The Architecture of Collaborative Design

Tip numero uno- review your portfolio regularly.

Re-write descriptions or update images associated with each project so your publicly viewable content becomes cohesive and up to date with your unique and evolving style, there's no harm in drawing ideas that are inspired from other creatives when you know it's sure to help elevate your brand or concepts, but always give praise and credit where it's due and ask for second opinions frequently.

It is completely normal, and a routine part of our industry, to be rejected. It simply means you were meant to engage with another future project that aligns more with your recently acquired/presently developing skills. I find it also helps to remind oneself, that most, if not all of the people in the industry, would've started exactly where you are now, and are actually just your average geek, wanting to feel like they belong to a community, just as much as you do, which means they are in fact, more than willing to give you a hand wherever appropriate, considering general courtesy of that kind, benefits everyone's reputation mutually.

It may seem like you're just hearing "the sound of crickets in the field" for now, but you will eventually get to a stage where you'll have to juggle multiple projects, all up and over your calendar, not to mention the stress that comes with interacting with new people and adjusting to drastic routines, on top of trying to meet all your responsibilities successfully and in a timely manner.

But in saying that, there's no better way to learn, than to dive in, head first, so be open to unfamiliar procedures and assignments, but also be honest about what you can and can't do- clearly communicate the skills you consider your strengths, ideally you'd highlight those in your cover letters, as well as your visual showcase.

I suppose some of you are probably having to do all of this already within your current/new miscellaneous roles, so to the rest of you who are still waiting on the next interview or Skype callback: embrace and appreciate the timid pace as it is now and allow yourself to reflect on these crucial baby steps. Meanwhile, SLAY THAT PORTFOLIO!

I personally prefer working on one big & complex project at a time, with a considerably long or open-ended deadline, as opposed to several smaller-scale developments that create a pressure-cooker environment with strict timelines. It's nothing more than a preference, I've learnt that about myself during the last few years- I just think that you can never rush the "perfect" outcome, but also, I do realize everyone flourishes in different ways within varied parameters and contexts.

As it stands, I tend to get the sort of briefs and clients that require or value an energizing, captivating and well thought-out idea from start to finish, one that is apparently open to deep, critical analysis within lengthy conversations, over something that was rapidly produced to satisfy urgency, and is perhaps sleek and polished looking, yet, unremarkably registers as a bit predictable or a "seen-it-all-before" sort of concept, appearing to mimic certain designers or trends that are already existent out in the market. (Research is fundamental!) Find out what really sets you apart from the rest, you should be starting the trends rather than following them, and yes nowadays everything feels pretty much like its all been done before. But you can only discover who you really are by "doing", after all.

A good ole jolly sense of enthusiasm will get you far. So does actively practicing your ideation methods, by maybe adopting a swift reaction whenever those little "eurekas" that pop into your mind randomly, thereby getting yourself used to quickly translating those mini-strokes of genius, into tangible actions or physical objects that you could clearly communicate in a fun way, as well as easily share with a discerning audience, and opening it up to critique. Basically, don't leave the house without a sketchbook.

Some of you might prefer working in bursting short sprints, because you could be the kind of person that gets bored really easily when being made to dwell too long on one project. Maybe you really like the AGILE method of iterating, or you might just constantly feel the need for one fresh challenge after another, to engage all your skills to the MAX, in order to feel truly fulfilled and productive. You do YOU! (There is truth in some of these clichés...)

What's important is that you give each project, EVERYTHING you've got, don't overlook the fine details, and do welcome the critical feedback, because your learning doesn't stop simply because you've graduated, you now have conference after hackathon to look forward to, from here on in. That, and also the rest of the fee, only gets deposited, once the customer is happy with the results, right? So make it a habit to tap on your trusted friend's or team-mate's shoulders before sending off that new proposal, or every other tricky little e-mailed response to a query. In our industry, WORDS HAVE POWER, both figuratively AND *legally!* But don't be afraid to speak your truth freely when you know deep within your soul and core, that doing so would totally save the day.

Your portfolio and consistent delivery, are the keys to getting people to trust your judgement, and rightly expect that whatever you produce, would be nothing less than outstanding and reflective of your ethics and overall body of work.

