Friday, 21 February 2014

OUGD505 Studio brief 1: Guggenheim Museum research

OUGD505
STUDIO BRIEF 01
GUGGENHEIM MUSEUM 
RESEARCH







Frank Lloyd Wright's most iconic building was also one of his last. The reinforced-concrete spiral known as the Solomon R. Guggenheim Museum opened in New York City 50 years ago, on October 21, 1959; six months before, Wright died at the age of 92. He had devoted 16 years to the project, facing down opposition from a budget-conscious client, building-code sticklers and, most significantly, artists who doubted that paintings could be displayed properly on a slanting spiral ramp. "No, it is not to subjugate the paintings to the building that I conceived this plan," Wright wrote to Harry Guggenheim, a Thoroughbred horse breeder and founder of Newsday who, as the benefactor's nephew, took over the project after Solomon's death. "On the contrary, it was to make the building and the painting a beautiful symphony such as never existed in the world of Art before."


Thursday, 20 February 2014

OUGD503 Responsive: Collaborative. The hungry caterpillar

OUGD503
RESPONSIVE
COLLABORATIVE
THE HUNGRY CATERPILLAR

After discussing aesthetic styles and children's graphic design, we thought of the common book, The Very Hungry Caterpillar, and focused at the construction and ideas behind their illustrative style and approach taken which is sophisticated, smart and very clear. This style has become synonymous with this book, and we were intrigued to look more into it before deciding on an aesthetic route which we should taken when designing for a young audience as well as being serious with the content.


The Very Hungry Caterpillar is a children's picture book designed, illustrated and written by Eric Carle, first published by the World Publishing Company in 1969, later published by Penguin Putnam. It features a caterpillar who eats its way through a wide variety of foodstuffs before pupating and emerging as a butterfly. The winner of many children's literature awards and a major graphic design award, it has sold 30 million copies worldwide. It has been described as having sold the equivalent of a copy per minute since its publication. It has been described as "one of the greatest childhood classics of all time." It was voted the number two children's picture book in a 2012 survey of School Library Journal readers.
The Very Hungry Caterpillar uses distinctive collage illustrations (Carle's third book, and a new style at the time), 'eaten' holes in the pages and simple text with educational themes – counting, the days of the week, foods, and a butterfly's life stages. There have been a large number of related books and other products, including educational tools, created in connection to the book. The caterpillar's diet is fictional rather than scientifically accurate, but the book introduces concepts of Lepidoptera life stages where transformations take place including the ultimate metamorphosis from 'hungry caterpillar' to 'beautiful butterfly', and it has been endorsed by the Royal Entomological Society.
A green baby caterpillar hatches from an egg, and from birth he experiences a perpetual craving for food. He eats through fruits on five days, one piece on the first, two on the second, and so on up to five, then experiments with a wider variety of foods. Soon enough he overdoes it and nauseates himself. After recovering he spins a cocoon in which he remains for the following two weeks. Later, the caterpillar emerges as a bright, colorful butterfly with large, gorgeous, multi-colored wings.
Foods eaten:
1 apple
2 pears
3 plums
4 strawberries
5 oranges
1 piece of chocolate cake
1 ice cream cone
1 pickle
1 slice of Swiss cheese
1 slice of salami
1 lollipop
1 piece of cherry pie
1 sausage
1 cupcake
1 slice of watermelon
1 green leaf
The book has been translated into at least 40 languages, including Dutch, French, Spanish, German, Chinese, Italian, Swedish, and Russian. It has been used by elementary school teachers, librarians, and parents, as a teaching aid, with activities developed which use the book.
It was used by former first lady Barbara Bush as part of her campaign to promote literacy.
The book received renewed attention when in 1999, Pizza Hut asked 50 US governors to name their favorite books from childhood. Presidential candidate George W. Bush "opted for the Caterpillar. It didn't take long for gleeful commentators to point out that when the book was published, Bush was nearly 23."
In 2011, the American Academy of Paediatrics sent out special copies of the book, with associated learning tools, to health providers, to promote healthy eating in the U.S.In 2009, Google celebrated the book's 40th anniversary by changing the logo on its main search page to the style used in the book.


