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 dialogue about the newly branded bottles.
While in Uganda's capital city Kampala, I worked alongside and piloted my prototypes with the youth dance company, Batalo East. Their company combines both traditional and urban dance to encourage innovation, identity, confidence and career advancement in young people. Youth audience specifically because Uganda’s population is made up of 77% youth who are under the age of 30. They are the upcoming generation in Uganda and their insights on globalization, colonialism, brand models and cultural impact are valuable being as they are Coca-Cola’s target audience. This prototype interrogates the interpreted motives of the global brand of Coca-Cola through initiating dialogue amongst Ugandan youth around issues of colonization, imperialism, globalization and evaporation of culture.
Calling on both ways of consumption and locally sourced juice, this prototype serves as a rebuttal to Coca-Cola, an imported American brand. The intentional use of the Coke bottle is a reflection on the sustainable practices of Uganda while also serving as a satirical stab at the brand’s ethics and globalization tactics.
Through dialogue that arose from piloting Branding the Brand, I discovered that many local aspects of Ugandan culture have been affected by the influx of globalization through American brands and culture. I specifically looked at two facets of Ugandan beverage culture for this iteration. A traditional beverage called Omubisi, which is a banana juice that originated in Central Uganda. It has become nearly inaccessible in restaurants and bars due to the monopoly of larger commercial brands like Coca-Cola. An additional local beverage I explored is known as Amuwala, which is the local brew. Amuwala is traditionally served communally in a clay pot that houses several straws for 10 or more people to partake in the brew.
Stemming from my investigate research and fieldwork while 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 further what this type of collectivism and communality would look like by hacking the American, globalized brand Coca-Cola.
A speculative beer simulation that enables drinkers to blindly taste test and add local drops to reach a deeper sense of locality in their beer through taste, texture and color.
All 6 beer bottles consist of 2 corporate domestic brands, 2 independent craft brands and 2 craft brands who are partially or fully owned by corporate domestic brands. The brands are covered and they remain unknown to the drinker until the end of the simulation. Based off of taste, the drinker determines how much and what type of locality should added to the beer. This simulation denotes a craft beer cultural trait regarding the taste, texture and color of beer. It interrogates the convolution of locality within the beer industry through a visual translation of the color combinations in how the hues become indiscernible over time.
The locality component is rooted in the 9 views of local founded by Dr. Steven M. Schnell. They are based off of research with participants of the movement known as Neolocalism, which is the conscious attempt of individuals and groups to establish, rebuild, and cultivate local ties, identities, and local economies. This movement is a response to the destruction the traditional bonds to community through corporatization. Dr. Schnell has found that the cultural meaning of ‘‘local’’ extends beyond it’s dictionary definition.
LOCAL AS NON-GLOBAL: Local as non-global is in essence a view held in the opposition of being considered global.
LOCAL AS TRANSPARENT: Local as transparent is when the community knows the individuals who produce desired items, which boils down to one’s transparency enables them be held accountable.
LOCAL AS NON-CORPORATE: Local as non-corporate is that they aim to elevate themselves from anonymous players in the market by actually having relationship and understanding with the people in their businesses.
LOCAL AS UNIQUE: Local as unique refers to businesses sole purpose is in cultivate a sense of place and increasing community pride through those means.
LOCAL AS ENVIRONMENTALLY RESPONSIBLE: This view of local communally considering the long-term environmental implications it will ensure sustainability and improvement to the environment.
LOCAL AS EMPOWERED/SELF-SUFFICIENT: Local being empowered, self-sufficient in that decision making and future planning rather comes from the members who inhabit the community.
LOCAL AS COMMUNITY BUILDING: Local as community buildings believed to enrich by deepen supportive relationships with your neighbors in your community.
LOCAL AS AUTHENTIC: Local as authentic values connectivity of relationship within the human experience with the idea that products are worth more of an intrinsic value when made by someone you know.
LOCAL AS ALL OF THE ABOVE: The final view of local serves as a catch-all in that community members hold all nine views as their guiding force within the neolocal movement.
Using satire and subversion tactics, this prototype critically explicates the characteristics of selling and buying out, the illusion of choice, monopoly and colonialism that are present within the Mexican beer industry. There is a standard six-sided die and another die, which rolled at the start of the game, determines if players are either a corporate domestic or independent craft Brewery. Various street properties on the game board reflect the existing brewery and beer pub location of both corporate domestic brewers and independent craft brewers. 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 domestic brewers will inherently win the game. Additionally, the cards allow for each brewer to reflect on their positionality and how easy or natural it can be compromise within the industry.
Anjuli, RJ and I 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 guys 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 a simple cardboard lightbox that I designed. We explored societal Labels that each of us have experienced 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. We each took time to reflect on labels, good and bad, we had experienced in life. Performance and the element of surprise became an integral part of interacting with the lightbox while each person presented their labels.
This speculative toolkit puts power into the hands of community members who are encountering social change. Highly satirical, this toolkit reveals the potential responses or notions within a community that is experiencing a proposal for change.
This prototype explores intimate regionalism by uncovering the vernacular language of urban art. Beginning with fieldwork in the East Hollywood neighborhood of Little Armenia, I photographed aspects of the area I felt were intrinsic to the voice of Little Armenia. Reoccurring themes were Armenian signage, distinctive architecture and street art. Focusing on street art within the community, I began sketching out ways in which dialogue could occur by introducing an intimate space within an urban setting. This space is portable and can adhere to existing structures such as metro, telephone, and streetlight poles. In naming the prototype, I used both the Armenian and English translation of Exchange. The line width of the typography is intentionally the same for both the translations of the word 'Exchange' in order to remove cultural hierarchy.
Alcohol has been used by several literary greats as a creative conduit. As a result, some authors have become alcoholics, which has had a detrimental and in some cases fatal effects on both their careers and lives. This handbound 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 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.
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 by displaying the glyphs on the scale and the body type of the poster is set to 12 point.
This set of four typographic compositions derives from a chapter in Typography: Formation and Transformation: Introduction to Typographic Process by Willi Kunz. The typefaces were chosen from several type classifications such as 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 highlights some of my favorite attributes of West Coast culture: 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 demonstrate modern day examples of the frontier mindset through the artistic expressions, curiosity and gumption of those featured within its pages.