Integrative seminar studio migrate - process book

DONE BY: SARAH LEE, MIYUKI GUO, CHARLES WONG

INTEGRATIVE SEMINAR STUDIO MIGRATE PROCESS BOOK

TOURIST BROCHURES

¡ Project statement and thesis ¡ Process

§ Data Collection § Selection of iconic sites § Picture taking of surroundings § Note taking § Quantitative data § Historical research on iconic sites

§ Analysis and application § Brochure cover designs § Brochure layout

§ Final brochure designs ¡  The Real World

§ Production § Use of Product §  Intervention

CONTENTS

DEFINITION OF MAPPING MAPPING ICONIC PLACES TOURIST BROCHURES VISUAL DETAILS HISTORICAL INFORMATION BROADWAY SEGMENTS

PROJECT STATEMENT AND

THESIS

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¡  Our idea would be to ‘map’, record and research the various iconic places that we encounter on our traverse up Broadway.

¡  Our idea is to synthesize all the information we have gathered and to create tourist guide brochures for each neighborhood that we have encountered. The front cover of each pamphlet will identify specific landmarks or points of interest in each neighborhood (by name and through the use of images or symbols), and will include specific visual details or cues that we have characterized from the neighborhoods (for example, color, space, font-type, etc.).

¡  Also within the brochures will be the images of the sites and historical information on the sites. This is where the secondary research will come into play in our projects.

PROJECT STATEMENT AND THESIS

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PROJECT STATEMENT AND THESIS

Broadway Segments 1.  Wall Street

Battery Place to Canal Street

2.  Chinatown Canal Street to 14th Street

3.  Union Square 14th Street to 34th Street

4.  Times Square 34th Street to 50th Street

5.  Columbus Circle 50th Street to 61st Street

6.  The Upper West Side 61st Street to 116th Street

7.  Harlem 116th Street to 170th Street

8.  Inwood 170th Street to 207th Street SL

DATA C OLLEC T ION ANALYS IS AND APPLICATION F INAL B ROC H URE DES IGNS

PROCESS

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¡ Within each brochure, historical information on the specific iconic sites will be included, as well as details on how they help shape and contribute aesthetic value to their current climates. With the proliferation of this knowledge, New Yorkers can become more aware of the diversity and idiosyncrasy of the many places that make up New York City, perhaps promoting more tourist interest as well as a sense of consciousness of one’s surroundings.

¡ 3 to 4 iconic sites were selected per neighborhood based on how representative they were of their segment of New York

DATA COLLECTION: SELECTION OF ICONIC SITES

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DATA COLLECTION: SELECTION OF ICONIC SITES

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DATA COLLECTION: PICTURE TAKING OF SURROUNDINGS

1 2

3 4

1. Battery Park to Canal Street| 2. Canal Street to 14th Street| 3. 14th Street to 34th Street | 4. 34th Street to 50th Street MK

DATA COLLECTION: PICTURE TAKING OF SURROUNDINGS

6 7

6. 61st Street to 116th Street | 7. 116th Street to 170th Street | 8. 170th Street to 207th Street

8

Note: no pictures available for segment 5

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DATA COLLECTION: NOTE TAKING

A more qualitative approach was applied. Information is usually observed through the senses (sight, sound,

smell, etc.) as we ‘migrated’ up

Broadway first hand, thus more primary data was collected through notes and

pictures (see figure 2a and 2b). An empirical

data collection method was an

essential part of the process, as more

unexpected information could be

gathered – for example, the symbols used on Chinese shop signs in Chinatown, or

the mannerisms of people walking in Times Square. The data collected was

also more descriptive, rather than

mathematical, as the end goal of the project

was to generate a creative design work

or campaign. SL

Some quant i tat ive data was gathered as wel l , a l though notably less wi th respect to qual i tat ive data. Informat ion on speci f ic rac ia l populat ion s izes and income levels lent a benef ic ia l perspect ive when t r y ing to sect ion or ident i fy the d i f ferent neighborhoods of the c i ty (see f igure 3) . Fur thermore, th is informat ion gave us ideas on why and how a neighborhood has evolved to be what i t is today, lending to the h istor ica l aspect of our pro ject . "Urban research maps." The changing city at the sweep of your mouse: Block by block demographic changes mapped across New York, 2000 to 2010. Center for Urban Research, The Graduate Center, City University of New York (CUNY), n.d. Web. 19 Oct 2013. http://www.urbanresearchmaps.org/plurality/blockmaps.htm.