While we're on the topic of sharing your pre-released masterpieces, crafts and drafts with colleagues, be mindful of your client's privacy, it is of grave importance that you take those Non-Disclosure Agreements seriously, the potential fall-out from any sort of mis-step, infringement or breach of contract can prove catastrophic for your career, and the effects of a full blown fall-out, can ripple into waves of devastation for all your associates as well. Remember, you're here to make friends, not frowns.

There's absolutely no shame in admitting you are a recent university-leaver who is eager to gain more hands-on experience on the field, perhaps via an internship (I can tell you now that there are indeed plenty of those up for grabs at present), and it's usually the case, that saying so proudly, just might work out well in your favour, since creative employers generally scout for fresh perspectives and are keen to add diversity to their teams.

Realise that you are way more interesting, talented and employable than you give yourself credit for, so OWN IT, use your unique background and quirky personality to your advantage, don't be afraid to show your true colours from the get-go, because that eventually leads you towards the right support-groups and befitting spaces, where you can truly shine, and enjoy work just being yourself.

You should absolutely and definitely be excited to be part of such a transformative industry and don't worry, you WILL find your tribe! Stop being so paranoid, you are allowed to make mistakes, in fact history has shown us that the most genius and best inventions ever created, were borne out of the odd clumsy trip or honest slip-up.

Other people, alas, they only get to dream about pursuing a creative passion in their lifetime, but here you are, you managed to get through three whole years of sweat, blood and tears at uni and have all these opportunities at your disposal so you can go and actually LIVE IT!

Now, just be real with yourself for a minute... Can you imagine yourself doing anything else for the rest of your life? If this is indeed your calling, then take the leap! Send off that CV, quadruple check your sites. Fumble and tumble. Learn, reflect and rise like a Phoenix from the ashes each time!

At the end, you can look back and say, "despite the odds, I gave it my all and it was damn well worth it!"

Lastly... G-E-T O-U-T! Like seriously. Use your free time to travel, see exhibitions and definitely attend as many industry and networking events as you can, I guarantee the people that you meet at those gatherings, just might vouch for you in the future.

Simply being out in nature, offers an endless source of inspiration as well; That is, if you find that you tire of having visited the countless galleries and whatever odd local neighbourhood pop-ups along the way.

The world is waiting for you to make something beautiful using your own body and mind- such is the gift bestowed upon you by the universe, so give something back and plant your art, make your mark, somewhere everyone can enjoy- just beyond those doors... 😉 Chin up bros and soul-sistas! You got this!

And on that note, I really ought to sort out my bloody LinkedIn profile by now... Woooops! Pinky-promise, I'll get onto that pronto. Well, maybe after this tea...

Origins

One of the things that I liked, about our first proposal for 'UFO Baby Mobile', was that it showed our eagerness to deliver a kind of intensity in the work. I think part of what attracted us to the brief, was us gaining the license to really push limits in terms of how far we could take it, in order to really shock and get a strong reaction out of people. We went through several different ideas before settling on 'UFO Baby Mobile', but it was apparent from the beginning, that we placed a lot of value on the ones that allowed us to be almost confrontational about issues that we felt weren’t talked about enough because they are considered somewhat taboo, or that they potentially made people feel vulnerable. We certainly weren’t trying to “please” anybody in our approach, and I think that there was a sense of liberation among us, in being able to let go of worrying about how people might perceive our piece and just going for the jugular, so to speak.

Of course, there was also a part of us that knew that an underlying fear and a desire to break free of those social expectations, was sort of the driving force that enabled us to tackle our inner demons, even if it was only vicariously through the piece. That is why we were drawn to the idea of fear, nightmares and control, as the supposed "weak signals" that propelled us to get creative. And this was also the reason we were able to start off the project from an almost grandiose and eccentric stand-point; it was quite enjoyable being able to delve into our darker side. But was it all in the name of fun? Or were our true psychopathic tendencies about to unravel?