Imagery:
A variation of images showing the cover, the illustrations and collage style aesthetic, as well as educational products.
















The story and illustrations have also been turned into educational products.

Google illustration for the books 40th anniversary.

OUGD505 Studio brief 1: Johnson Wax tower

OUGD505
STUDIO BRIEF 01
JOHNSON WAX TOWER
RESEARCH








The Johnson Wax Headquarters were set in an industrial zone and Wright decided to create a sealed environment lit from above, as he had done with the Larkin Administration Building. The building features Wright's interpretation of the streamlined Art Moderne style popular in the 1930s. In a break with Wright's earlier Prairie School structures, the building features many curvilinear forms and subsequently required over 200 different curved "Cherokee red" bricks to create the sweeping curves of the interior and exterior. The mortar between the bricks is raked in traditional Wright-style to accentuate the horizontality of the building. The warm, reddish hue of the bricks was used in the polished concrete floor slab as well; the white stone trim and white dendriform columns create a subtle yet striking contrast. All of the furniture, manufactured by Steelcase, was designed for the building by Wright and it mirrored many of the building's unique design features.

The entrance is within the structure, penetrating the building on one side with a covered carport on the other. The carport is supported by short versions of the steel-reinforceddendriform (tree-like) concrete columns that appear in the Great Workroom. The low carport ceiling creates a compression of space that later expands when entering the main building where the dendriform columns rise over two stories tall. This rise in height as one enters the administration building creates a release of spatial compression making the space seem much larger than it is. Compression and release of space were concepts that Wright used in many of his designs, including the playroom in his Oak Park Home and Studio, theUnity Temple in Oak Park, Illinois, the Solomon R. Guggenheim Museum in New York City, and many others.

Throughout the "Great Workroom," a series of the thin, white dendriform columns rise to spread out at the top, forming a celling, the spaces in between the circles are set with skylights made of Pyrex glass tubing. At the corners, where the walls usually meet the ceiling, the glass tubes continue up, over and connect to the skylights creating a clerestory effect and letting in a pleasant soft light. The Great Workroom is the largest expanse of space in the Johnson Wax Building, and it features no internal walls. It was originally intended for the secretaries of the Johnson Wax company, while a mezzanine holds the administrators.

CONSTRUCTION:

The construction of the Johnson Wax building created controversies for the architect. In the Great Workroom, the dendriform columns are 9 inches (23 cm) in diameter at the bottom and 18 feet (550 cm) in diameter at the top, on a wide, round platform that Wright termed, the "lily pad." This difference in diameter between the bottom and top of the column did not accord with building codes at the time. Building inspectors required that a test column be built and loaded with twelve tons of material. The test column, once it was built, was tough enough that it was able to be loaded fivefold with sixty tons of materials before the "calyx," the part of thecolumn that meets the lily pad, cracked (crashing the 60 tons of materials to the ground, and bursting a water main 30 feet underground). After this demonstration, Wright was given his building permit.

Additionally, it was very difficult to properly seal the glass tubing of the clerestories and roof, thus causing leaks. This problem was not solved until the company replaced the top layers of tubes with skylights of angled sheets of fiberglass and specially molded sheets of Plexiglas with painted dark lines to resemble the original joints. And finally, Wright's chair design for Johnson Wax originally had only three legs, supposedly to encourage better posture (because one would have to keep both feet on the ground at all times to sit in it). However, the chair design proved too unstable, tipping very easily. Herbert Johnson, needing a new chair design, purportedly asked Wright to sit in one of the three-legged chairs and, after Wright fell from the chair, the architect designed new chairs for Johnson Wax with four legs; these chairs, and the other office furniture designed by Wright, are still in use.

Despite these problems, Johnson was pleased with the building design, and later commissioned the Research Tower, and a house from Wright known as Wingspread.

