The act of recording information can be done in various ways, photos, videos, journals, audio, and so on. Throughout this five-week long exploration, the idea of record keeping was introduced to an object that is already known to be practical, functional and great at doing its job, a tape measure. What started with the disposal ofa piece of masking tape, evolved into a physical object that is designed to be a living journal of measurements, memories, and process.
Through a series of sketches and initial prototypes this concept was born by simply taking an existing tape measure, and covering the surface with a piece of masking tape. This marriage of materials created an opportunity to add an element of permanence and storytelling in regards to distance as well as time. But what physical form could this idea take? The initial A D.I.Y activity that transformed the functionality of an existing measuring tool for a period of time, and which could be easily returned to its original state once the intended purpose of jotting down relevant measurements.
A series of advertisements aimed at putting this notion into context revealed that the intended user determined the objects final form. Was this a tape measure for someone doing a home renovation that would carry this around with them at all times, and record every inch of the project on this one tool? This iteration was a traditional tape measure on the top half, and with the other half left blank for note taking. Who would produce such an item? Most likely a company such as Stanley would partner with a company like Sharpie to create the ultimate measuring/recording device, a “writeable” tape measure.
The opposite end of the spectrum and the final artifact delivered for this project was a finely crafted tape measure, constructed out of high-end materials like wood and brass that was completely blank. With its intended use left up to the user, this is an instrument for recording not only measurements, but thoughts, ideas, memories and more. This artifact is intended to be a precious object that would live on through generations as would a photo album or video. The process of creating this artifact revealed that one idea can take many different forms, and within these forms the context, and content can be discovered.
Concept video written and directed by Elisa Werbler, produced in collaboration with Eliz Ayaydin.
Prototype of one version of Blank Slate. Designed as a precious keepsake that could in theory be passed down from generation to generation much like jewelry or photography.
Concept video for Blank Slate.
Potential collaborations with companies such as Stanley, Sharpie or Scotch. How might these companies interpret the concept of Blank Slate into a marketable object?
Original sketches and ideation.
Storyboard for concept video.
Tuesday (Since 1963) is the final concept delivered at the end of an eleven-week design research process. It is a new way for singles born before 1963 to date. From bars and restaurants to art classes and exercise classes, older singles can decide what they want to do and where they want to go any given Tuesday. Any business can participate by signing up online and adding a logo to their front window. There’s no need to RSVP. It’s like Yelp meets Meetup for dating after 50.
A key feature of Tuesday is the gold pin that members are encouraged to wear to events to recognize each other. The stylish pin serves as anti-wedding ring and is a piece of jewelry that both men and women can comfortably wear. Another aspect of the pin is that once a member puts it on a bag or jacket, they may decide to keep it on as they go about their daily life -- sparking word of mouth marketing and extending Tuesday’s ethos to other days and locations. Tuesday has clear value for the user as well as businesses. For users, it creates a new routine and for businesses, it helps bring in new clients on a slow night.
The brief for this product was to redesign dating among older singles. This is an especially important issue because divorce rates among couples over 50 have doubled in the past 20 years and one out of three baby boomers are unmarried. As poverty rates are five times higher among unmarried boomers than their married counterparts, unmarried boomers are especially vulnerable to the vagaries surround aging (Bowling Green State University, 2010).
The process began with research and interviews with ten people, including a dating coach, a professor of courtship and marriage, a recent divorcee, and a single boomer event organizer. After synthesizing the observations into key insights and design opportunities, a couple of the opportunities were combined to create Tuesday.
Tuesday is based on the insights that older singles have accepted online dating as a means to find someone, but they find it to be unnatural and that women go to singles events to seek men, but men don’t seek singles events.
The concept was prototyped through a mock-up user journey and tested with potential users and businesses to gain their feedback. With overwhelmingly positive feedback, including one business owner who was so excited about the idea that he went ahead and put a Tuesday sticker on the door of his Italian restaurant, the concept for Tuesday is ready to be piloted.
Designed in collaboration with Julia Plevin and Heath Wagoner.
Concept video for Tuesday, a nod to creating the perfect pair.
Prototype of items that would be delivered to each business to facilitate Tuesday events.
Tuesday sticker located on the outside of a participating business that can be easily recognized by participants.
"The Wall," covered in insights, opportunities and initial concept sketches.
Intercepts in Central Park, playing a card sorting game to gain feedback and understanding during the research phase.
First place winner at the American Design Club show "Trophy- Awards We Live With"
A combination of found materials and fabricated parts, assembled as a trophy to perform as a time-capsule for current design trends.
In this project urban farming was examined through the lens of the insect-plant relationship, where insect biodiversity is framed as the primary outcome of the system. The goal is to establish that design-for-insects is a path to a healthier, more resilient, and more productive ecosystem.
