creating one-third of all prime-time programming on national public television, as we do to this day. The focus shifted to our national, institutional identity and we became more of a big business.

In the nineties we identified ourselves as an educational publisher. As media options began to proliferate, we became major publish-ers of program-related books, we had a catalog and product divi-sion, we began to dabble in new media, publishing video-discs and CD’s and producing content for new on-line services like Prodigy. In the 90’s we began to see ourselves as a “content company,” down-playing the “broadcaster” moniker and focusing on our role nation-ally and internationally as a high quality educational publisher. And now, in this century, we identify ourselves as a major public media producer and distributor, a major driver of public media policy in the future.

Each of these shifts in self-perception required a shift in expression for our work, ideally without changing the underlying DNA of the place. We are now approaching the end of this decade. What will our self-perception be in 2010? How will we express it? How can we respond to these natural and gradual shifts while still maintain-ing our core character, a character that people, both locally and

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nationally, know, respect, and willingly support?

9 We’re all in the “understand-ing business.”

This term was first coined by the architect Richard Saul Wurman to define the design profession but it strikes me that, no matter what we call ourselves, what we all do here is ultimately about helping people understand the world and their own life. This is the idea that our mission state-ment reflects, and is at the heart of our institutional character. And it is what has attracted me to this work all this time.

10 You are what you eat.

We are all the result of a life-time of experiences, some good, some not so good. My 32 years of experiences before I came here prepared me to be useful to a place like this. My 35 years here have enriched me and al-lowed me to grow in ways I nev-er would have imagined. Now I’m going to see how that diet has prepared me for my next life. I will miss you all. Bye.

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//365/30 selections 2009

After careful and considered review of more than 3,800 entries, the jury of “365: AIGA Annual Design Competitions 30” selected a group of 182 examples of outstanding design produced in 2008.

The jury’s selections will be mounted as a public exhibition in September 2009 at the AIGA National Design Center in New York and will travel across the country to AIGA chapters and student groups during 2010. In addition, selec-tions become part of the AIGA Design Archives, are documented in 365: AIGA Year In Design, and the physical artifacts join the AIGA Design Archives at the Denver Art Museum.

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//365/30 selections 2009

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//AVATAR Why Roger Ebert Hates 3-D (And You Should Too) While Avatar was technically impec-cable, we have already said that 3D is Hollywood’s next big scam. Film critic, Russ Meyer devotee (amen), and overall good guy Roger Ebert agrees. And he provides a definitive list of reasons:

1. It’s the waste of a dimension.2. It adds nothing to the experience.3. It can be a distraction.4. It can create nausea and headaches.5. Have you noticed that 3-D seems a little dim?6. It’s an excuse to buy new digital pro-jectors.7. Theaters slap on a surcharge of $5 to $7.50 for 3-D.8. I cannot imagine a serious drama in 3-D (neither can I).9. Whenever Hollywood has felt threat-ened, it has turned to technology to save the day.

I have to agree with him. I see 3D serv-ing a purpose in interactive experiences like gaming or science visualization, but I hope 3D movies die soon. At least, in its current form.

http://gizmodo.com/5528270/why-rog-er-ebert-hates-3+d-and-you-should-too

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//BLUERAVEThe blue rave was a great way to start off the semester, it allowed the studio to work together toward a common goal and create a sense of unity. Besides that, it was incredibly fun.

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// 363The next few pages are dedicated to poetry. This image in the center shows the first draft of the first poem I wrote for my 363 writing class.

Mr. cucumber, mr. cucumber

Mr. cucumber, mr. cucumber

Oh please take a seat,

Right there, in my salad

wThank you for joining the

Bouquet of taste today.

Please don’t squeal

When I EAT YOU!!!

Rather sit in silence as I taste

The earth from which you came.

Oh, mr. cucumber you are quite the

lullaby

Maybe I will through salt on you

Or hidden valley yo ass.

I will travel to the grove

And shake your masters hand.

Mr. cucumber why, you have stolen

A spot in my tummy.

Thank you.

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//

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// 363

traces of things that once were,

a series of poems by ben frederick

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// 363

This document/electronic communication contains personally identifiable in-formation from a student’s educational record. It is protected by the Family Educational Rights and Privacy Act (20 USC Sec. 1232g) and may not be re-released, or used for any purpose other than that for which it was intended, without the consent of the student.