DATA COLLECTION: QUANTITATIVE DATA

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Secondary data in the form of internet sources and historical literature was also crucial to the development of the project, specifically in the understanding of the iconic sites. The goal was to sift out information that answered the questions: why does this place look like the way it does? How is the aesthetic of a building influenced by its history? Following the research, a short write-up on each iconic place is included in the final pamphlet of the neighborhood, along with the image of the sites themselves. For example, Licoln center was designed in the 1950s to 1960s as part of an urban renewal project, with the purpose of becoming a cultural hub for fine art and performance. Thus its design was constructed around the ideas of sophistication, refinement and meticulous detail and was inspired by Michelangelo's Campidoglio in Rome. Lincoln center, as an iconic site, thus contributes to the majestic and cultivated aesthetic of the upper-west side. See brochures for full information Roth, Leland M. (2001). American Architecture: A History. Boulder, Colo.: Magnet, Myron. n. page. http://www.city-journal.org/html/10_4_a_new_lincoln.html.

DATA COLLECTION: HISTORICAL RESEARCH ON

ICONIC SITES

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BROCHURE COVER DESIGNS BROCHURE LAYOUT F INAL BROCHURE DESIGNS

ANALYSIS AND APPLICATION

BROCHURE COVER DESIGNS

1. Wall Street [Battery Park to Canal Street]|2. Chinatown [Canal Street to 14th Street]|3. Union Square [14th Street to 34th Street] | 4. Times Square [34th Street to 50th Street] | 5. Columbus Circle

[50th Street to 61st Street] | 6. The Upper West Side [61st Street to 116th Street] | 7. Harlem [116th Street to 170th Street] | 8. Inwood

[170th Street to 207th Street] SL

¡  The use of symbols and imagery played a significant role in the designs. For example, the use of the iconic Union Square subway station in the Union Square brochure design makes it instantly identifiable. Furthermore, the choice of hand-drawn sketches of the subway station, the equestrian portrait of George Washington and the water-color t i les creates a certain antiquity, suggestive of stamps, lending to the iconic history the location.

¡  The use of color in the designs was arguable the most crit ical indicator for the sites themselves. As seen in brochure cover no. 6, the use of traditional chinese colors of prosperity (red and gold), made more striking in contrast to the desaturated background picture, was employed to suggest the distinctive visual quality of Chinatown . They were inspired by the shop signs, building colors and customary décor of the area surrounding the iconic sites. In other posters, such as the one of Wall Street, the colors black, white and si lver were uti l ized to describe the masculinity, dominance and severity of the place and industry.


SL

¡  Symmetry also played an important part in the designs. For example, in the Chinese culture, symmetry invokes balance and peace (see design for chinatown). The asymmetric buildings in the design for Wall Street suggest the aggressive competition to constantly ‘construct’ higher, bigger, stronger brands, metaphorically represented by the ‘competing’ buildings.

¡  The use of typeface and language in the designs is essential in embodying the character of the places. Chinese calligraphic fonts were used in the Chinatown poster to appeal to the cultural significance of the chinese language. The font chosen for the design of Wall Street was inspired by the typeface used in the Wall Street Journal. Garcia, Mario. "The Wall Street Journal." Font Bureau. The Font Bureau Gallery, inc., n.d. Web. 20 Oct 2013. http://www.fontbureau.com/gallery/newspaper/WallStreetJournal/.


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A homogenous brochure layout was created to make the brochures cohesive and consistent in design. A description of the surroundings, a brief history of

the location, interesting facts on the iconic sites, a map and a tourist business contact card was

included to create a complete pamphlet.

BROCHURE LAYOUT

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FINAL BROCHURE DESIGNS

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P ROD U C T ION US E OF P ROD U C T INTERVENTION THE REAL WORLD

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1.  Contacting a print shop

2.  Mass printing of brochures

3.  Proliferation of brochures to the public through different distribution channels: §  Tourist agencies §  Tourist

information stands

§  Magazines / journals / publications

§  Email §  Social media

(facebook, instagram, twitter, etc.)

§  Word-of-mouth

PRODUCTION

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¡  Brochures can eventually be used as interactive tour guides as they journey up Broadway in New York to visit the iconic sites / landmarks.

¡ With the proliferation of this knowledge, New Yorkers can become more aware of the diversity and idiosyncrasy of the many places that make up New York City, perhaps promoting more tourist interest as well as a sense of consciousness of one’s surroundings.

USE OF PRODUCT

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http://lostonbroadway.wordpress.com

Our interactive website allows travellers to take information with them on their mobile devices as they

walk up Broadway

INTERVENTION

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Integrative seminar studio migrate - process book

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