On Board With Feedback

As far as “controversial” pieces go, our idea was actually pretty tame, maybe in the context of the Creative Technologies course, it was probably a bit odd, but I think our peers have become accustomed to seeing work they don’t fully understand or know how to engage with, yet are almost willing to let these crazy and outlandish ideas come to life and be expressed in the studio. One of the few things pointed out by our lecturer, James, about the concept, that we eventually took on board, was the fact that we were (maybe) overdoing it, by having too many different ideas that were quite bold in their own right, and that having them all together, was actually muddying what we were trying to convey. Specifically, having people tied down to a bed as they looked up at the adult-sized mobile, as a way to instigate a conversation about control over childhood, was probably stretching it a bit. There was probably a level of naivety in us thinking that including apparent themes of bondage and BDSM would’ve added any real depth to what we wanted to convey, and it just ended up turning out to be quite novel and crass. Although, I’d like it to be noted, that the novelty of our concept was what actually encouraged us to keep pursuing the research into some of those darker themes, and that kept us interested in the subject throughout the project. But at some point we knew we had to mature and justify our decisions, so taking in some of those critical feedback right from the get-go really benefited us. It’s about being able to see them, not as drawbacks regarding our methods of conceptualizing, but as opportunities to really build upon those comments and manifest them into our work in a productive way.

Taking Cues

Alexander Calder’s work was of course a really big influence on our piece. We also looked at different designs for regular baby mobiles, which weren’t really all that exciting, as well as other kinetic toys and sculptures.

It goes without saying that we were also inspired by sci-fi movies that dealt with extra-terrestrial themes, such as the recent film ‘Arrival’ and the horror documentary ‘The Nightmare’. I think the topics we dealt with are quite hard to talk about and we often sort of struggled putting it all into words, so being able to use sculpture as a medium, helped us find the language that would enable us to invite people into the conversation we were desperate to have. I know that we aren’t exactly medical professionals, but I think psychology, especially behind abstract concepts like superstition is important for artists to be able to analyze and draw energy from.

The Value of Prototypes

Even after three years undergoing studies under this banner of Creative Technologies, I still get moments when I feel that my abilities to successfully prototype and test ideas have a lot of room for improvement, and it was made apparent especially during this project, because we were dealing with something quite hands-on and tactile. It wasn’t like we could just press “CTRL + Z” at every turning point during the process. We had to really stop and think at the end of each iteration and go through the motions of consulting with one another, then probe deeper into each decision to see if it was warranted going ahead. It was easier said than done for sure. No matter how determined we were about getting the best outcome, deep inside, we still had to deal with our own reservations and insecurities as artists and intellectuals, and regardless of how many times we’ve had to go through similar processes before, it was still hard to let go of our pride at times, and just speak our mind so that we could provide each other with constructive feedback.

Overcoming Roadblocks

Sometimes, taking on the happy accidents that manifest in the process, and acknowledging that they actually enriched the overall project, is the best thing you can do to move forward. There were plenty of incidents that gave us frustrations, even though they were minuscule in the scheme of things, it did affect us mentally and emotionally, more than we care to admit, but we just had to remind ourselves that those intense feelings were all part of the learning process. Things like getting a dent in one of the UFOs, bending the metal rod the “wrong” way, not being able to afford 3D printing and having to look for alternatives, not getting certain jobs like the CNC done on time weren’t as nerve-wrecking as when we had to decide what shape or texture or colour or assemblage would best represent the sculpture and contribute towards its identity. So much of the work’s outer appearance dictated how it was going to be perceived and experienced and even though we had a lot of control over how we were going to mould it, we still couldn’t keep self-doubt at bay, we still had to make compromises and work with what we had available, and we still had to accommodate each others egos, in order to meet each other in the middle. This is the double-edged sword about working in a group, it was intrinsically valuable to be able to be immersed in a collaborative arrangement, but it wasn’t without some sacrifices.

A Re-Invention

So what does our project represent now? 
 
Obviously, we scaled it down. As mentioned, we took away the constructs around the bed and “bondage” because it was just creating noise and adding confusion. Re-contextualising the sound aspect gave it more pronunciation and elevated the piece so that it anchored our audience into the mood of the experience. We went from not really thinking about how we were going about using light by simply choosing a dark space to exhibit, to having something more concrete and specific by harnessing the UV lights and choosing materials that would better reflect our fascination with the surreal activities of the night and the emotions packaged along with it. 

I am feeling pure, unadulterated relief at the fact that today we had a successful presentation and that all our hard work was worth it.