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// 363

1.

contents

a cover2. blank3. repitition4. blank5. what your reading now6. 72 pt7. draft x 28. ‘‘9. binary draft10. almost there11. force justified12. draft x 413. binary draft14. traces of things that once were15. justified16. situations 72 pt17. binary situations18. 8 pt 19. 12 pt just20. ryanposter21. ryanreading22. americancheeseflagspapabeardoritoscolbert23. ‘‘24. ‘‘25. ‘‘ 72 pt26. half of a photo27. other half of photo from pg. 2628. olivegarden29. 0100110130. cream31. just32. blank33. fin34. blank35. twopage36. informal title that reflects that I have learned something in this class

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The places, scenes

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// 363

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the places, scenes

alone the steam creepsfrom

hollows

now hiss tearthe wind the naked branchesreach for spars light,far to craddle.

wood and partial board,pins and western codexblock out what lay beyond.

sit behind a screenmiles from away,

A blue lobster egg.

Snowball string and maps,a few things

me and you.

// 363

the places, scenes that keep a l o n e steam creepsf r o m

h o l l o w s

now hiss tearthe wind the naked branchesreach for globes,too far to reach.

wood and partial board,pins and western codexblock out what lay beyond.

sit behind a screenmiles from a w a y ,

A blue lobster egg.

S n o w b a l l string and maps,a few things

block mefrom you.

/

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// 363

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traces of things that once were

carved victory beneathskin,

edge blue end result, cyan dot matrix.

charcoal pollinates the rooms creative hideaways,

empty of present

naked walls breathbegging to be pinned,

productive artifacts absent.

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traces of things that once were

carved victory beneaths k i n ,

edge blue end result, cyan dot matrix.

charcoal pollinates the rooms creative hideaways,

empty of present

naked walls breathbegging to be pinned,

productive artifacts a b s e n t .

/

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thinking of pain-ful situa-tions post crit. on

// 363

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thinking of painful situations post crit. on a tuesday afternoon in early april.

cost of youth and hued paper pound on silverworn mugs clouded eyes trap keys.

illustrate the negative “it”has congealed behind, sent just to be pushed again, broken isotopes.

Far from away,silver lies.

Over once and once overcommand c, place.

paranoira once cut into a letter.

// 363

thinking of painful situations post crit. on a tuesday afternoon in early april.

cost of youth and hued paper pound on silverworn mugs clouded eyes trap keys.

illustrate the negative “it”has congealed behind, sent just to be pushed again, broken isotopes.

Far from away,silver lies.

Over once and once overcommand c, place.

p a r a n o r a once cut into a letter.

/

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Kay Ryan I didn’t know what to expect earlier tonight walking in to Kay Ryan’s poetry reading. Was it going to be boring or what, I guess I am in no place to know anything right now. Greg and me sat next to our friend Sam, and her girl friend. I guess that was nice knowing that Kay Ryan is gay, not that it matters. My best friend since I was four years old came out to me in college. So it was nice. I enjoyed Kay’s voice; it was soft, yet deep with knowing. Not in a book-ish way, more of knowing in the sense that she has lived, and seen a thing or two. A knowing in a way a 35 year old waitress at waffle house knows, voice raspy with tar. A knowing of life’s pains and hardships. A knowing in a truthful and humble way. Never talking down, but also not talking up. Just communi-cation, no fear of rejection or humiliation. It was what it was. I found wet coming from my eyes unexpectedly as I sat and listened to Kay recite “Home to Roost.” I think it was the sudden understanding, the image, the emotion, the gravity of the words falling from my eyes. I understood. I guess it was about that point when Sam’s girl friend, Sarah, politely took my note book and wrote, “None of these poems contain the word “I” – intensely personal themes made less personal by the omission.” She put it better than I could; she is after all a poet and a law student, an odd mix. But obviously a fan of Kay Ryan, I guess I am too after tonight. “I find learning unpleasant…” and I found myself laughing… and fumbling to understand what she meant. Maybe it was the lack of mystery that learning makes ever present in ones mind. Of course that is a shallow statement, at times learning can bring new mysteries into ones life. “Glass Slipper” another favorite from the night. I wish she would have read it again. I like how it made me feel dreadfully hopeful, yet incredibly depressed at the same time, reinstating the fact that the sole mate is a fairly tail, and anyone will fit into your glass slipper, even if it is for just a short time. Of course I probably miss understood the context and meaning. “Rhyme compels one to a great number of inaccuracies.” The night came to a close with the Q&A session, which is always blotted with horrid questions and descent answers, nothing that a simple blog wouldn’t tell you. We left soon after, walking back in the cold, Greg and I parted ways. I am humbled to say I have experienced Kay Ryan.

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Home to Roost

KayRyan

Thechickens

arecirclingand

blottingoutthe

day.Thesunis

bright,butthe

chickensarein

theway.Yes,

theskyisdark

withchickens,

densewiththem.

Theyturnand

thentheyturn

again.These

arethechickens

youletloose

oneatatime

andsmall—

variousbreeds.

Nowtheyhave

comehome

toroost—all

thesamekind

atthesamespeed.

Tuesday 4.27 / 12:0-4:30 / McClung 1210

/

/35224

// 363

/35226

Colbert’s Fightin’ Fifth

Your grease wouldmake a french frycry with pride,

could polish a Grammyto the shade of American cheese

icon of sarcasm, and doritos,I salute you.

// 363

polish a Grammyto the shade of Amer-ican cheese,

/

/35228

// 363

/35230

forgetting the night

The stain on the wallMelted wax reminds of a night I don’t remember.

We were at his farman old family homefull of a mans life

Intoxicated and sadGenerations apartyou lay on the kitchen floor

our heads togetheralways understandingthat nothing will be understood

I was out on the porch frustrated with the words that I couldn’t say.

The wax still clings to the walla trophy of a night

that we got lost inthe four of usweeping in sadness

it was a contagious freeing experiencein an old wooden room

the whiskey and winewere dulling my mindbut I still remember

the feelings thathung in the airpale smoke of loves

lost and fights won,of secrets and regretthe amnesia.

// 363

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/

/35232

// 363


The stain on the wallMelted wax reminds of a night I don’t remember.

We were at his farman old family homefull of a mans life

Intoxicated and sadGenerations apartyou lay on the kitchen floor

our heads togetheralways understandingthat nothing will be understood

I was out on the porch frustrated with the words that I couldn’t say.

The wax still clings to the walla trophy of a night

that we got lost inthe four of usweeping in sadness

it was a contagious freeing experiencein an old wooden room

the whiskey and winewere dulling my mindbut I still remember

the feelings thathung in the airpale smoke of loves

lost and fights won,of secrets and regretthe amnesia.

/

/35234

// 363


the stain on the wallmelted wax reminds

a farmold family homefull mans life

intoxicatedgenerationslay on the kitchen floor

heads togetheralways understandingthat nothing will be understood,

that we got lost inthe silver of weeping in sadness

the whiskey and winedulling--

but I still remember the pale smoke of loves, regret.the amnesia.

/

/35236

(informal title that reflects that I have learned some-

// 363

(informal title that reflects that I have learned something in this class)

So we circle up, in a group, one by one recite our poems or some “famous” poet’s, we workshop and crit.

To an outsider we probably just look like group therapy. Which is fine if you ask me. Poetry is therapeutic so why not. This class has allowed me to ex-press myself in ways I couldn’t during other creative classes, it rounded me out, made me more productive. If I was feeling burnt-out on design, I’d write some poetry, the poem could inspire a drawing, drawing inspire a design, the cycle begins again.

I enjoy all these processes; to define them is the hard part, if a view gets the same emotional response from a poem, a drawing and some form of design, then what is the difference? The physical form? Well yes, but your goal is to communicate in some way. If that can be achieved through any process then is there a difference… the medium looks different, but for me the feeling I get is the same. I learned I just like to make stuff, doesn’t matter what it is, as long as I am making something.

I wonder sometimes if I only hold myself back by being in creative classes, what happened to Ben Frederick the doctor or lawyer? Why is it the artist? Or designer or poet? To be honest I am none of those things, I’m not a poet, one must be published to be a poet in my opinion. I’m not an artist… cause well you don’t want to be like “hi, I’m an artist” it just sounds wrong, your only an artist when your introduced as an artist. I suppose the same goes for a designer, and so on.

But we are really taking about the same thing, art, poetry, and design; they all use some sort of creativity to send a message to the viewer. Each is about arranging elements on a page, canvas or screen.

My actual writing process has been interesting. It is normally in a flurry of emotion that I feel like writing, or “need” to write. (not the oh I have class in 5 min. I better write this poem.) More of a need internally. Some days its strong-er than others, some times I don’t want to write at all. Most of my poems are written in 30 min or so. I feel like there needs to be an imidiacy in the process to truly get out what is inside. A filtering of emotions one can go back and erase, and edit. Strip down to the barest form.

I don’t think it is necessary for one to fully understand what is going on in my poems, if the viewer says, oh hat sounds odd, pretty, and sad. I did my job, they don’t need to now the specifics of the emotions, just the specifics of the visuals that trigger the emotions, or that are around at the time of the poem. Its odd, but the process worked well for me, I have really enjoyed this class and will continue to write.

