This wallpaper design is fit for a rustic looking coffee shop, one that has exposed beams, wood pieces, and a relaxing feeling. The wallpaper is designed to look as if it was a blueprint and the images in it to resemble common coffee shop items. This would be a sit down coffee shop so that people can admire the different line work in the wallpaper and the choices of the work.
wallpaper for assisted living center
The wallpaper created is for assisted living homes. Assisted living homes can sometimes stray away from feeling like an actual home and more like a hotel room. The choice of color is very important making sure the environment does not represent a hospital-like facility. In his Color, Environment, & Human Response (1996), Frank Mahnke explains the colors associated with health care facilities. Bright colors and dark tones are not ideal considering if a patient has a mental disorder. We have to find a balance in between to block out the loudness of color and also steer away from an institutional sense. When it comes to assisted living homes it can be difficult due to aesthetic preferences. A person is leaving the freedom of there home to another home with others around and it can almost feel artificial.
The wallpaper I have created is simple outlines of leaves but I did not want a clutter of them like floral wallpapers. The leaves are gigantic in order to convey that sense of space along with the mutual color tone to help reduce the loudness of the leaves in size. I created a wallpaper that is silent in order to blend into the background, enough so it does not cause too much attention unless you look closely. I kept the pattern simple to allow a sense of comfort and flow.
Develop a prospectus/analytical prototype of a design solution — or approaches — to a problem (or gap). The solution need not be a designed artifact, but may be a service, or set of procedures (that may involve some artifacts).
The analytical prototype/prospectus may work as a “think piece,” opening a topic up, giving it a larger framework. Its proposed solution(s) is/are mainly models, things around which a conversation can be encouraged, yielding new ideas, agreements, concrete plans (or even the decision to have *no* plan, and even to do nothing).
Your guide is to be the procedures outlined in the chapters of Ulrich that we have read.
user experience or other gap
exploration of features that might address that problem
selection of features
design(s) (prototypes, sketches, models)
The final deliverable is a prospectus document, printed or web/adaptive (if printed, multiple pages, may be 8.5 x 11 inches), in which you discuss a perceived gap, definition of the problem, exploration of alternatives, and selection/development of a plan.
Draft (nearly done) materials due Monday 7 May, when they will go on the Hardie 2F wall. These materials would include the prospectus, and any supporting imagery/references, which may be large size. The wall presentations may have a work-in-progress feel. Final (document) due Wednesday 9 May.
We have printed examples of these prospectuses from recent years; see also the Design Stories archive for recent years.
have been printing tests and final versions of wallpaper.
don’t forget to write an account of your wallpaper, its purpose, how it came into being, ideas behind it, the process, etc.
We are reading or re-reading Steve Baker his “To go about noisily : Clutter, writing and design” (Emigré 35, Summer 1995), and Jane Graves her essay “What is the object’s secret?” in The Secret Life of Objects (2010). An ebook format of the latter is available here.
Here is Jane Graves’s summary of that essay —
I approach the ‘secret’ of an object from a double perspective. My twin practices as a cultural studies lecturer and a psychoanalytical psychotherapist stimulated my search for the object’s ‘secret’. I see my patients alone in my consulting room, and this isolation is essential for patients to tolerate the process of change and discovery — which tells them they were not quite as they thought. I isolate the object in a similar way, and stripping it of familiar associations, it becomes strange to me, just as my patients become strange to themselves. But the art/design college focussed me primarily on the making process rather than the responsive process. All artists/designers must acquire skills; but at the root of all creative practice, there is an intuition. This intuition can then be sustained by a systematic exploration of the possibilities implicit in the original concept. To guide me through this creative maze I have turned to Freud’s dream theory. He identifies three strategies, condensation, displacement and symbolisation which convert the disturbing wishes of the unconscious into a form acceptable to the dream censor — and pleasurable to the dreamer. To me these three strategies are essential to understand the indirect nature of the creative process — as long as they are unconscious. They are also the defence strategy which allows the artist to get lost in her/his own mind — to engage with the rhythm of the body, heart, blood, breath, which utilises the orifices of the body, in particular the mouth, the anus and the phallus. These primal erotic zones link us to the pulsating erotic desires, which can never be fully satisfied. We must renounce the fantasy of total fulfilment to fully engage with the creative process. Mourning is the basis of creativity — as it is of the creatively lived life. Approaching the individual object this way allows us a temporary escape from the plethora of objects, which make up our daily world. Trapping an object in a peepshow box is an opportunity to illuminate its singularity.
