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The current state of virtual reality is still very much based on 'reality' as we know it. The physical world and current digital conventions dictates the design and use of virtual reality. We thought this is a shame, because there is so much more to VR than we can possibly imagine at this point. Without restrictions like space, location and laws of physics, the possibilities seem endless.
Decades of using digital media, has made us very conditioned. This makes it very hard to rethink purposes, interaction and navigation of new, revolutionary media. To break through these barriers, we began experimenting and researching in every way we could think of. Case studies, philosophizing, wireframing, dialogue and loads of trial and error brought us a more refined and critical vision towards VR.
From our pile of research, we selected the most valuable and interesting data to use in our VR project. In the end, we translated our visions and research findings into nine spatial virtual reality environments. Some of which are very functional, focusing on the conventions and language of VR. Others are a bit more meta and philosophical; how do you define virtual space? To whom does it belong?
Apart from the horrible timing — during the depths of winter — this project was a really fun and eye-opening experience. Even I, with no experience in permaculture at all, could pretty easily survive in the harsh winter season, when nearly nothing grows.
The things I did find and harvest, are documented in this publication, along with the meals I was able to cook with them. I'm still not sure whether it was my primal instinct or the hunger that drove me, but the pigeon I had on the last day was really the icing on the cake!
The annual North Sea Jazz poster contest is known for the competitive spirit between students from various art academies. A jury, including the board of the festival, picks the fifteen best entries, as well as the winning design. My aim with this poster was to create an image that combines the easy, soothing rythm of jazz, with an abstract image of the North Sea.
Apart from creating an identity with three different faces, it was important to keep in mind how the identity would be applied; mostly as logo's on (trainers) outfits and training accessoires, as well as for online communication. This resulted in a clear, bold identity that can easliy be applied to their needs.
Even though the topic was freedom, and what this means to each of us personally, they stated the following during the briefing: "However, it's not allowed to show any porn or nazi related content on your designs." So, basically we got granted complete freedom and in the next sentence we got a chunk of this so-called freedom taken away.
It's not that I'm so much into designing porn or nazi related stuff, but with their ridiculous definition of freedom, they were basically asking for it. However, I didn't want to be that guy that just shows what is restricted for the sake of it, so I had to think of a more sophisticated way to display these two things, without actually displaying it.
As you can see in the final design, I technically didn't show any porn or nazi stuff, but everyone will instantly get what this poster displays. Strange enough, even though I didn't break their rules, I didn't get selected and my posters was never displayed. I wonder why!
Together with Sean Nelissen and Jeroen Pronk, we were asked to design a proposal for the campaign of this conference. Since there was very little time, and another party would eventually design and produce everything, we thought it was smarter and way more efficient to design a set of components. With very simple building blocks, we wanted to create a dynamic identity, stating our 'building upon each other's strengths' statement. It's also a very responsive and easy to work with design tool.
Even though there already was a wireframe, we decided to start from scratch. By doing so, we enabled ourselves to focus each single step in the process on the most crucial part: the parents. We started off by redesigning the app's structure and wireframe. The GGD's initial system of defining emotions and adressing problems were very limiting to us, so we came up with a new, extensive system. For each emotion — and more important, the various gradations — we designed abstract icons to implement in the app.
Since the parents were our main focus, we felt it was important to design the navigation and user experience of the app as clearly as possible. Smooth animations and transitions prevented the user from getting lost by sudden screen switches. We thought if the user goes from one screen to another, this should also be visible. By doing so, it's easier to map the structure of the app. See the animation below to see how our app works in motion.