/

/35238

benfrederick //bfreder2@utk web.utk.edu/~bfreder88 865.216.7768

EDUCATION //University of TennesseeKnoxville TN, BFA Graphic Design 3.57GPAFarragut High SchoolClass of 2007 The Tennessee Governor’s School for the Arts

EXPERIENCE //Habitat for Humanity Spring 2010Metro PulseJune 2009 - December 2009Smoky Mountain Brewery & Restaurant June 2008 – November 2008E-Shipping inc. Pakmail February 2005 – August 2007 AWARDS / HONOURS //2010 63rd Annual Student Art Competition University of Tennessee Bookstore Award for “untitled” University of Tennessee Bookstore Award for “process book fall 09” KMA Associate Membership Award for “untitled”2009 Teaching_Philosophy.HDS Featured in book by Can Birand on his teaching philosophy and student work produced. AIGA President of UTK student chapter2008 Book Store Materials Scholarship Graphic design scholarship Grand Prize Farragut Press Photography Contest 2007 Best Print in East Tennessee Regional Student Art Exhibition 2006 $12,000 Scholarship Watkins College of Art / Design $8,000 Scholarships MICA

Ben Frederick

SKILLS // Proficient in Illustrator / InDesign / Photoshop / After Effects / HTML / CSS / “Fine Art” processes / Silver Point / Digital Photography //

/35240

//

/35242

//SolarDecathlon

/35244

//SolarDecathlon

/35246

/35248

//

Erstmalig in Deutschland!Das surPLUShome in Essen

Das Siegerhaus des Solar Decathlon 2009 – surPLUShome – wird erstma-lig im Rahmen der Kulturhauptstadt RUHR.2010 auf dem Burgplatz in Essen ausgestellt werden.

Das Haus kann dort ab dem 27. April bis zum 04. Juni immer dienstags bis son-ntags von 11.00 bis 18.00 Uhr besichtigt werden. An diesen Tagen findet immer um 12.00 Uhr eine öffentliche Führung statt.

/35250

//

/35252

Untitled.

You can tell love on a clock,

Blue eye surprise,

Cut like soft rock,

Sharp dog bite,

Kiss of hot mud,

That’s how it happens.

Cool cloud hugs

Bruise a though throat

A wavering ruin of belief.

Crack reality a tamarack.

Swing the tough slang

Like the sun in the rain.

Times almost out,

Wavering frogs hesitate to kiss,

But no spell exists.

The bruise, red.

Like the blood of the undead.

Dead loves lays wake for time.

//

/35254

//SolarDecathlon

/35256

/35258

//SolarDecathlon

/35260

//SolarDecathlon

/35262

//SolarDecathlon

/35264

After experimenting with a few forms, I choose to trace the Living Light house from an architectural drawing, then us-ing that form to create and new form, which hopefully results in an interesting logo.

The process was playful and I learned a lot about the capabilities of illustrator.

/35266

At this point I was very pleased with the results of my experiments and playful-ness, I had crated a form that is both mechanical and organic, like the house, it references the sun, and flowers, or a cog wheel, many double meanings can be applied to such a form. I just needed to refine my ideas on the feel of the brand “Living Light”

/35268

5

House transported in one piece

Place jacks in correct locations

Wood deck frames set in place

Deck surfaces and planters installed

Plants, signage attached, roof extended

1

2

3

4

frameless gl azing system4 1/4" x 1 3/4 kallwall trifab 450 aluminum

frame with 1/4" single glazing

interior gl azing systemOperable 1" double glazing panel

in custom wood frame

interior gl azing system2" fixed panels composed of 2 layers

of 1/2" perforatedplywood panels with1" layer of nanogel insulation between

interior gl azing system2" operable panels composed of 2 layers

of 1/2" perforated plywood panelswith 1" layer of nanogel insulation between

interior gl azing systemCustom wood frame with fixed

1" double glazing



[north fac ade]

[south fac ade]

e

d

a

c b

f

outdoor public spaceWith integrated seating, storage and grill

entry airlock

l aundry / coats

mechanic al

kitchen wall

kitchen isl andExtendable to seat 8

entertainment centerWith fold out desk

fold out murphy bed3 Wardrobe

ada accessible bathroom

exit airlock

exterior private spaceWith integrated seating and storage

native appal achian wetl andComposed of sedge and horsetail

inspiration—The material palette, double core organization and prominent overhang of the our proposal were inspired by the cantilevered barns of Appalachia

b

c

d

g

h

i

j

k

l

f

a

e

k

l

j

i

g

h

f

e d

c

b

a

floor pl an 3/16" = 1'–0"

longitudinal section 3/16" = 1'–0"

north

livinglightharvest the sun’s energyLike the leaves of a plant, the integrated roof-top array provides energy and shade for the home. The 9 kw array is comprised of 72 hollow acrylic half-cylinder tubes 18 feet in length with the flat of each tube angled at 30 degrees. Air drawn through the tubes cools the photovolta-ics and supplies tempered air as needed to an internal heat pump with thermal storage tank and desiccant based humidity control. A closed loop brine solution running within the tubes provides preheated water to a heat pump water heater. led strips imbed-ded in the acrylic provide night lighting. The entire system is assembled from readily available products and is designed to be equally at home on the roof of the Living Light home or as a retrofit to existing structures.