OUGD505 studio brief 1: Falling water house research

OUGD505
STUDIO BRIEF 01
FALLING WATER HOUSE
RESEARCH







Fallingwater or Kaufmann Residence is a house designed by architect Frank Lloyd Wright in 1935 in rural southwestern Pennsylvania, 43 miles (69 km) southeast of Pittsburgh.The home was built partly over a waterfall on Bear Run in the Mill Run section of Stewart Township, Fayette County, Pennsylvania, in the Laurel Highlands of the Allegheny Mountains.

Hailed by Time shortly after its completion as Wright's "most beautiful job",it is listed among Smithsonian's Life List of 28 places "to visit before you die." It was designated a National Historic Landmark in 1966. In 1991, members of the American Institute of Architects named the house the "best all-time work of American architecture" and in 2007, it was ranked twenty-ninth on the list of America's Favorite Architecture according to the AIA.

At age 67, Frank Lloyd Wright was given the opportunity to re-emerge on the architectural scene with his design and construction of three buildings. His three great works of the late 1930s—Fallingwater, the Johnson Wax Building in Racine, Wisconsin, and the Herbert Jacobs house in Madison, Wisconsin—brought him back into prominence in the architectural community.

Edgar Kaufmann Sr. was a successful Pittsburgh businessman and president of Kaufmann's Department Store. His son, Edgar Kaufmann, Jr., studied architecture briefly under Wright.

Edgar Sr. had been prevailed upon by his son and Wright to subsidize the cost of a 12 foot square model of Wright's Broadacre City. The model was initially displayed at an Industrial Arts Exposition in the Forum at the Rockefeller Center starting on April 15, 1935. After the New York exposition, Kaufmann Sr. arranged to have the model displayed in Pittsburgh at an exposition titled "New Homes for Old", sponsored by the Federal Housing Administration. The exposition opened on June 18 on the 11th floor of Kaufmann's store.

The Kaufmanns lived in “La Tourelle”, a French Norman estate designed by celebrated Pittsburgh architect Benno Janssen (1874–1964) in the stylish Fox Chapel suburb in 1923 for Edgar J. Kaufmann. Wright visited Bear Run on Tuesday, December 18. The Kaufmanns and Wright were enjoying refreshments at La Tourelle when Wright, who never missed an opportunity to charm a potential client, said to Edgar Jr. in tones that the elder Kaufmanns were intended to overhear, “Edgar, this house is not worthy of your parents...”The remark spurred the Kaufmanns' interest in something worthier. Fallingwater would become the end result.

The Kaufmanns owned property outside Pittsburgh with a waterfall and cabins they used as a rural retreat. When the cabins deteriorated, Mr. Kaufmann contacted Wright.

On December 18, 1934, Wright visited Bear Run and asked for a survey of the area around the waterfall. One was prepared by Fayette Engineering Company of Uniontown, Pennsylvania including all the site's boulders, trees and topography, and forwarded to Wright in March 1935.

As reported by Wright's apprentices at Taliesin, Kaufmann Sr. was in Milwaukee on September 22, nine months after their initial meeting, and called Wright at home early Sunday morning to surprise him with the news that he would be visiting Wright that day before lunch. He could not wait to see Wright's plans. Wright had told Kaufmann in earlier communication that he had been working on the plans, but had not actually drawn anything. After breakfast that morning, amid a group of very nervous apprentices, Wright calmly drew the plans in the two hours in which it took Kaufmann to drive to the Taliesin.

It was at this time that Kaufmann first became aware that Wright intended to build the home above the falls, rather than below them to afford a view of the cascades as he had expected.[12] It is said that Kaufmann was initially very upset that Wright had designed the house to sit atop the falls. He had wanted the house located on the southern bank of Bear Run, directly facing the falls. He had told Wright that was his favorite aspect of the Bear Run property.