This moment right here, where everyone sat out at the park, to take part in Charlotte and Alonso’s work, represents the culmination of an amazing journey through “space, image and sound”.

I bemused at how everyone’s projects were an iteration of those “happening” experiments we had earlier in the semester. I mean, that was probably the point, I’m pretty convinced that those were what set the tone for everyone’s final outcomes.

I think what I took away during this journey, was being able to identify, where we sort of sit on a scale when given a topic or situation. Being able to sway between the abstract and the tangible when you’re dealing with conceptual art is a real skill. It was also important to me that we were able to provide feedback and receive it in turn, because how we articulated an opinion on someone’s work has the ability to transform it, and I believe that the sign of a good concept, is its ability to evolve as it travels through different contexts.

So happy with the way the soundtrack turned out, Bruno was really able to capture the essence of an alien abduction/invasion for our piece.

It's kind of like ‘The Twilight Zone’ meets ‘Stranger Things’.

It’s the day before our presentation and we’re really happy that we’ve pulled through! It’s been an incredible learning experience and I am so glad things worked out in the end.

I think in some ways, our installation surprised even ourselves, the process just felt like it was so experimental and that we were often in uncharted territory, reflecting the subject matter at hand.

We were trying out all these things we’ve never really had the chance to deal with in person until now. There was a shared anxiety between us about how some techniques would turn out and it was only at the end of each step that we could really assess our decisions and honestly, I feel lucky that we were able to manage any aspects we weren’t fully satisfied with so easily.

I’m not gonna lie, making a kinetic sculpture for the first time was hard. I was often battling internally between functionality and aesthetic. I was often second-guessing myself while I was bending a rod or a wire and adjusting the height of the UFOs. Having second and third opinions from Logan and Bruno definitely helped, but I think my team-mates struggled with having confidence in their own work as well. It was a relief to be able to get some motion going, but because there wasn’t a lot of control, as you would have, if you were using a motor, we had to make sure that the piece still embodied a level of grace and sophistication that mirrors the broodiness of the subject matter.

Logan, Bruno and I got some help from Lisa to acquire a pole with which to hang and test our sculpture from. We learnt fairly quickly that we weren’t gonna be able to support it with just one tripod.

This was a slight roadblock, as it changes our setup significantly, even if it doesn’t affect the experience immensely. But we were extremely happy with the kinetic motion the piece was demonstrating now that we have the UFOs putting weight in certain areas. People passing by commented on how the spring-shapes harks back to those vintage robot toys made out of tin, with the little antennas and I thought that was a cute reference.

There was a lot of movement in the springs and I really loved how it channeled the mannerisms of an actual ‘Slinky Toy'. I’m also glad that I’m finding us quite often using the word “toy” a lot in our conversations because again, that really cements the notion of childhood play that we were trying to invoke. There was something interesting about having the sort of “youthful innocence” embodied within the bike wheel that was then being “weighed-down" by these surrealist snake-like rods and spring contraptions with the discs attached. In this moment, it felt like the UFOs which embodied "the fear of the unknown", were actually stemming from an innate sense of "ignorance and bliss" represented by the bike wheel. And once we paired the structure with the UV light, we got some amazing results:

It still felt like there was something lacking in the setup and that the UV light wasn’t really performing to it’s full potential. We realized that there wasn’t anything in the sculpture yet that it could actually bounce off. 

The LEDs underneath were bright enough that they deflected the ultraviolet ambience to a noticeable degree.

But just out of sheer luck, we noticed that there was some foam lying around from when we were first hanging the piece to the pole, and that it was very effective in bouncing back some UV onto the reflective surface above the UFOs. It was nothing short of a blessing, because the foamy material itself harked back to notions of a "bliss-like-lucid-dream-amongst-the-clouds", which was a great contrast to the sinister broodiness of the UFOs underneath.

As we progress into its construction, our sculpture's notion of duality has become more and more apparent. It is now a piece that really asks us to interrogate contrasting concepts.

Light vs Dark.

Soft vs Hard.

Fond Memories vs Fearful Nightmares.

Here’s the test polystyrene block hanging from a hook and spring made out of our wire using a nylon thread.

Does it not remind you of a slinky?

Here’s some interesting facts about the slinky and it’s inventor: