Bar of the Resistance is a cultural critique that uses media design to bring to the light that which the U.S. corporate beer industry has intentionally obfuscated. Corporate colonization has surfaced through the purposefully efforts of massive scale brewers such as Anheuser Busch InBev, SABMiller and Coors. They have cultural homogenized the beer industry through pay to play measures to ensure brand exclusivity, creating an illusion of choice through buying up local craft breweries and continually presenting a false sense of locality through brand mergers and marketing. The bar is an environment that showcases tools of the resistance for devout craftivist to express their agency against cultural hegemony. The glass pieces were made collaboratively with Uri Davillier of Neptune Glasswork.
Stemming from investigative field research in Uganda, I further explored themes of individualism and collectivism through several rounds of material explorations. I interrogated Coca-Cola's bottle design of intended individualism through hacked collectivism by morphing and manipulating existing Coke bottles and the inherit functions of drinking from the bottles. Through the prototype Collective 6 Pack and further iterations of the Communal Coke Vessel, I pushed what this type of collectivism and communality would look like by hacking the American, globalized brand Coca-Cola. The glass pieces were co-created with Ed Gibson of Ci Hot Glass Los Angeles.
Calling on locally sourced juice and ways of consumption, Communal Coke Vessel serves as a rebuttal to Coca-Cola, an imported American brand. It is a satirical stab at the brand’s ethics and globalization tactics and their effects on local culture and traditions.
Repositions power into the hands of Ugandan youth to express their perceptions, experiences and opinions of Coca-Cola by creating their own bottle labels in order to brand the brand. The vending machine serves a conversation object to further dialogue about the newly branded Coke bottles.
A speculative beer simulation that reflects through color the convolution tactics of the corporate beer industry. Different shades of food coloring represent local characteristics and soda water stands in for beers owned by either corporate breweries, craft breweries or craft breweries owned by corporate entities. The food coloring added to the cups changes the transparent and unclouded hue to blue or purple, making it difficult for participants to determine what aspects of “local” are present within their beer. A participant begins Udefine by choosing from six bottles that have their brand labels concealed. These brands consist of two corporate beer brands, two craft beer brands, and two craft beer brands that are partially or fully owned by corporate brewers. By blindly choosing a beer, the participant pours it into the clear cup, tastes it and determines what aspects of locality they believe should be added. The local drops reference the nine views of local determined by Dr. Stephen M. Schnell’s research on Neolocalism. The participant can choose to add drops such as Non-Global or Transparent to the soda water in an effort to make the beer reflect their values of local.
Your Local is an extension of Udefine and takes the notion of locality one step further in that the actual ingredients of beer are metaphoric translations of Dr. Schnell’s nine views of local. Your Local flips the preordained capitalistic notion of hegemonic, mass production within the beer industry on its head by highlighting the very nature of locality through the participant’s curation of the beer they consume. Nearly all beer consists of four fundamental ingredients: Water, Yeast, Grains, and Hops. Considering these main ingredients, the participant chooses the most important views of local that they personally feel should be reflected in their beer. Additionally, they can choose from a variety of ingredients such as Cocoa, Honey or Cinnamon, which can serve as the remaining views of local. For example, by choosing Water as Transparent the participant believed that because water makes up 95% of beer that a brewery’s transparency is extremely vital with the community it operates within.
Modeled after the NCAA college basketball bracket, the Local Brewery Championship Bracket repositions choosing locality through the lens of competition. Each bracket was created for and tested in two different regions of California; Los Angeles and the Bay Area. The 16 breweries are ranked in order of highest bbls (barrels) produced in 2015. The brackets also reveals who owns the breweries and where they are located. The prototype also featured a “Reasons for Elimination” component that enabled participants could choose from either provided reasons or they could write their own.
Who Owns Who? is a 52 card deck of ownership. Each card features a craft brewery on one side but when flipped the card reveals the true owner of the brewery. This prototype interrogates themes of ownership, ourness and the notion of true authenticity versus manufactured authenticity that exists within both corporate and craft beer culture.