CONSTRUCTION AND DESIGN:


Once Wright had decided the location of the house, he had the obvious problem of building it there. The location of the north bank of Bear Run was not large enough to provide a foundation for a typically built Wright house.

Beyond this issue, there were also the clients' needs that had to be met. The Kaufmanns planned to entertain large groups of people, so the house would need to be larger than the plot allowed. Also, Mr. and Mrs. Kaufmann requested separate bedrooms as well as a bedroom for their adult son and an additional guest room.

Wright's solution to the problem of space came when he decided on a cantilevered structure. The structural design for Fallingwater was undertaken by Wright in association with staff engineers Mendel Glickman and William Wesley Peters, who had been responsible for the columns featured in Wright’s revolutionary design for the Johnson Wax Headquarters.

Preliminary plans were issued to Kaufmann for approval on October 15, 1935, after which Wright made a further visit to the site and provided a cost estimate for the job. In December 1935 an old rock quarry was reopened to the west of the site to provide the stones needed for the house’s walls. Wright only made periodic visits during construction, instead assigning his apprentice Robert Mosher as his permanent on-site representative. The final working drawings were issued by Wright in March 1936 with work beginning on the bridge and main house in April 1936.

After a visit to the site in June 1936, Wright rejected the stonemasonry of the bridge, which had to be rebuilt. The construction was plagued by conflicts between Wright, Kaufmann, and the construction contractor. Uncomfortable with what he saw as Wright's insufficient experience usingreinforced concrete, Kaufmann had the architect's daring cantilever design reviewed by a firm of consulting engineers. Upon receiving their report, Wright took offense and immediately requested Kaufmann to return his drawings and indicated he was withdrawing from the project. Kaufmann relented to Wright's gambit and the engineer’s report was subsequently buried within a stone wall of the house.

For the cantilevered floors, Wright and his team used upside down T-shaped beams integrated into a monolithic concrete slab which both formed the ceiling of the space below and provided resistance against compression. The contractor, Walter Hall, also an engineer, produced independent computations and argued for increasing the reinforcing steel in the first floor’s slab. Wright refused the suggestion. While some sources state that it was the contractor who quietly doubled the amount of reinforcement, according to others,it was at Kaufmann’s request that his consulting engineers redrew Wright’s reinforcing drawings and doubled the amount of steel specified by Wright.

In addition, the contractor did not build in a slight upward incline in the formwork for the cantilever to compensate for the settling and deflection of the cantilever. Once the concrete formwork was removed, the cantilever developed a noticeable sag. Upon learning of the steel addition without his approval, Wright recalled Mosher.

With Kaufmann’s approval, the consulting engineers arranged for the contractor to install a supporting wall under the main supporting beam for the west terrace. When Wright discovered it on a site visit he had Mosher discreetly remove the top course of stones. When Kaufmann later confessed to what had been done, Wright showed him what Mosher had done and pointed out that the cantilever had held up for the past month under test loads without the wall’s support.

In October 1937, the main house was completed.




COST:

The home and guest house cost US$155,000,broken down as follows: house $75,000; finishing and furnishing $22,000; guest house, garage and servants' quarters $50,000; architect's fee $8,000. From 1938 through 1941 more than $22,000 would be spent on additional details and for changes in the hardware and lighting.

The total project price of $155,000, adjusted for inflation, is the equivalent of approximately $2.6 million in 2013. A reflection of the relative cost of the project in its time is that the cost of restoration alone in 2009 was reported at $11.4 million.


Wednesday, 19 February 2014

OUGD503 Responsive: Collaborative paper marbling

OUGD503
RESPONSIVE
COLLABORATIVE
PAPER MARBLING TECHNIQUE

Marbling is a printmaking technique that basically looks like capturing a galaxy on a page, except it requires neither subatomic particles nor superhuman skills. Nowadays you can find video tutorials showing you how to marble everything from silk scarves to fingernails, but I primarily make marbled paper, which you can use as backgrounds for collages or photos, to decorate journals and notebooks, or to wrap small gifts. If I weren’t such a DIY advocate, I would probably buy a marbling kit with step-by-step instructions (and no disrespect if you opt for that!), but I prefer to experiment, because the results are more unpredictable!

What you’ll need:
A set of oil paints
Turpentine
A few sheets of uncoated paper—regular printer paper will work, as long as it isn’t glossy.
A shallow rectangular container (like a baking tray) that is bigger than the size of your paper
Smaller containers for mixing paint (like jar lids)
Rubber gloves
Utensils for mixing and spreading paint. These can be brushes or straws, or you can make your own marbling comb with toothpicks, cardboard, and scotch tape (see below). Just make sure the length of the comb is smaller than the width of your tray, because you’re going to use it to drag the paint across the surface of the water.

Since you’ll be working with paint, you might want to wear old clothes, and cover your workspace with newspapers or a plastic tablecloth to prevent stains. You’ll need relatively easy access to a sink for clean-up, and if you can work near a window, the fresh air will help with the drying process.
Now on to the marbling:

1. Pour about an inch of water into the tray. Then choose the colors you want to use, and squeeze the paint into small, separate containers (I used the lids of the paint jars). Add some white paint if you want to get pastel shades.

2. Add some turpentine to the paint and mix. I suggest doing this in a well-ventilated space and wearing rubber gloves (even though I didn’t), because you don’t want to breathe in the fumes or irritate your skin. The proportion varies depending on how much paint you are using—I use about a teaspoon of turpentine for every ½ teaspoon of paint. You want the mixture to become liquid and smooth, but not too watery, like so:


3. Now comes the fun part. Create your design by pouring your paint into the water. You can just dump it all in, or selectively distribute the colors where you want them. You can add more turpentine if you want to thin the mixture out in places.

4. If you’re happy with the design, you can skip this step, but otherwise, you can redistribute your colors by swirling the mixture gently with a toothpick, blowing on the surface through a straw, or using your marbling comb.

5. Carefully lay a sheet of paper on the water. To avoid submerging it, start at one end and move slowly down the length of the paper—don’t just plop the whole thing down at once. (It’s OK if the face-up side gets a little wet, but keep it as dry as you can.) Get ready to pick it up right away, because step six comes RIGHT ON THE heels of five!

6. Remove the paper as soon as it’s flat! Starting at a corner, gently lift it out of the water. Again, you might want to use rubber gloves.

7. Lay the sheet out flat on a clean, protected surface. Once it’s been drying for a while, you can lay a heavy book on top of it to keep the edges from curling (slide a piece of paper in between to protect your book).

One tray of water is usually enough for three to five prints. Each one will be different from and lighter than the last, as the paint dissipates. It can take a few tries to get the desired effect, but every attempt will be mesmerizing. When it’s done, you’ll have a map of your own undiscovered galaxy—or some decorative gift wrap. It’s whatever you choose, so enjoy! ♦
Source: http://rookiemag.com/2013/01/diy-paper-marbling/

Alternate Method:


SHAVING CREAM PAPER MARBLING

Written by: Contributed by small hands big art
Date: August 8, 2011



This is guaranteed to be the cleanest, best smelling art project you'll ever do – shaving cream paper marbling! Print pretty swirly patterns on paper to give as gifts, use as wrapping paper, or on gift tags. Trim and frame the prints as a single piece of art or arrange in a series of prints. It's a crazy fun mess, but the clean up is a breeze!

You Need:

• Shaving cream
• A large tray or baking sheet to hold the shaving cream
• Liquid Watercolors, food coloring mixed with water, or thinned acrylic paints (acrylics not recommended for children they stain clothing)
• Eye droppers or spoons to place the paint on the shaving cream
• Popsicle sticks, paintbrush handles or similar "devices" to stir the foam to create the swirls
• Large squeegee or other scraper
• Watercolor or drawing paper, or blank greeting cards, etc. -whatever type of paper you'd like to transfer the design onto

How to Do It:

1. Squirt a lemon meringue pie size amount of shaving cream in the center of the tray

2. Using the eye droppers or spoons, squirt or drop several colors of liquid watercolor or food coloring on the shaving cream. It is recommended not to put the colors right on top of each other – leave a little bit of room in between the colors.

3. Gently stir the foam with a popsicle stick. Caution – do not over-stir as it will make brown! Make pretty swirl patterns or circles with the stick. The more you stir the smaller the lines in the swirls will be when it is printed on the paper, so we recommend only stirring 3-4 big circles and swirls so that the colors are gently swirled but not too mixed together. What you see in the shaving cream at this point is what will be printed on the paper.

4. Place a small sheet of watercolor or other heavyweight paper on the shaving cream and let it sit for 5 seconds to soak up the paint, and then gently rub the paper with your fingertips, applying a very light pressure. You do not want to press too hard and squeeze all of the shaving cream out from under the paper or squish the foam around underneath. A little experimentation may be needed to achieve the right amount of pressure.

5. Take a corner of the paper and lift it out of the shaving cream to reveal a pretty pile of shaving cream stuck to the other side of the paper!

6. Use a squeegee or plastic scraper to apply firm pressure on a flat surface, start at one end of the paper and scrape all of the shaving cream off of the paper. Use one fluid movement from one end of the paper to the other – any stops and starts will cause the paint to transfer to the paper in lines. Get creative to find the perfect "squeegee" for this part – our favorite device is a plastic wall paper smoother - two work well together because you can use one to scrape off the other. We've also used pastry cutters (with a long flat surface), long spatulas, stiff cardboard, or any handy hunk of solid plastic (like a clipboard!). You want to apply pressure on a flat surface as you are scraping the foam off the paper to ensure that it is all removed. Scrape off the shaving cream from the squeegee into a nearby garbage can.

7. Voila! Revealed under the shaving cream will be a beautiful swirled pattern on the paper! Let the paper dry thoroughly before trimming.


small hands big art is an art studio in South Charlotte that offers classes, camps, & parties for children & young adults.
8025 Ardrey Kell Rd.
Charlotte, NC 28277
704.246.8271
www.smallhandsbigart.com

- See more at: http://www.charlotteparent.com/articlemain.php?Shaving-Cream-Paper-Marbling-3854#sthash.23ctNNaD.dpuf

Tuesday, 18 February 2014

OUGD505 Studio brief 1: Organic architecture

OUGD505
STUDIO BRIEF 01
ORGANIC ARCHITECTURE
RESEARCH


Falling water is probably Frank Lloyd Wright's most obvious example of organic architecture.

Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world through design approaches so sympathetic and well integrated with its site, that buildings, furnishings, and surroundings become part of a unified, interrelated composition.

The term organic architecture was coined by Frank Lloyd Wright (1867–1959), though never well articulated by his cryptic style of writing:

"So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no traditions essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but instead exalting the simple laws of common sense or of super-sense if you prefer determining form by way of the nature of materials ..."

Organic architecture is also translated into the all inclusive nature of Frank Lloyd Wright's design process. Materials, motifs, and basic ordering principles continue to repeat themselves throughout the building as a whole. The idea of organic architecture refers not only to the buildings' literal relationship to the natural surroundings, but how the buildings' design is carefully thought about as if it were a unified organism. Geometries throughout Wright's buildings build a central mood and theme. Essentially organic architecture is also the literal design of every element of a building: From the windows, to the floors, to the individual chairs intended to fill the space. Everything relates to one another, reflecting the symbiotic ordering systems of nature. (see also Art Organique)

Other modernist architects in the U.S., Europe, and elsewhere held complementary and often competing views of how architecture could best emulate nature. Key figures in the U.S. included Louis Sullivan and Claude Bragdon, while among European modernists Hugo Häring and Hans Scharoun stand out. Following World War II, organic architecture often reflected cybernetic and informatic models of life, as is reflected in the later work of futurist architect Buckminster Fuller

Monday, 17 February 2014

OUGD505 Studio brief 1: Famous quotes

OUGD505
STUDIO BRIEF 01
FAMOUS QUOTES



As part of my research book i want to include famous quotes that Frank Lloyd Wright has said. Quotes are the easiest and most simple way to show Frank Lloyd Wright's beliefs.