In developing the concept of Living Light, our team identified six overlapping strategies:

live compactThe Living Light home is intended as a retreat from the visual and physical clutter of the Information Age while integrating technology seamlessly into the design. Inspired by the cantilever barns of Southern Appalachia, the floor plan organizes support spaces into two dense cubes of program framing the open living space in between. The greatest luxuries in the Living Light home are volume and light.

maximize transparency and viewInspired by the natural beauty of South-ern Appalachia, the Living Light team took as a challenge the creation of an energy efficient living area connected spatially and visually to the landscape outside. This was achieved through the use of fixed aerogel panels on the north, moveable thermal shades on the south, and multi-pane glazing throughout.

leave a small footprintIn addition to producing it own power, the house touches the land lightly and is designed to take advantage of sustainable materials and construction methods. The structural frame of the home is a tubular truss comprising the center section of a double-drop semi trailer. This allows for the majority of all construction to take place in a controlled interior environment and minimizes the need to expend energy re-erecting the structure on site. To minimize carbon footprint, local wood is used extensively as exterior and interior finish.

allow space to transform with functionTwo cores organize the daily rituals of life. The public core contains most kitchen appliances and is near the island. The millwork of the public core can be entirely closed to hide its function while the island extends to accommodate from 2 to 8 people. The opposite core contains the more private elements of bed and bath. The adjacent entertainment center acts as a footboard and defines the space of the bed when in use and folds out to become a desk when the Murphy bed is stored.

give people control of light, view, and ventilationThe north and south facades incorpo-rate inner and outer glass panes with motorized shades and horizontal blinds sandwiched in between. Operable panels allow outside air to be admitted when humidity is acceptable.

2

1

3

4

5

3

livinglight

deformation analysis

electical diagram

stress analysis structural frame—Tube truss designed for static and transportation loads

spatial organization—Services are pushed to perimeter cores, allowing for greater flexibility

electric al system—9.7 kwh tubular photovoltaic system

mechanic al system—Air to air heat pump augmented with warm air gain from pv tubes and thermal strorage

integrated house and l andsc ape

spatial overlaps

flexible connections

circulation

daylight with shading

daylight without shading

2

3

4

7

8

9

10

11

12

13

6

1

5

tubul ar photovoltaic system— integrates all systems

1 2

3

4

Inner cavity of tube allows for air circulation to cool pv’s and pre-heat incoming air

Inner cavity of tube accomodates brine based heat exchanger for hot water

Integrated led strips and Fresnel lenses allow efficient night lighting

Typical 6" modular panels produce power and act as sun shading

1

2

3

4

mechanical diagram

Outside Exhaust

tubul ar photovoltaicsystem

overhangBlocks summer sun

overhangAllows winter sun

gl azing systemIncorporates thermal shade toprevent winter night heat loss

gl azing systemIncorporates protected horizontal

blinds outside of conditioned space

in summerAir is ventilated from cavity

to reduce heat loss

in winterWarm air may be allowed into

conditioned space by operable windowsin the inner facade

modul ar pl antingsCreate engineered wetland

external covered airintake

adjustable foundation

insul ated inner gl assfac ade

single pane exteriorgl ass fac ade

integrated led lighting

1

2

3

4

5

6

7

8

9

10

11 12

13

wall section through south double fac ade

//SolarDecathlon

5

House transported in one piece

Place jacks in correct locations

Wood deck frames set in place

Deck surfaces and planters installed

Plants, signage attached, roof extended

1

2

3

4



interior gl azing systemOperable 1" double glazing panel

in custom wood frame

interior gl azing system2" fixed panels composed of 2 layers

of 1/2" perforatedplywood panels with1" layer of nanogel insulation between

interior gl azing system2" operable panels composed of 2 layers

of 1/2" perforated plywood panelswith 1" layer of nanogel insulation between

interior gl azing systemCustom wood frame with fixed

1" double glazing



[north fac ade]