BREWNOPOLY uses satire and subversion to critically explicate the Mexican beer industry by highlighting craft brewers that sell out, corporate brewers that buy out, pay to play and the illusion of choice. There is a standard six-sided die with differing images of corporate and craft brands that is rolled at the start of the game. This die roll determines if game players are either a corporate or craft brewer. The street properties on the game board reflect existing brewery and beer pub locations of both corporate brewers and craft brewers. Additionally, the currency within the game is converted from monopoly money to Mexican pesos. The Chance and Community Chest cards oppose the notion that the corporate brewers will inherently win the game. The cards allow for each brewer to reflect on their positionality and how easy or natural it can be to compromise within the industry. The reality of craft brewers as the underdog within Mexican beer industry is by no means an exaggeration. However, BREWNOPOLY postulates that corporate brewers are perhaps not the only sinister players in the game or industry.
A communal conversation space to identify and reflect on labeling that was collaboratively designed with Anjuli Sethi, RJ Sakai and young men from Jovenes, Inc. We spent several weeks with residents of Jovenes, Inc., a non-profit organization that specifically provides housing stability for homeless, at-risk young men ages 18 to 25. The group of young men expressed an interest in Technology, which led us to integrating it into one of our sessions. They created their own circuits with an on/off switch that controlled an LED light to place within a cardboard lightbox. We used these to explore societal labels that we have encountered and whether or not we identify or reject them. The lightbox served as a stage for all of us to display our labels, which evolved into rich dialogue and conservation. Labelmaker was birthed out of these sessions and incorporates elements we discovered while working with Jovenes, Inc.
This speculative toolkit puts power into the hands of community members who are encountering social change. Highly satirical, the Counter Change Toolkit reveals the potential responses or notions within a community that is experiencing a proposal for change.
Exchange explores intimate regionalism by uncovering the vernacular language of urban art. It is a portable dialogue space that serves as a conduit to reflect on the presence and impact of street art that isn’t readily understood or perhaps overlooked within the East Hollywood neighborhood of Little Armenia. Within the prototype, I used both the Armenian and English translation of the word Exchange. The typography's line width is intentionally the same for both translations in order to remove any interpretation of cultural hierarchy.
Alcohol has been used by several literary greats as a creative conduit. As a result, some authors have become alcoholics thus resulting in detrimental and in some cases fatal effects on both their careers and lives. This hand-bound cocktail book showcases both the writings and imagined workspaces of 10 well-known authors, all of whom died from alcohol related deaths, paired with recipes of their go-to drinks.
This book earned the Judges Choice Award from the Publishing Professionals Network at their 2015 Scholarship Competition.
Each glyph is structured coherently within the design constraints of the Perpetua typeface. For the photographic component, an architect’s scale is set in the context of a workspace. The poster carries the theme of twelve in that the body type is set to 12 point and the glyphs are oriented on the architect’s scale.
This is a bound collection of video footage and sound audio documenting both the Lander Pathfinder (1997) and Rover Spirit (2004) landings on Mars. It translates both video and audio into a tactile, physical form through screen captures and the visual translation of sound waves. The intentional pairing reveals the emotional connections and anthropomorphisms of NASA's Jet Propulsion Laboratory staff.
These four typographic compositions a derived from a chapter in Typography: Formation and Transformation: Introduction to Typographic Process by Willi Kunz. The typefaces were chosen from the type classifications of Humanist Venetian, Didone Modern, Grotesk, Egyptian Slab Serif and Transitional. Fundamental aspects of typography such as alignments, hyphenation, rules, indent and exdent exist throughout each of the four typographic compositions.
This publication showcases various cultural attributes specific to West Coast such as food, travel, music, art, design, and nature. The name Roam West was birthed from the notion of our founding relatives who set off to the West from the East Coast and Europe. The West presented travelers with a sense of promise, hope, and a curiosity for the unknown that was yet to be discovered. This publication demonstrates modern day examples of the frontier mindset through the artistic expressions, curiosity and gumption of those featured within its pages.