The mother art is architecture. Without an architecture of our own we have no soul of our own civilization


Every great architect is - necessarily - a great poet. He must be a great original interpreter of his time, his day, his age.


I believe in God, only I call it Nature.


Less is only more where more is no good.


Form follows function - that has been misunderstood. Form and function should be one, joined in a spiritual union.
Organic architecture seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity.

Friday, 14 February 2014

OUGD503 Collaborative: Ways to reduce CO2 emissions

OUGD503
COLLABORATIVE PRACTICE
WAYS TO REDUCE CO2 EMISSIONS


SOURCE

1. Make climate-conscious political decisions. Some commentators said that the 2007 Australian Federal election was the first to be strongly influenced by the stance made by competing political parties on climate change. Regardless of how true this may be, it is obvious that the strong and urgent action needed to combat climate change will require a healthy dose of political will, and the courage to make tough choices. This willpower comes from voters, who consistently demand real action and can see through ‘greenwashing’ (pretend ‘solutions’ and half-measures that do not do the job). Climate change should be a totally non-partisan issue since it affects all people and all countries. If climate change is not perceived by both sides of politics as a ‘core issue’, it will inevitably be marginalised by apparently more immediate concerns. So assess policies clearly, and make your vote count towards real climate solutions – each and every election. This is the only way a global solution can be put in place, in time.

2. Eat less red meat. Traditional red meat comes from ruminant livestock such as cattle and sheep. These animals produce large amounts of methane, which is a greenhouse gas that packs 72 times the punch of CO2 over a 20 year period. Other types of meat, such as chicken, pork or kangaroo, produce far less emissions. At average levels of consumption, a family’s emissions from beef would easily outweigh the construction and running costs of a large 4WD vehicle, in less than 5 years. There is no need to cut out red meat entirely, but fewer steaks and snags mean far less CO2.

3. Purchase “green electricity“. The future of energy clearly likes in renewable sources such as solar, wind and wave power and ‘hot rocks’. Even without climate change, there are limits to available oil, natural gas and coal. ‘Green power’ is electricity that comes from these technologies, but is delivered to you in the same way as ‘dirty power’ from fossil-fuel burning. That is, down your power lines. You can buy enough to replace your entire energy usage, or some fraction (I recommend going for 100%; the cost is a few more cents per kilowatt hour of electricity). Most energy suppliers now offer this service and will purchase energy from green sources that is equivalent to what you use. As more people take up this scheme, it will drive ever greater investment in these technologies, reduce cost of delivery, and so further hasten the pace of update. It’s a feedback, and you can be the catalyst of change. [Note some problems with GreenPower here]

4. Make your home and household energy efficient. We all unthinkingly leave lights on when we are not in the room, or switch off the TV by the remote instead of at the wall, fire up the heater on when we could put on an extra layer of clothing, or turn on the air conditioner when we could open the window and turn on a fan. It’s force of habit – a bad habit we can break, with just a little thought. Behaviour change lies at the heart of most individual actions on reducing our individual carbon footprint. By being sensible about your use household energy use, and making sure your house is well insulated, you can make a huge dent in your CO2 emissions. Oh, and it will save you plenty money that you no longer spend on wasted energy, year in, year out.

5. Buy energy and water efficient appliances. Aside from behavioural change, we can invest in more sensible technologies that help us in our day to day lives. When buying new electronic appliances, air conditioners or washing machines, look at their energy and water usage. The more energy efficient they are, the more they’ll save you in the long run, and the lower their CO2impact will be. In most cases the ‘payback period’ – the difference between the initial cost of a high versus low efficiency appliance and the long-term savings in lower electricity and water bills, is only a matter of a few months to a few years. After that, you are laughing all the way to the bank, and doing something meaningful to combat climate change at the same time.