[south fac ade]

e

d

a

c b

f

outdoor public spaceWith integrated seating, storage and grill

entry airlock

l aundry / coats

mechanic al

kitchen wall

kitchen isl andExtendable to seat 8

entertainment centerWith fold out desk

fold out murphy bed3 Wardrobe

ada accessible bathroom

exit airlock

exterior private spaceWith integrated seating and storage

native appal achian wetl andComposed of sedge and horsetail

inspiration—The material palette, double core organization and prominent overhang of the our proposal were inspired by the cantilevered barns of Appalachia

b

c

d

g

h

i

j

k

l

f

a

e

k

l

j

i

g

h

f

e d

c

b

a

floor pl an 3/16" = 1'–0"

longitudinal section 3/16" = 1'–0"

north

livinglightharvest the sun’s energyLike the leaves of a plant, the integrated roof-top array provides energy and shade for the home. The 9 kw array is comprised of 72 hollow acrylic half-cylinder tubes 18 feet in length with the flat of each tube angled at 30 degrees. Air drawn through the tubes cools the photovolta-ics and supplies tempered air as needed to an internal heat pump with thermal storage tank and desiccant based humidity control. A closed loop brine solution running within the tubes provides preheated water to a heat pump water heater. led strips imbed-ded in the acrylic provide night lighting. The entire system is assembled from readily available products and is designed to be equally at home on the roof of the Living Light home or as a retrofit to existing structures.

In developing the concept of Living Light, our team identified six overlapping strategies:

live compactThe Living Light home is intended as a retreat from the visual and physical clutter of the Information Age while integrating technology seamlessly into the design. Inspired by the cantilever barns of Southern Appalachia, the floor plan organizes support spaces into two dense cubes of program framing the open living space in between. The greatest luxuries in the Living Light home are volume and light.

maximize transparency and viewInspired by the natural beauty of South-ern Appalachia, the Living Light team took as a challenge the creation of an energy efficient living area connected spatially and visually to the landscape outside. This was achieved through the use of fixed aerogel panels on the north, moveable thermal shades on the south, and multi-pane glazing throughout.

leave a small footprintIn addition to producing it own power, the house touches the land lightly and is designed to take advantage of sustainable materials and construction methods. The structural frame of the home is a tubular truss comprising the center section of a double-drop semi trailer. This allows for the majority of all construction to take place in a controlled interior environment and minimizes the need to expend energy re-erecting the structure on site. To minimize carbon footprint, local wood is used extensively as exterior and interior finish.

allow space to transform with functionTwo cores organize the daily rituals of life. The public core contains most kitchen appliances and is near the island. The millwork of the public core can be entirely closed to hide its function while the island extends to accommodate from 2 to 8 people. The opposite core contains the more private elements of bed and bath. The adjacent entertainment center acts as a footboard and defines the space of the bed when in use and folds out to become a desk when the Murphy bed is stored.

give people control of light, view, and ventilationThe north and south facades incorpo-rate inner and outer glass panes with motorized shades and horizontal blinds sandwiched in between. Operable panels allow outside air to be admitted when humidity is acceptable.

2

1

3

4

5

3

livinglight

deformation analysis

electical diagram

stress analysis structural frame—Tube truss designed for static and transportation loads

spatial organization—Services are pushed to perimeter cores, allowing for greater flexibility

electric al system—9.7 kwh tubular photovoltaic system

mechanic al system—Air to air heat pump augmented with warm air gain from pv tubes and thermal strorage

integrated house and l andsc ape

spatial overlaps

flexible connections

circulation

daylight with shading

daylight without shading

2

3

4

7

8

9

10

11

12

13

6

1

5

tubul ar photovoltaic system— integrates all systems

1 2

3

4

Inner cavity of tube allows for air circulation to cool pv’s and pre-heat incoming air

Inner cavity of tube accomodates brine based heat exchanger for hot water

Integrated led strips and Fresnel lenses allow efficient night lighting

Typical 6" modular panels produce power and act as sun shading

1

2

3

4

mechanical diagram

Outside Exhaust

tubul ar photovoltaicsystem

overhangBlocks summer sun

overhangAllows winter sun

gl azing systemIncorporates thermal shade toprevent winter night heat loss

gl azing systemIncorporates protected horizontal

blinds outside of conditioned space

in summerAir is ventilated from cavity

to reduce heat loss

in winterWarm air may be allowed into

conditioned space by operable windowsin the inner facade

modul ar pl antingsCreate engineered wetland

external covered airintake

adjustable foundation

insul ated inner gl assfac ade

single pane exteriorgl ass fac ade

integrated led lighting

1

2

3

4

5

6

7

8

9

10

11 12

13

wall section through south double fac ade

/35270

/35272

Playing with the logotype and further lead me to the font choice, while I could still explore this further I feel like for the purpose of this project I have found my identity.