Organic agriculture and Integrated Pest Management strategies address the relationship between plants and insects in great detail. In practice however—and particularly in smaller scale urban operations—these resources too often remain untapped until a problem arises. By cultivating diversity from initial planning stages, farmers can not only minimize damage from pests, but also better harness the beneficial functions of insects as pollinators and soil builders.
Trapp offers a convenient and focused resource for identifying insects and their role in an agricultural system. Users are able to search species through a number of avenues, as well as communicate with the online community about issues and solutions. It furthermore allows the user to log findings which might be visualized to show patterns over time. This information can then be aggregated to reveal larger regional and global fluctuation in insect populations.
As the flaws of industrial agricultural strategies become increasingly apparent, a fundamental rethinking of the human-nature relationship becomes necessary. At its heart, this project is based in the idea that other members of an ecosystem should be addressed not as resources or enemies, but as allies.
A language is a form of communication, whether it is through the use of spoken word, hand gestures or written text, it allows us to communicate with one another through a system that is both organized and relatable.
“Transparent Circumstance” is a visual language that focuses on the communication of emotions through the use of transparent color. The language relies on the connection of several components that work together to begin to articulate a story, based on time and user participation.
Twelve different emotions; six positive and six oppositely negative emotions are depicted through the use of transparent color and shape. Each set of conflicting emotions is grouped together by color, i.e. happy and sad are both executed using a transparent pink acrylic, while joy and grief share the same yellow color.
The form of each emotion is extracted from a line drawing used to tell a personal life journey. The organic forms overlap in asymmetrical ways to create new, denser and more meaningful relationships between these emotions. There are three bases on which these emotions can be attached to through the use of a peg. The first base represents “me,” a personal expression from oneself to another, and the second represents “you,” a role reversal, in which the two participants begin to assess one another. The final structure represents “us,” a collaborative effort that facilitates communication and resolution.
Time is represented in this system as well. Each base can be secured to the wall by using one of three ropes. Each rope represents the past, the present and the future and is designated by one of three different colors. The combination of all of these materials allows the user to write a sentence, the more complex the combination of elements the more detailed the story gets. For example one could say “I love you now,” or “We have shared sadness and grief in the past.” The layering of the transparent colors allows for an overlap of emotions. One rarely feels simply joy or exclusively sadness. This system encourages both self-reflection and communication. By combining these transparent, jewel-toned emotions together one can find beauty and clarity in even the most difficult and negative of times.
colored plexi, stainless steel
A wall-mounted sculpture, this piece is made using 6 different colored plexiglass parts. Each sections is molded such that when all parts are connected it creates a closed-cirquit, an endless combination of cast shadows varying in shape and color.
glass, gold paint, latex paint, gold leaf
Tabletop tray used for collecting small objects such as jewelry or change. Each piece is made using a reverse painting technique on the back of the glass. The organic painting process results in a completely unique object every time.
“Beacon” is a sculptural object designed to promote interaction between the piece and its viewers. The overall form is simple and unassuming, while the details in construction and materials draw the viewer into the piece. Once the viewer begins the engage with the piece, a capacitive touch sensor engages a motor, which creates a whirlwind of metallic confetti inside the main body of the piece. Additionally, a light turns on as the motor starts running which makes the metallic pieces sparkle and draws the focus directly the center of the object.
Once the interaction has occurred, the confetti, due to static electricity leaves a residue of its presence by sticking to the walls of the acrylic chamber. This not only makes for a custom experience each time it is explored, but signifies to other users that there is more to the object itself than what initially meets the eye. The same is true for the inclusion of the power cord, which helps to signify that this is not a static object.
The interaction of this piece was designed using arduino and a microcontroller. All of the components of the piece are seamlessly integrated into the body. The fan and the microcontroller are housed in the base, while the light is fed through one of the brass pillars to reach the top of the tube. It was important for the integrity of the piece that all of the electronics be concealed, so as not to give away the surprise of the interaction itself.
Made using over 18 layers of liquid plastic, each teacup defies gravity with its colored drips that harden around a mold into a solid shape. The cross-section of each saucer reveals the layers and layers of material.
powder coated steel
These glossy white nesting tables interact with one another to create reflective color that bounces off the surface below it. They depend on one another in their nesting formation in order to acheive the colored glow.
poplar, flocking, lacquer
This chair was designed to combine the physicality of material with form in a furniture object. Separated into two parts; the top “handle,” finished in shiny white lacquer contrasts the soft surface and details of the flocked seat. While the white part is square and sharp, everything that is soft has a generous radius at the connection points to emphasize its tactility.
reclaimed wood, paint
slip-cast ceramics, glaze
Made using a repetitive molding process, each "Rock" holds the same form but takes on their own personality based on the surface treatment. The flat side of each "Rock" remains white, which allows the saturated colors to bounce off of one another.