Andrew+M+R08

I’ve always enjoyed architectural renderings, even more so when they are renders of the future. I think the artists who draw these clean, clutter free depictions of what could be, do so with the intent of quickly portraying recognizable imagery to the average viewer. To include street signs, pipes and other details is not a part of an objects essence. If you ask someone to draw a car, they quickly jot down a few wheels, hood, trunk and seating space, because that is the essence of the car. All other details do not make up the car; they make up a particular kind of car. Capturing the vibe of an object, idea or concept and successfully communicating it to thousands or even millions of people is often difficult. To clutter a vision with unnecessary details, or noise, is to distort how the mind will perceive the vision.

An artist may emphasize a buildings use of glass to convey the idea of openness, or focus on surrounding foliage to express a oneness with nature. The purpose is not to show exacting placement of such elements, but to communicate the intention of the building and its creators. Often this is what people need to see, showing customers exacting specifications will just lead to confusion and more often than not they already have an idea of the image they want to project. Understanding how to capture and project a particular style gives the designer the opportunity to communicate without words. This is important because words are not the only means by which we communicate and far too often we forget that communication is not perfect spelling and proper grammar, both of which a manufactured by a particular culture at a particular time; communication is taking what I have in my mind and putting it in yours.

KarenR_R08

Today’s reading was about how architects put a little bit of fantasy into their renderings. This is a good thing because not every decision can be made at the moment of rendering. The rendering is supposed to communicate the desired effect, not necessarily the end result. Some details may be left out of the drawing simply because they are noise. The machinery in the glass elevator may be an example of this. The architect wants to get their client to focus on the aesthetics rather than the mechanical or structural elements of the design. Style sells. Bierut closes the essay well. Fantastic dreams build fantastic structures.

GordonGR08

Information Design ~ Day 8 ~ Once again we have been given the mental treat of reading an outtake from Seventy-nine Short Essays on Design, by author Michael Bierut. The topic for this particular ramble is The Rendering and the Reality. Beirut’s views on architectural renderings dove tail nicely with the offsite exploration we did today at The Milwaukee Public Museum. Both made me think about and experience Information Design in the third dimension.

At the Milwaukee Public museum, I was challenged to view the museum from a new perspective. As an artist, I have always admired the museum for its obvious visual stimuli. Today’s trip as a “critical thinker” would re-open my eyes to this familiar place. I found myself analyzing posters, signage and displays like never before. Off came my consumer hat – and artist hat for that matter. I was now looking to connect the dots as an information designer. How would I have laid out a particular chart differently? Why was one answer on my “Fieldtrip Questionnaire” easier to find than another? The whole museum adventure reminded me of our classroom Data Whammy exercises – only in a grander scale. Taking something familiar and then breaking it down. I don’t think I’ll ever visit the museum with the same kind of “vision” ever again.

In a similar vein, I found today’s reading on architectural renderings to be equally insightful. I have seen these renderings often over the years and always admired them for their artistic qualities. As with any piece of information design, there is an agenda contained within their content. Bierut points out that theses renderings are no different. In fact, they are often quite potent in the area of agenda – looking to instill an emotional connection, excite the viewer and even convert the naysayer.

Unlike a chart or graph that lives and dies by the accuracy of data, the architect rendering is at its best when it seems to blatantly break some of the most basic construction rules. The architectural rendering – in its own genre, need not worry about engineering minutia, building code or even certain realities. The information being illustrated need only represent the concept of the architect. The beauty of the vision and the environment made better from it. The graphic designer and his “chart” would not last long in their respected industry with those same practices.

My take away from today is that proper alignment between environment, audience and agenda is critical in achieving the desired outcome of any information design project.

Heidi + R + 07

Previously I had read that many crosswalk buttons were placebos as well as elevator buttons to close/open doors. Many things in society are there just to ease our worries and help us not panic. And I have read studies that many places/towns in Canada do not lock their doors or put up so much of a fuss about having a complicated security system. Perhaps Americans are so paranoid and must lock all doors, get credentials to get clearance to such places, or own a gun due to the media suggesting we are in war or there is high crime. We are drawn to the horror stories, the bad news rather then the good news. We hear more about how crime is rising, rather then ways or places it is lowering. We live in fear rather then realizing the world is not that bad.

I believe that people need to wake up and start thinking for themselves and perhaps we can all realize the world is not as scary as we thought it was. That perhaps a few select sources or venues want us to believe it is. That because there is a button, or a colorful chart to indicate our danger levels, they might not work and just be an interesting graphic.

Heidi + R + 06

When first starting the reading I saw this wonderful map of what seemed to be someones idea of how modern art came to be. A list, that had direction due to the arrows, of what started the movement. You could trace non-geometrical abstract art or geometrical abstract art back to its origins. As I read on, I started to learn and realize the power of those arrows. How they directed my, the viewer to believe and understand that there was no interaction between two genres. That neo-impressionism was not effected by cubism. Or that cubism was not influenced by futurism. The arrows helped the viewer know that from one there could be many new genres of art, but often there was no communication between the two, it was more of an evolution of art not how it could and did truly interact.