/35274

/35276

/35278

//

/35280

//

DOMESTICŁCOLD WATER

DOMESTIC HOTŁWATER SUPPLY

DRYERDESICCANT

SUPPLY AIR(HIGH VELOCITY)

OUTSIDE AIR

PV PANELS TUBE COLLECTORS

HEAT RECOVERY VENILATOR

OUTSIDE ŁEXHAUST HEATING COOLING

(DX COIL)

SOLAR THERMAL COLLECTORSŁ(CLOSED LOOP)

THERMAL STORAGEŁ(WATER) 120Fsecondary

DOMESTIC HOTŁWATER

PRIVATE SLEEPING

PUBLIC DINING

ENTERTAINING

PRIVATE LESUIRE / WORK

INACTIVE

6AM 6AM6PM

INVER

TERLOA

D CEN

TER

PV ARRAY

COMBINER

DC DISCONNECT

INVERTER

INVERTER OCPD

AC D

ISCON

NECT

FUTU

RE

RESID

ENTIA

L

METER

SMA

RT G

RID

METER

DC

AC

M

M

BU

ILDIN

GG

RO

UN

DIN

GELECTR

OD

E

MAINPANEL

/35282

/35284

USER CONTROLLED DAY LIGHT

SUNLIGHT GIVES POWER

/35286

/35288

/35290

/35292

/35294

Apple has a long relationship with Ado-be. In fact, we met Adobe’s founders when they were in their proverbial ga-rage. Apple was their first big customer, adopting their Postscript language for our new Laserwriter printer. Apple invested in Adobe and owned around 20% of the company for many years. The two companies worked closely together to pioneer desktop publish-ing and there were many good times. Since that golden era, the companies have grown apart. Apple went through its near death experience, and Adobe was drawn to the corporate market with their Acrobat products. Today the two companies still work together to serve their joint creative customers – Mac us-ers buy around half of Adobe’s Creative Suite products – but beyond that there are few joint interests.

I wanted to jot down some of our thoughts on Adobe’s Flash products so that customers and critics may better understand why we do not allow Flash on iPhones, iPods and iPads. Adobe has characterized our decision as being primarily business driven – they say we want to protect our App Store – but in reality it is based on technology issues. Adobe claims that we are a closed sys-tem, and that Flash is open, but in fact the opposite is true. Let me explain.

First, there’s “Open”.

Adobe’s Flash products are 100% pro-prietary. They are only available from Adobe, and Adobe has sole authority as to their future enhancement, pricing, etc. While Adobe’s Flash products are widely available, this does not mean they are open, since they are controlled en-tirely by Adobe and available only from Adobe. By almost any definition, Flash is a closed system.

Apple has many proprietary products too. Though the operating system for the iPhone, iPod and iPad is proprietary, we strongly believe that all standards pertain-ing to the web should be open. Rather than use Flash, Apple has adopted HTML5, CSS and JavaScript – all open standards. Apple’s mobile devices all ship with high performance, low power implementations of these open standards. HTML5, the new web standard that has been adopted by Apple, Google and many others, lets web developers create advanced graphics, typography, animations and transitions with-out relying on third party browser plug-ins (like Flash). HTML5 is completely open and controlled by a standards committee, of which Apple is a member.

Apple even creates open standards for the web. For example, Apple began with a small open source project and created WebKit, a complete open-source HTML5 ren-dering engine that is the heart of the Safari web browser used in all our products. WebKit has been widely adopted. Google uses it for Android’s browser, Palm uses it, Nokia uses it, and RIM (Blackberry) has announced they will use it too. Almost every smartphone web browser other than Microsoft’s uses WebKit. By making its WebKit technology open, Apple has set the standard for mobile web browsers.

Second, there’s the “full web”.

Adobe has repeatedly said that Apple mobile devices cannot access “the full web” because 75% of video on the web is in Flash. What they don’t say is that almost all this video is also available in a more modern format, H.264, and view-able on iPhones, iPods and iPads. YouTube, with an estimated 40% of the web’s video, shines in an app bundled on all Apple mobile devices, with the iPad offer-ing perhaps the best YouTube discovery and viewing experience ever. Add to this video from Vimeo, Netflix, Facebook, ABC, CBS, CNN, MSNBC, Fox News, ESPN, NPR, Time, The New York Times, The Wall Street Journal, Sports Illustrated, People, National Geographic, and many, many others. iPhone, iPod and iPad users aren’t missing much video.

Another Adobe claim is that Apple devices cannot play Flash games. This is true. Fortunately, there are over 50,000 games and entertainment titles on the App Store, and many of them are free. There are more games and entertainment titles available for iPhone, iPod and iPad than for any other platform in the world.

Third, there’s reliability, security and performance.

Symantec recently highlighted Flash for having one of the worst security records in 2009. We also know first hand that Flash is the number one reason Macs crash. We have been working with Adobe to fix these problems, but they have persisted for several years now. We don’t want to reduce the reliability and security of our iPhones, iPods and iPads by adding Flash.

