Coca Wayfinding

           This blog addresses three types of signage when one deals with wayfinding techniques and methods. Three important wayfinding signage categories are: identification, directional, and orientation. Under each type of signage, one is given tips that will improve and create efficient wayfinding signage for the public and users.

            This information is already a direct help for answering questions when our group begins to discuss the possible solution for handicap accessibility in both Marvin Hall and the Art&Design Building. We can now consider and limit the color palette to blue, gray, or orange because these colors are common colors employed to be recognizable but they are not utilized during emergency situations. I really enjoyed reading the information about font sizing and spacing techniques because these will be great guidelines when we form and initiate our solution among users.

             This blog has also clarified what my group and I should try to address, while still making it feasible. Overall, this blog article addresses how one needs to be consistent and specific with signage, otherwise; one will not be helping the situation. 

Three Possible Solutions

Situation: Handicap accessibility within Marvin Hall and the Design Building

Solution #1: Create a bright blue line along the walls, eventually leading the user from Art&Design to Marvin Hall's main office.  The path would be clean cut and visible to anyone in a wheel chair, making it easy to follow and understand.

Solution #2: Blue dots form to create a path. There will be large blue circles with the handicap icon placed before entrances, elevators, and restrooms that are handicap accessible. 

Solution #3: Creating a map with a blue line as a path for the user. We can use icons for landmarks and nodes. Ex: Creating an icon for the common shop or the elevators, allowing the viewer to see their process through the building. 

design BIG again

            In this lecture, Tim Brown points out that design has become too small and so general that we no longer focus on important problems. Consumerism has caused the world of design to become very stereotypical, meaning that one only focuses on the appearance and marketing of an object. Brown suggests that the world needs to move from design to “design thinking” to overcome this unfortunate pattern.

Brown employs the example of the nineteenth century genius, Isambard Kingdom Brunel. Brunel employed design thinking to solve problems and create world-changing innovations like the Great Western Railway and integrated transportation systems. This new way of thinking allowed Brunel to advance the world in multiple ways. Tim Brown declares that design thinking is remerging in society; therefore it is possible for the world of design to become innovative once again.

I found it fascinating how making prototypes causes the job to be completed quicker and as well as more efficiently completed. Building prototypes allows a designer to see flaws in their design, which allows the design to move forward. In times of change we need new alternatives and new ideas; therefore, Tim Brown suggests opening the world of design to everyone. By including everyone, we receive new perspectives and new ways of tackling problems. 

Ethnography

          Ethnography is the scientific description of the customs of individual peoples and cultures. There are many important aspects to consider when employing ethnographic techniques to study a person. In both articles, What is Ethnography and An Ethnography Primer, the techniques are explained thoroughly so one is able to achieve the best results. Both of these articles focus primarily on how ethnography is most useful to the world of the designer.

           Ethnography is important in the world because a designer must truly connect with their audience. If a designer does not connect with their audience, their work will not have an inspiring effect. This is why it is very important for designers to find a connection between their product and the product’s meaning to the consumer. These articles illustrate how easily a designer may conquer the important connection between their work and their audience through the process of ethnography.

           There are many important factors in this process, but I believe the most important factor is connecting with and engaging the audience. Going into the field will often get you the best results, but it is important to record one’s data through notes, photographs, or video footage. Another key factor in receiving the best results for ethnography is engaging in an open-ended conversation with your audience. One does not wish or want to make your customer feel pressured or grilled when answering questions that will eventually add or subtract meaning from your work on the product. The conversation should not be all business, and it is a good idea to break the ice and connect with the customer by allowing the conversation to show both personality and cover pleasant topics that both you and your audience can relate too. This approach will hopefully make the customer feel free and at ease to answer honestly in response to the design.

           I found both these articles to be very helpful and relevant to our current project. It reminds me to be constantly thinking of whom my wayfinding audience is and how I need to be considerate of their needs in order to create an inspiring connection between my work and their response to the design. This connection could easily form while I follow the process of the ethnographic techniques, which are essential to any designer.