Our next (and penultimate) project is, to develop a catalogue of objects (or one object being dismantled, etc etc — this is very open), that will also present selected passages from one or other of the two readings. The images in the catalogue should have descriptive captions, but need not relate directly to the excerpts. We will discuss this exercise more on Wednesday, 28 March.
over break —
read Frank Chimero, The Shape of Design (2013), Part I, chapters 1-4
you can find at shapeofdesignbook.com, upper left menu.
bring in a one-page (minimum) response to the reading.
If interested, look through some of his other writing, including The Good Room.
You may want to get a head start on reading two passages from Brian Lawson, How Designers Think : The design process demystified (Fourth edition, 2006) : pages 17-23 (marble machine, igloo design, cartwheel design), and chapter 15, “Design as conversation and perception” (pages 266-286)
and be ready to run test prints (for color, pattern etc) of your wallpaper designs.
for Monday, 25 February
bring in ideas for wallpaper / room treatments
read two essays by Adolph Loos —
“Ornament and Crime (1908) and “The Poor Little Rich Man” (1900)
translations of both were distributed in class; different translations are available here
I also distributed Hal Foster, his elaboration of Loos in his “Design and Crime” (2002), which originally appeared as “Hey, That’s Me” — a review of Bruce Mau’s Life Style (Phaidon, 2000), in the London Review of Books 23:7 (5 April 2001): 13-14). Find the original LRB version — easier to read — here. This is optional, but quite interesting, reading.
For Wednesday 21 February, read Ulrich chapter 7, Aesthetics.
What is the role of aesthetics in design? Where does it come into play? How does it relate to terms like elegance, or even sprezzatura?
and this, from computer scientist and writer David Gelernter * in Machine Beauty (1998) —
Beauty is important in engineering terms because software is so complicated. Complexity makes programs hard to build and potentially hard to use; beauty is the ultimate defense against complexity.
form and function
And be thinking about a room, in which wallpaper might play a role. What might that role be, for that particular room? What goes on in that room? Who uses it, and who does not? What is the energy level of the room?
For Wednesday, read Ulrich chapter 4, Exploration.
Farhard Manjoo, Welcome to the Post-Text Future
The New York Times. February 9, 2018
We reviewed our emblems this morning; for Wednesday, revise if appropriate, and write a paragraph (or so) on each of your emblems, discussing not so much what it means, as some of the potential meanings its particular algebra makes possible.
We meet tomorrow (Wednesday 7 February) in the Design Seminar room, H-309.
We will be joined there at 9:30 am by David Buckley Borden, with whom we will discuss his work as an interdisciplinary artist and designer —
Using an accessible combination of art and design, David promotes a shared environmental awareness and heightened cultural value of ecology. David’s place-based projects highlight both pressing environmental issues and everyday phenomena. Informed by research and community outreach, David’s work manifests in a variety of forms, ranging from site-speciﬁc landscape installations in the woods to data-driven cartography in the gallery.
from his website.
David Buckley Borden and Aaron M. Ellison (Senior Ecologist, Harvard Forest), will speak in H-201 at 11:30 am today, on their work at Harvard Forest — Hemlock Forest, Landscape Ecology, Art and Design.
“Fast Forward Futures,” installation at Harvard Forest, 4 x 8 x 26 feet, wood, acrylic paint, and assorted hardware, 2017. Collaborators: David Buckley Borden, Jack Byers, Dr. Aaron Ellison, Salvador Jiménez-Flores, and Salua Rivero.
source : Hemlock Hospice
Before David arrives, we will review our thoughts on Ulrich’s chapter 3 — Design Problem Definition — and, if time permits, give a collective thought to what we learned about emblems and emblematics on Monday.
To reiterate, we will create three emblems based on materials found in a single copy of The New York Times Magazine. These three emblems, each using the three-part (A-B-C) structure of motto, (allegorical) image and explication and/or other text providing closure. The basic algebra is that A + B + C = not D, but some quantity greater than the sum of those parts.