I learned about the importance of lines and how they play an important role in maps. There can be different types of lines used to represent different data, or how the style of the lines play a large role in the information. Often when working with nouns and words, the lines need to aid in the design but not overpower the words/nouns and the message that is being shown. Thus the use of arrows and line weight often play a large role and are helpful tools.

Heidi + R + 05

Since my Internet was not being friendly last week here are my late responses...

Narrative Itineraries are some of the foundation blocks for what we know today. By using timetables and route maps as a way to display and document data it allowed past scientists a way to see their information and draw conclusions, predict things, and create scientific facts. A way to document time and spatial experiences is a valuable tool. It allows people ways to remember what they did or learned on a specific day and to continue to expand on that knowledge. It also gives a way for others new to the experiment or the topic being addressed in the timetable or map to quickly learn, often in depth, about what has occurred in the past as to not waste time repeating the procedures.

Things that were deemed "successful" design wise in the past were often improved upon and reused again and again. Concepts that were successful used again and again.

Paul-A-R08

I can just picture the architectural drawings for the addition to the old Milwaukee Public Museum: the old entrance is covered over with a façade creating a courtyard space to the East with outdoor tables and chairs under freshly planted trees. The new building name display looms high on the eastern courtyard wall. The clock from the old entrance has been moved to the sidewalk leading into this new entrance to provide a familiar marker that reassures people that no matter how much things change, they can still feel the same.
Fast forward to now, twenty or thirty years later, those nice little trees have grown up. Approaching the museum from the West along Wells street, it is difficult to see just where the entrance is. The trees block the signage on the building entirely; you cannot see the entrance door toward the back of the courtyard until you are right in front of it. Standing on the sidewalk at the street, you have to crane your neck back until you are looking almost straight up in order to see the sign for the museum. My first indication that I was at the museum entrance was the clock which I recognized from the old museum entrance although I did not recognize it through the foliage until I was right up on it. These objects which probably looked great in an artist rendering showing a long view looking west down Wells Street and into the courtyard become totally obscure when you are standing right in front or right under them.
The same can be said of a lot of signage in the museum, particularly in the new sections. I did not notice the sign for the bathrooms/lockers just inside the entrance because they were mounted so high. This probably works well for people at the other end of the large room who can look straight on and see it, but if you are just inside the entrance you have to look well up in order to find them. The same can be said for the signage for the butterfly house which is butted up against the ceiling over the entrance. I can imagine that it is even worse for all of the children who were running around inside the hall that day.

AndreaLR07

I think the approach to architecture written about in this article is a very positive and interesting one that I didn't know existed. In one way I see it similar to exaggerating on one's resume. The architects are pushing the truth to convince investors to get excited and choose their plans. The actual results may not line up with what was promised, but gaining the ability to fill the position gives the individual a chance to show what really can be done.
In another way, this approach is really much more like conceptual art than what I know as traditional architecture. The idea trumps the actually end product. The architect first picks and idea, an ideal that he/she wants to achieve and imply. The end result is trying to express that original idea within the constraints of the form.

Hyrom-S-R08

The process of designing a floor plan is a part of the thinking process that hopes to bring about exceptional results. When I design a floor plan I look at the big picture, and try not to make any unnecessary renderings. Every inclusion of mark has to be practical or mistakes can occur that would make this procedure one from hell. I believe the architects of this New York project showed the possibilities of dreams. The act of “striving until the goal is reached”, adhered to the completion of the project as well. I don’t like limitations myself so when a concept is placed before me that seems impossible I like to over achieve it. Architecture and urban planning is the gate way into making visual dreams of design a reality.

KarenR_R07

I recently read a blog on this very topic, placebo buttons. (http://youarenotsosmart.com/2010/02/10/placebo-buttons/) In this blog they also talk about dummy thermostats put in offices. The workers adjust the thermostats and become satisfied that they have control over the temperature in the office, but the thermostats do not actually function.

Placebo buttons reveal two things about people: that we are satisfied when we are in control of our surroundings, and that our perception is our reality. Therefore, if we perceive we are in control, whether or not we actually are, we will be satisfied.

I’ve never been outraged by the nonfunctioning buttons. Pedestrians should not have control over the traffic flow. Employees should not be able to crank up the heat on a bill the employer has to pay. Personally I think it is brilliant. Nobody wants to face the reality that the world does not revolve around them. With placebo buttons, you don’t have to. You can go on thinking you’re in control of things without costing other people all kinds of time and money.

I agree with Michael Bierut’s comments on the terror-alert levels. Perhaps these alerts are to give the public the impression of preparedness. People feel safer from a terrorist attack if they believe that the government is prepared for it or saw it coming. I do not believe this can be compared to non-functioning crosswalk buttons, however. Allowing people to lie to themselves about the effectiveness of a crosswalk button is harmless.Leading an entire country to believe that their government is prepared for a terrorist attack, whether or not it is, could be dangerous.