6. Walk, cycle or take public transport. Cars are not only a slow way to get to work when you’re faced with a city gridlock – they are also a huge user of oil (which is running out globally) and cost the tax payer heft amounts in road building and maintenance. Getting people from A to B using trains, buses, bikes and on foot is much more greenhouse friendly, and often considerably cheaper. The main problem right now with public transport is that because not enough people use it, there is not enough investment by government to improve the quality of service and capacity to support large volumes of commuters. It might seem like a Catch-22, but some cities have solved the dilemma and now move most of their people about on public transport. So start patronising your public transport network, and push governments at all levels for some decent bicycle and walking trails instead of building more and more roads for cars and worrying incessantly about fuel costs. The transition to a new transport system has to start with each and every one of us.

7. Recycle, re-use and avoid useless purchases. We throw too much away and still re-cycle too little of what we must discard. Large amounts of energy and water go into producing endless amounts of ‘stuff’, much of which we don’t really need or end up using. So be sure to use your local recycling service, for plastics, metals and paper. Try to get appliances and tools fixed rather than replaced – the carbon footprint of fixing things is far lower than making them from scratch. Avoid the temptation to buy useless trinkets and knick-knacks, just because it feels good to accumulate things. There are limits to everything, including, most importantly, the ability of the planet to supply people with an ever burgeoning supply of raw materials. Think sustainability.

8. Telecommute and teleconference. Do you really need to fight your way through traffic each and every day, just to sit at your office desk and work on your computer? Do you need to fly to a business meeting in another capital city in order to talk to your colleagues? Or can you think inventively and make best use of the benefits of the Internet to do some of this remotely? Telecommuting can be an effective way of doing ‘paperwork’ in your home office and more and more employers are seeing the benefits of this and embracing the concept. Teleconferences mean less wasted aeroplane trips, which create a huge CO2burden. It can’t always be done, but even a few less trips, here and there, add up to make a big difference. As with the other 10 points, it is about making smart and informed choices when you have options.

9. Buy local produce. Food miles are now firmly part of the new carbon lingo. This is a way of expressing how far an item of food has travelled before it reaches your dinner table, and therefore how much CO2 has been emitted during freighting. A better concept is probably ‘embodied energy’, which takes account of all the carbon, water and energy that goes into producing any food or manufactured item. Either way, a good rule of thumb is that if you buy something that has been produced locally, it will usually have a lower CO2 tag attached to it. Your local fresh food market is a good place to start for your food shopping. Buying Australian-made manufactured and food products is another carbon-friendly option. Both will make a difference to your climate change impact, and help the local economy. Another win-win choice.

10. Offset what you can’t save. Avoiding the release of CO2 and other greenhouse gases, in the ways described above, is by far the best and most direct way or reducing our climate change impact. Yet some emissions are unavoidable. For those, offsetting is a worthwhile option. This is done by purchasing ‘carbon credits’ from accredited companies which offer this service, who will then invest those dollars in (for instance) renewable energy projects or planting trees. Carbon offsets should definitely not be seen as the solution, or as a relatively pain-free way to expel your carbon guilt. There is nowhere near enough offsetting potential in the world for this to be an option for most of the world’s population. But in conjunction with other methods of kicking the CO2 habit, offsets can help make a difference and allow you to pay a small penance.

Wednesday, 12 February 2014

OUGD503 Collaborative: Propoganda posters

OUGD503
COLLABORATIVE
PROPOGANDA POSTERS

ANDRE THE GIANT

Shepard Fairey
“Street artist”





KEN GARLAND NUCLEAR DISARMENT POSTERS:




Ken Garland is a designer known for his outspoken views, foremost among which is an insistence that the role of graphic designers is to convey other people’s messages – rather than introduce messages of their own.

WAR PROPOGANDA POSTERS