In addition, Flash has not performed well on mobile devices. We have routinely asked Adobe to show us Flash performing well on a mobile device, any mobile device, for a few years now. We have never seen it. Adobe publicly said that Flash would ship on a smartphone in early 2009, then the second half of 2009, then the

// Thoughts on Flash

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first half of 2010, and now they say the second half of 2010. We think it will eventually ship, but we’re glad we didn’t hold our breath. Who knows how it will perform?

Fourth, there’s battery life.

To achieve long battery life when play-ing video, mobile devices must decode the video in hardware; decoding it in software uses too much power. Many of the chips used in modern mobile devices contain a decoder called H.264 – an industry standard that is used in every Blu-ray DVD player and has been adopted by Apple, Google (YouTube), Vimeo, Netflix and many other compa-nies.

Although Flash has recently added support for H.264, the video on almost all Flash websites currently requires an older generation decoder that is not implemented in mobile chips and must be run in software. The difference is striking: on an iPhone, for example, H.264 videos play for up to 10 hours, while videos decoded in software play for less than 5 hours before the battery is fully drained.

When websites re-encode their videos using H.264, they can offer them with-out using Flash at all. They play per-fectly in browsers like Apple’s Safari and Google’s Chrome without any plugins whatsoever, and look great on iPhones, iPods and iPads.

Fifth, there’s Touch.

Flash was designed for PCs using mice, not for touch screens using fingers. For example, many Flash websites rely on “rollovers”, which pop up menus or other elements when the mouse arrow hovers over a specific spot. Apple’s

revolutionary multi-touch interface doesn’t use a mouse, and there is no concept of a rollover. Most Flash websites will need to be rewritten to support touch-based devices. If developers need to rewrite their Flash websites, why not use modern technologies like HTML5, CSS and JavaScript?

Even if iPhones, iPods and iPads ran Flash, it would not solve the problem that most Flash websites need to be rewritten to support touch-based devices.

Sixth, the most important reason.

Besides the fact that Flash is closed and proprietary, has major technical drawbacks, and doesn’t support touch based devices, there is an even more important reason we do not allow Flash on iPhones, iPods and iPads. We have discussed the down-sides of using Flash to play video and interactive content from websites, but Adobe also wants developers to adopt Flash to create apps that run on our mobile devices.

We know from painful experience that letting a third party layer of software come between the platform and the developer ultimately results in sub-standard apps and hinders the enhancement and progress of the platform. If developers grow depend-ent on third party development libraries and tools, they can only take advantage of platform enhancements if and when the third party chooses to adopt the new features. We cannot be at the mercy of a third party deciding if and when they will make our enhancements available to our developers.

This becomes even worse if the third party is supplying a cross platform develop-ment tool. The third party may not adopt enhancements from one platform unless they are available on all of their supported platforms. Hence developers only have access to the lowest common denominator set of features. Again, we cannot accept an outcome where developers are blocked from using our innovations and enhance-ments because they are not available on our competitor’s platforms.

Flash is a cross platform development tool. It is not Adobe’s goal to help developers write the best iPhone, iPod and iPad apps. It is their goal to help developers write cross platform apps. And Adobe has been painfully slow to adopt enhancements to Apple’s platforms. For example, although Mac OS X has been shipping for almost 10 years now, Adobe just adopted it fully (Cocoa) two weeks ago when they shipped CS5. Adobe was the last major third party developer to fully adopt Mac OS X.

Our motivation is simple – we want to provide the most advanced and innovative platform to our developers, and we want them to stand directly on the shoulders of this platform and create the best apps the world has ever seen. We want to continu-ally enhance the platform so developers can create even more amazing, powerful, fun and useful applications. Everyone wins – we sell more devices because we have the best apps, developers reach a wider and wider audience and customer base, and users are continually delighted by the best and broadest selection of apps on any platform.

Conclusions.

Flash was created during the PC era – for PCs and mice. Flash is a successful busi-ness for Adobe, and we can understand why they want to push it beyond PCs. But the mobile era is about low power devices, touch interfaces and open web standards – all areas where Flash falls short.

The avalanche of media outlets offer-ing their content for Apple’s mobile devices demonstrates that Flash is no longer necessary to watch video or consume any kind of web content. And the 200,000 apps on Apple’s App Store proves that Flash isn’t necessary for tens of thousands of developers to create graphically rich applications, including games.

New open standards created in the mobile era, such as HTML5, will win on mobile devices (and PCs too). Perhaps Adobe should focus more on creating great HTML5 tools for the future, and less on criticizing Apple for leaving the past behind.

Steve JobsApril, 2010

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